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

Jessica Winter's Scores

  • Movies
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
    • 47 Metascore
    • 30 Jessica Winter
    Heartbreakers gives redemption a bad name, but gives conniving misanthropy a worse one.
    • 32 Metascore
    • 30 Jessica Winter
    Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
    • 22 Metascore
    • 30 Jessica Winter
    The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
    • 75 Metascore
    • 30 Jessica Winter
    Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
    • 41 Metascore
    • 30 Jessica Winter
    The traumatized critic must struggle to avoid capital letters in urging patrons to steer clear of the colorfully cast but unbearable Spun.
    • 63 Metascore
    • 30 Jessica Winter
    Baggy and overbroad, He Loves Me is notable only as a corrective to cinema's promiscuity with fabulous destinies.
    • 48 Metascore
    • 30 Jessica Winter
    A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
    • 59 Metascore
    • 30 Jessica Winter
    Aidan Higgins's novel undergoes a choppy, perplexing script adaptation by Harold Pinter (who enjoys a soused, belligerent cameo), further muddied by non sequitur editing inserts. Imogen and Otto's happenstance affair holds little intrigue or surprise.
    • 75 Metascore
    • 30 Jessica Winter
    Collapses in a heap of affirmational outbursts and metaphysical goop. The fond chemistry between the leads deserves a better movie.
    • 65 Metascore
    • 30 Jessica Winter
    Cédric Klapisch has been compared to Truffaut, but the new-waver's weakness for glib sentimentalism seems to have left the biggest impression on L'Auberge Espagnole.
    • 51 Metascore
    • 30 Jessica Winter
    Smug with timely zingers like "The only thing the French should be allowed to host is an invasion," the movie's recommended strictly for Bush advisers.
    • 37 Metascore
    • 30 Jessica Winter
    Hoffman has no particular argument to make, and neither does the movie -- just befuddled disgust with The System in general and the right wing in particular.
    • 45 Metascore
    • 30 Jessica Winter
    Willing's confused procedural -- derived from a novel by Madison Smartt Bell -- is a hasty throwback to the sado-medieval Exorcist descendants of the turn of the millennium (Stigmata, Stir of Echoes, Lost Souls). The somnolent cast can't keep the faith.
    • 55 Metascore
    • 30 Jessica Winter
    Blends past and present to draw some utterly stupefying parallels.
    • 27 Metascore
    • 30 Jessica Winter
    Throughout this Americanization of the Luc Besson–scripted French hit, Latifah itches to check her watch, Fallon appears mortified, and only Ann-Margret mainlines any comic adrenalin.
    • 67 Metascore
    • 30 Jessica Winter
    An aura of dust and mothballs evidently leaves a capable cast feeling woozy.
    • 63 Metascore
    • 30 Jessica Winter
    Somehow the U.K. film industry can always scrounge enough loose change from the cushions to foot the bill for a pre-chewed lump of sickly saltwater taffy like the mawkish Scottish-seaside postcard Dear Frankie.
    • 44 Metascore
    • 30 Jessica Winter
    Boorman's bathetic tourism is unconscionable for a subject of this magnitude; for an infinitely superior account of this chapter of South African history, seek out the documentary "Long Night's Journey Into Day."
    • 48 Metascore
    • 30 Jessica Winter
    Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
    • 47 Metascore
    • 30 Jessica Winter
    Creaky in its mechanics and numbingly protracted, this is basement B horror that fancies itself a prestige chiller.
    • 33 Metascore
    • 30 Jessica Winter
    Especially in the climactic, clumsily staged gunfight, the prevailing mode is wide-eyed idiocy--which might be the point, since von Trier's satirical target is the hypocrisy of (news flash!) America's eagerness to enforce stability and security with all guns blazing.
    • 36 Metascore
    • 30 Jessica Winter
    The script, allegedly by "Donnie Darko's" Richard Kelly, throws together tangentially related plots like cats in a sack.
    • 41 Metascore
    • 30 Jessica Winter
    The rock hero starts out dead and so does the movie.
    • 38 Metascore
    • 20 Jessica Winter
    A bad one-night stand endured with a jailbroke cad and his put-upon travel-agent pal that hinges somewhat on the characters' impression that Frank Sinatra is still among us.
    • 26 Metascore
    • 20 Jessica Winter
    Levin's Brooklyn Babylon, set during a hot summer in Crown Heights, is an ethnic-strife tract as thuddingly didactic as his previous "Whiteboys."
    • 44 Metascore
    • 20 Jessica Winter
    Choppy, overlong documentary.
    • 34 Metascore
    • 20 Jessica Winter
    Anemic.
    • 18 Metascore
    • 20 Jessica Winter
    The staging and performances are awkward, the frequent shoot-outs a snore.
    • 41 Metascore
    • 20 Jessica Winter
    Hammer betrays a tiresome attachment to cross-cutting ladyporn with antiquated educational filmstrips, to no real end but snarky giggles.
    • 34 Metascore
    • 20 Jessica Winter
    An arthritic exercise in self-pleasurement.