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 11.4 points lower than other critics. (0-100 point scale)

Jessica Winter's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 Joy Ride
Lowest review score: 0 Deuces Wild
Score distribution:
  1. Positive: 65 out of 266
  2. Negative: 72 out of 266
266 movie reviews
    • 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.
    • 47 Metascore
    • 50 Jessica Winter
    [Rhys Meyers] remains trapped in an enervating road movie - shelved so long that Rhys Meyers still appears to have baby fat - summed up when Finbar, who turns up in Finland (natch), asks whey-faced Danny, "You couldn't find anything better to do than to come find me?!"
    • 52 Metascore
    • 40 Jessica Winter
    She (Dunst) provides the only major element of Bring It On that plays as tweaking parody rather than slick, strident, body-slam churlishness.
    • 43 Metascore
    • 40 Jessica Winter
    Gonick's visceral impulses have drawn comparisons with John Waters, but the starry-eyed collision of gross-out gags and candy-sweet sentiment owes as much of a debt to the Farrellys as Bruce LaBruce.
    • 70 Metascore
    • 40 Jessica Winter
    Can any American filmmaker other than the Farrellys make a rom-com in which the principals engage in activities apart from the tiresomely tireless dissection of rom?
    • 59 Metascore
    • 40 Jessica Winter
    Arriving just after the best year for animated film in recent memory, Fantasia 2000 doesn't play like a celebration. In its sentimental yearning for a golden age when another one's upon us, it feels a little like a rebuke.
    • 55 Metascore
    • 40 Jessica Winter
    The last scene reads like an admission of defeat.
    • 41 Metascore
    • 40 Jessica Winter
    Too flimsily built and baldly unfunny to bolster Cruz's charms, but Almodóvar's blessed Virgin is, as usual, winning and guilelessly seductive.
    • 71 Metascore
    • 40 Jessica Winter
    Mehta feels compelled to twist the screw, shamelessly plying her audience with mawkish tropes wearing the garb of "innocence."
    • 44 Metascore
    • 40 Jessica Winter
    Hysterical but inorganic, lacking blood, sweat, or tears.
    • 49 Metascore
    • 40 Jessica Winter
    Slack, saccharine script.
    • 34 Metascore
    • 40 Jessica Winter
    Agathe de la Boulaye, as The Painter, gives off an appealing air of good-natured amusement, which is appropriate given her surroundings.
    • 60 Metascore
    • 40 Jessica Winter
    The exposition is thick, the characterization choppy, the wigs terrible.
    • 45 Metascore
    • 40 Jessica Winter
    Not a movie that can afford to take itself seriously.
    • 75 Metascore
    • 40 Jessica Winter
    Like grieving itself, the film is awkward, messily honest, and sometimes darkly funny.
    • 33 Metascore
    • 40 Jessica Winter
    The Wedding Planner achieves the dubious but perversely impressive feat, for its 90-minute duration, of neutering Jennifer Lopez.
    • 36 Metascore
    • 40 Jessica Winter
    Ms. Cruz...once again proves her inability to give a bad performance even under the worst of circumstances.
    • 66 Metascore
    • 40 Jessica Winter
    Jones's documentary, named for the opening song on Foxtrot, is most effective as a poison-pen missive to Corporate Rock.
    • 45 Metascore
    • 40 Jessica Winter
    The movie is a technical marvel from its lysergic cinematography (by Decha Srimantra) to its pulsing-vessel sound design, but it has no identity apart from its influences, however dazzlingly they're deployed.
    • 71 Metascore
    • 40 Jessica Winter
    The Road Home is foremost enthralled, however, with its lead actress -- wide-eyed and pigtailed, revered in close-up after stunned close-up.
    • 57 Metascore
    • 40 Jessica Winter
    A genuine consciousness-raiser, but it's less a social-realist narrative than a high-volume rally.
    • 64 Metascore
    • 40 Jessica Winter
    The script offers neither a sustained narrative arc nor strong characterizations.
    • 53 Metascore
    • 40 Jessica Winter
    A startling letdown after (Léa Pool's) plaintive, understated coming-of-age tale "Set Me Free."
    • 49 Metascore
    • 40 Jessica Winter
    A discombobulating mix of blood-and-grit docu-realism and moony multiplex contrivance.
    • 60 Metascore
    • 40 Jessica Winter
    The film allots far too much time to the cultural exchange program between the fugitive and his aide, in which Otomo can recap his sorrowful biography to a sympathetic audience surrogate.
    • 56 Metascore
    • 40 Jessica Winter
    Having already looted the Peckinpah and spaghetti-western archives, the director now quotes his own quotations, in service of not a sequel but a vociferous reiteration.