Jessica Winter
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For 266 reviews, this critic has graded:
  • 25% higher than the average critic
  • 0% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 11.5 points lower than other critics. (0-100 point scale)

Jessica Winter's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 Broken Flowers
Lowest review score: 0 Hide and Seek
Score distribution:
  1. Positive: 65 out of 266
  2. Negative: 72 out of 266
266 movie reviews
    • 71 Metascore
    • 60 Jessica Winter
    Godard light, but not lite: Its breezy postures front for melancholia.
    • 49 Metascore
    • 60 Jessica Winter
    As the tourist on a time budget, the usually brilliant Coogan merely mugs and flails (we can only imagine what Johnny Depp would have done with Fogg), while he and able straight man Chan enjoy scant opportunity to develop any comic rapport.
    • 56 Metascore
    • 60 Jessica Winter
    Dinosaur amounts to 80 minutes of discouraged Cretaceous trudging, punctuated by the occasional fight or stampede and one pyrotechnic coup: a truly thrilling meteor shower.
    • 44 Metascore
    • 60 Jessica Winter
    Improbably, the sequel only ups the ante on its predecessor's comedy-of-embarrassment quotient.
    • 76 Metascore
    • 60 Jessica Winter
    Boldly aspirational. It's Jeunet's stab at "Paths of Glory," dipped in a sepia bath and halfway wrenched into a women's picture.
    • 75 Metascore
    • 60 Jessica Winter
    Lovely to look at but insipid.
    • 56 Metascore
    • 60 Jessica Winter
    Bursting with grotesque burlesques of household relations.
    • 64 Metascore
    • 60 Jessica Winter
    Or
    The scoreless Or (My Treasure) consists solely of stationary shots that, while sometimes awkwardly composed, build in organic momentum and bracing detail.
    • 55 Metascore
    • 50 Jessica Winter
    Money can't buy happiness, but as Bride and Prejudice teaches us, it can get patience in bulk from a smart young woman of a practical mind-set.
    • 59 Metascore
    • 50 Jessica Winter
    Day-Lewis is as rooted as an oak in his character and milieu, yet easefully disengaged from the film's pensive histrionics.
    • 62 Metascore
    • 50 Jessica Winter
    Leitman's interviews are lax and inconclusive.
    • 63 Metascore
    • 50 Jessica Winter
    Studiously harmless, Disney's long-in-development film rendition pasteurizes the book's renegade verve with typical means.
    • 31 Metascore
    • 50 Jessica Winter
    "Legally Blonde" director Robert Luketic bumbles along with typically clumsy blocking and framing, and the misogyny inherent in the three-ring spectacle of bitch slaps, barbiturate covert ops, and wedding plan hysteria does rankle.
    • 35 Metascore
    • 50 Jessica Winter
    Can't transcend its own suffocating milieu.
    • 64 Metascore
    • 50 Jessica Winter
    Amiable and hollow.
    • 68 Metascore
    • 50 Jessica Winter
    The Edukators smiles indulgently as the kids rage belatedly against the dying of the SDS light.
    • 51 Metascore
    • 50 Jessica Winter
    Mackenzie and Marber opt for an anonymous viewpoint of clinical detachment, which generates about the same psychodramatic tension as reading the "DSM-IV."
    • 54 Metascore
    • 50 Jessica Winter
    The mysticism only mystifies; its hieroglyphics are vividly rendered, but Bee Season never manages to spell them out.
    • 70 Metascore
    • 50 Jessica Winter
    A widescreen wallow in socially enforced slum nihilism brought to you by Miramax, Tsotsi could be pegged as "City of God" relocated to the Soweto shanties, but it eschews the ironic swagger and strobe-speed action of Fernando Meirelles's lurid jigsaw for a more conventional arc.
    • 51 Metascore
    • 50 Jessica Winter
    Oddly, in representing a private conflict as the microcosm of an unsolvable catastrophe, Free Zone only manages to miniaturize both.
    • 54 Metascore
    • 50 Jessica Winter
    The raw art of the malapropism has rarely been so extensively honored, but the increasingly strident, slapstick-smacked movie runs out of steam once the culture shock wears off.
    • 61 Metascore
    • 50 Jessica Winter
    The elliptical, even fragmented editing style clashes with the reiterative voice-over, which could indicate a stylistic choice or cutting under duress.
    • 38 Metascore
    • 50 Jessica Winter
    Largely inept and weirdly endearing.
    • 69 Metascore
    • 50 Jessica Winter
    Occasionally smirky.
    • 49 Metascore
    • 50 Jessica Winter
    Amid the awkward pacing and gaping plot holes, the film's chief point of interest is Goldblum's morbidly fascinating performance: equal parts Walter Neff and Captain Kirk.
    • 62 Metascore
    • 50 Jessica Winter
    Handheld sprinting and swish-pans try to enliven the duo's shenanigans: undermotivated fisticuffs, fun with the nutty controls on their limousine (the roof slides open!), Vaughn's endless yapping.
    • 45 Metascore
    • 50 Jessica Winter
    Martin seems uncomfortable and oddly waxen (the orange Al Gore makeup doesn't help), injecting Frank with neither restless anger nor wry humor.
    • 63 Metascore
    • 50 Jessica Winter
    With wit and empathy to spare, waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism.
    • 50 Metascore
    • 50 Jessica Winter
    Begins and ends with footage of FDR intoning "I hate war," something the film takes two interminable hours to say.
    • 37 Metascore
    • 50 Jessica Winter
    Quek is compelling not for her ideas but the tangled path by which she came to them.