Jesse Hassenger
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For 13 reviews, this critic has graded:
  • 69% higher than the average critic
  • 0% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 8.1 points lower than other critics. (0-100 point scale)

Jesse Hassenger's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 83 Alan Partridge
Lowest review score: 16 Septic Man
Score distribution:
  1. Positive: 2 out of 13
  2. Negative: 2 out of 13
13 movie reviews
    • 66 Metascore
    • 83 Jesse Hassenger
    Director Declan Lowney does an admirable job making a confined film look cinematic without overblowing it into action-comedy mode.
    • 69 Metascore
    • 75 Jesse Hassenger
    There are times when the slight, small Sparrows Dance pushes too hard, both visually and narratively: a blinking red light outside Ireland’s window provides overly fussy on-off lighting during two long scenes, and the movie’s flairs of serious conflict are less deft than its offhand moments of connection. There are enough of said moments, though, to sustain its sweetly hesitant romance.
    • 40 Metascore
    • 58 Jesse Hassenger
    The techniques of the movie, then, are sound. Wan still moves his camera and composes his shots with a patience that belies his dank Saw origins. But the cinematography isn’t as virtuosic this time around.
    • 45 Metascore
    • 58 Jesse Hassenger
    With his English-language debut, Blood Ties, Canet takes on material of even less interest to today’s big studios, constructing something much more ambitious than a straight thriller — a sprawling familial crime drama, heavier on relationships than chases or shoot-outs.
    • 56 Metascore
    • 58 Jesse Hassenger
    Early on, Steadman talks about his humor needing to have a “slightly maniacal” edge. For No Good Reason has no such thing; it’s gently informative and amusing the whole way through.
    • 38 Metascore
    • 58 Jesse Hassenger
    Too frequently, the movie also treats its female characters as props to be shuffled in and out of danger as the screenplay requires — a nasty tendency that undermines its ongoing (and murkily argued) debate about whether a successful agent can maintain his humanity.
    • 64 Metascore
    • 50 Jesse Hassenger
    As a result, this well-meaning puff piece sometimes appears to double as an extended video-dating profile: Generous sexagenarian seeks stable younger woman for procreation.
    • 49 Metascore
    • 50 Jesse Hassenger
    The film calms down a bit in its second half, leaving more room for Bondarchuk’s striking wartime tableaux, making occasional use of its native 3-D cinematography. (The movie, a massive success in Russia last year, will screen primarily in IMAX 3D venues in the U.S.)
    • 49 Metascore
    • 50 Jesse Hassenger
    Words And Pictures is supposed to be divided, as equally as its title, between these two characters. But Owen’s performance as a man who values his own faux-sophistication even as he goes to seed overpowers Binoche, leaving the movie lopsided.
    • 32 Metascore
    • 42 Jesse Hassenger
    A little of this debunking is cute (“I got nothing against bib overalls or straw hanging out of your mouth,” one of the subjects clarifies about the myths he wants to dispel); the rest of it feels defensive.
    • 34 Metascore
    • 42 Jesse Hassenger
    After an efficient start, The Possession Of Michael King drags, weighing itself down with genre conventions the filmmakers don’t seem to understand or care about.
    • 21 Metascore
    • 33 Jesse Hassenger
    As broad as Williams goes in these scenes, it’s not really his fault. He’s acting out a screenplay, credited to Daniel Taplitz, that’s peppered with bad writerly flourishes.
    • 7 Metascore
    • 16 Jesse Hassenger
    As if the ravings of a lunatic weren’t dull enough, Septic Man eventually becomes the ravings of an idiot too.