For 1,348 reviews, this critic has graded:
  • 27% higher than the average critic
  • 3% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 12.4 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Fruitvale Station
Lowest review score: 0 After Earth
Score distribution:
1348 movie reviews
    • 60 Metascore
    • 60 Joe Neumaier
    Unfortunately, the fantasy-thriller they're in eventually falls apart, becoming a much sillier, less substantial movie than its lead actors deserve.
    • 83 Metascore
    • 60 Joe Neumaier
    The movie’s spell is solid, even if it doesn’t soar to the heights it could.
    • 73 Metascore
    • 60 Joe Neumaier
    Part of the problem with "P&F" is that Tiana and Naveen's connection feels superficial.
    • 69 Metascore
    • 60 Joe Neumaier
    A snapshot of several New York eras that coincide with the Internet's growing pains, We Live in Public focuses on entrepreneur, party-thrower and dot.com bubble participant Josh Harris.
    • 60 Metascore
    • 60 Joe Neumaier
    The film winds up as a chronicle of uneasy forgiveness.
    • 72 Metascore
    • 60 Joe Neumaier
    Like its antiheroes, this slacker tragedy has moments of calm and originality that are sadly obliterated by a tendency toward the extreme. Still, in a kind of reverse apocalypse, the movie's toughest stretch is its first two-thirds, a navel-gazing, semi-romantic nothing-a-thon that falls away in time for the movie to emerge from the ashes.
    • 55 Metascore
    • 60 Joe Neumaier
    Any movie with food as a motif runs the risk of pouring on the metaphor, and that happens here, too.
    • 74 Metascore
    • 60 Joe Neumaier
    Joe
    Joe and director David Gordon Green find a middle ground between the old, vulnerable Cage and the one that seemed to eat that other guy. Good to have him back.
    • 55 Metascore
    • 60 Joe Neumaier
    Without pushing too heavily, Green makes the parallels between Enrique and Michael's situations genuine.
    • 57 Metascore
    • 60 Joe Neumaier
    Spottiswoode relays this tragic story with respect and sadness. But Michael Donovan's script is stuffed with clichés, and Dupuis is unable to convey the depth of Dallaire's emotions.
    • 58 Metascore
    • 60 Joe Neumaier
    Here, it's all Bardem, and this great actor's careworn face and sensitive presence counts for a lot. He ultimately can't save the soul of Biutiful, but he makes the journey easier.
    • 77 Metascore
    • 60 Joe Neumaier
    Saulnier accomplishes something rare here. He has an ability to convey depth of feeling and ominousness without tricks or even musical cues.
    • 69 Metascore
    • 60 Joe Neumaier
    Director Tiller Russell sometimes get sidetracked — a dangerous thing in a story that already has a lot of twists, turns and off-ramps. But it’s a story you have to hear, from the guys who lived it and may never live it down.
    • 72 Metascore
    • 60 Joe Neumaier
    Pieced together, these behind-the-scenes moments are a thrill for history buffs. From the moon landing to the resignations, this is raw Nixon.
    • 56 Metascore
    • 60 Joe Neumaier
    There's just some great imitations of what remains an acquired taste.
    • 63 Metascore
    • 60 Joe Neumaier
    Because it's so rooted in real life, the drama Good Kill is even more terrifying than “The Purge,” Ethan Hawke’s horror film from two years ago.
    • 68 Metascore
    • 60 Joe Neumaier
    Scenes of Favreau at the grill bantering with Leguizamo and Cannavale could almost sustain an entire movie.
    • 61 Metascore
    • 60 Joe Neumaier
    While Lomborg is an engaging though sometimes smug subject, director Ondi Timoner allows a coterie of scientists to spend too much time puncturing Gore than propping up Lomborg - who comes off as charismatic and engaged but, ultimately, merely a contrarian.
    • 56 Metascore
    • 60 Joe Neumaier
    Luckily, the cast is comfortable going with the flow. Ribisi is amusingly corrosive, while Jenkins and Rispoli are sweaty, cigar-chomping movie-journalist archetypes.
    • 45 Metascore
    • 60 Joe Neumaier
    Any film as politically specific as Miral needs to be addressed on two levels, as a movie and as, from a certain viewpoint, a polemic. If a viewer can separate one from the other - and some may not - there's an intense, novelistic drama here.
    • 55 Metascore
    • 60 Joe Neumaier
    Whether it works is a matter of taste, but the fact that Burton's revisit unearths enough fun while feeling like four films in one is testament to the source's seductive bloodline.
    • 39 Metascore
    • 60 Joe Neumaier
    Before it devolves into typical American-style action, there’s an intriguing, European-style complexity to Dead Man Down.
    • 61 Metascore
    • 60 Joe Neumaier
    Unfortunately, Elysium devolves. It doesn’t address the ramifications of making everyone healthy for eternity, or what it is on Earth they’re making or digging up that fuels whatever economy is left on the space station. For such a well thought-out premise, there’s not a mention of how capitalism works in this futureworld.
    • 49 Metascore
    • 60 Joe Neumaier
    Leave it to Spike Lee to deliver one of the strangest, most off-putting movies for the Thanksgiving holiday.
    • 56 Metascore
    • 60 Joe Neumaier
    The movie covers all the bases, but doesn’t advance the story.
    • 55 Metascore
    • 60 Joe Neumaier
    In a pleasing contrast to Fey's sharpness, Poehler keeps her performance unpredictable and fuzzy. In this just-add-water comedy, a very funny movie star is born.
    • 58 Metascore
    • 60 Joe Neumaier
    The modern, gritty Western Frontera takes a lot of the clichés and delicately upends them to tell a tale about undocumented immigrants.
    • 60 Metascore
    • 60 Joe Neumaier
    Nachmanoff fills the movie with a sense of gripping, '70s-style grittiness that helps undercut the web-of-evil tone.
    • 67 Metascore
    • 60 Joe Neumaier
    One of the many beautiful things about this affecting, informative doc is the opportunity it gives to see the American college sports world through different eyes.
    • 46 Metascore
    • 60 Joe Neumaier
    There is also inspiration in watching her find herself by helping others.
    • 80 Metascore
    • 60 Joe Neumaier
    Director Kiyoshi Kurosawa is better known for horror films; this is a movie where the horror is internalized, and hideously truthful.
    • 66 Metascore
    • 60 Joe Neumaier
    Abe's day-to-day trials may eventually seem like cheap daytime TV, but Gelber and Solondz know how to nail the uncomfortably funny optimism shadowing American desperation.
    • 54 Metascore
    • 60 Joe Neumaier
    Stone, last seen in “The Amazing Spider-Man 2,” is served best. Gliding through the film in sailor-girl outfits that evoke film stars of the 1920s, Stone’s big kewpie eyes and long-limbed gamine appeal fit in this era of silent films.
    • 69 Metascore
    • 60 Joe Neumaier
    Michael Douglas in Solitary Man, has all the tools of the man who plays him at his disposal. At times in this often engaging, occasionally meandering movie, that's enough to score.
    • 74 Metascore
    • 60 Joe Neumaier
    When the grade-school kids are Israelis and Palestinians, the initially reluctant, moving duets they finally perform make you feel like, yes, dancing.
    • 64 Metascore
    • 60 Joe Neumaier
    Farahani — seen in “Body of Lies” and “Chicken With Plums” — is equally vibrant in a performance, and a film, that dares us to listen.
    • 58 Metascore
    • 60 Joe Neumaier
    Sports biodramas generally take one of two tacks: gauzily sentimental or scrappy tale of struggle. The Express runs the thin line between the two and, to its benefit, more often than not hits the first mark.
    • 73 Metascore
    • 60 Joe Neumaier
    The action-comedy Zombieland works because it's played with an emphasis on the living, not the undead.
    • 39 Metascore
    • 60 Joe Neumaier
    Sean Penn’s bad side makes for good action-drama in The Gunman. There’s a grubby, redemptive quality that makes this tough-minded flick feel like the son of “Serpico” and “Salvador.”
    • 68 Metascore
    • 60 Joe Neumaier
    The poetry in The Place Beyond the Pines can be elusive, but also easy to get lost in.
    • 63 Metascore
    • 60 Joe Neumaier
    The movie winds up being a real standup flick, if you know what I mean.
    • 64 Metascore
    • 60 Joe Neumaier
    Friends of Shep discuss his often unorthodox business sense, especially in the music biz, as well as his general decency. The guy’s tale is full of funny anecdotes and celeb privilege, but short on pretension.
    • 59 Metascore
    • 60 Joe Neumaier
    There’s a lot left unsaid in director Anja Marquardt’s chilly yet intimate and thought-provoking indie drama. But what should be said loud and clear is that actress Brooke Bloom is riveting. Emanating everyday grace and real depth, she plays a sex surrogate handling several needy and emotionally wounded clients.
    • 60 Metascore
    • 60 Joe Neumaier
    Despite a pleasantly laid-back demeanor, you wish it would just get focused.
    • 49 Metascore
    • 60 Joe Neumaier
    Carla Gugino has yet to find the right movie that clicks with her spunky outsider appeal, but The Mighty Macs, a gauzy, inspiring true-life drama about a girls' basketball team, at least gets her close and provides a lot of assists.
    • 61 Metascore
    • 60 Joe Neumaier
    This time the movie really is — as the old theme song promises — sensational, celebrational and Muppetational.
    • 66 Metascore
    • 60 Joe Neumaier
    Clayman, who co-directed with filmmaker friends, is fascinating company.
    • 62 Metascore
    • 60 Joe Neumaier
    Marie is middle-aged and at a crossroads in All the Light in the Sky, a movie that feels the same way — listless and searching and on its way toward something good.
    • 56 Metascore
    • 60 Joe Neumaier
    Some may still be surprised at this fun, well-informed chronicle of what was happening in the U.S. as lighted floors, boogie shoes and Saturday night fevers were the rage.
    • 76 Metascore
    • 60 Joe Neumaier
    There’s politics involved, along with personal stories, extraordinary tense standoffs and down-and-dirty drug business.
    • 52 Metascore
    • 60 Joe Neumaier
    This sweet, offhanded but lovingly observed remembrance is a real kick. It takes us back to the way things used to be, especially for 13-year-old guys, and specifically in the arcade rooms of 1985, filled with upright video games with glowing screens and big-haired girls in neon.
    • 61 Metascore
    • 60 Joe Neumaier
    Director Mateo Gill's autumnal movie has elements of other late-era Westerns in its blood, but it isn't easily pigeonholed. There are shootouts and standoffs, as well as great scenes like one between the grizzled, perfectly cast Shepard and Rea discussing the cost of criminality and the changing morals of old men.
    • 55 Metascore
    • 60 Joe Neumaier
    Something of a traffic jam--even with his usual restraint, Lee couldn't recount a key moment of the '60s without a blurry parade of personalities--and also lullingly dull.
    • 69 Metascore
    • 60 Joe Neumaier
    There's as much social history of L.A.'s racial divide as there is appreciation for the band's big, genre-crossing sound. It all comes together for a rollicking chronicle of verve and nerve.
    • 54 Metascore
    • 60 Joe Neumaier
    For the first time since "The Nutty Professor," Eddie Murphy successfully mixes his adult and kid-film personas -- imagine that.
    • 60 Metascore
    • 60 Joe Neumaier
    For all the obviousness on the surface, and despite some forced last-act havoc, Breathe In works like a piece of chamber music. It goes up to the edge of emotion, circles it, then backs away. But the notes not hit seem as powerful as the ones that are.
    • 41 Metascore
    • 60 Joe Neumaier
    Director Cathryne Czubek’s well-researched, incredibly lively chronicle of the way guns are marketed to, coveted by, and portrayed with women is a vital glimpse into a cultural phenomenon.
    • 57 Metascore
    • 60 Joe Neumaier
    Sturgess is solid and Kingsley predictably sneaky, but the atmosphere -- scurries through the Catholic/Protestant border, tense stand-offs, spontaneous riots -- is what's genuinely gripping.
    • 66 Metascore
    • 60 Joe Neumaier
    Most of the young men interviewed by Berg will be seen, and heard, by many audiences for the first time. Their voices are hard to forget.
    • 76 Metascore
    • 60 Joe Neumaier
    Laughter may be the best medicine, but in Obvious Child, it’s also a helluva cure for dealing with a serious topic.
    • 58 Metascore
    • 60 Joe Neumaier
    Leave it to Al Pacino to find the good in the mediocre.
    • 67 Metascore
    • 60 Joe Neumaier
    Writer-director Ruba Nadda's film is ultimately like a summertime flirtation that never quite comes to anything.
    • 65 Metascore
    • 60 Joe Neumaier
    As shown in this disarming and intimate documentary named after their band, the oddness of actually being sought-after was something neither was prepared for.
    • 85 Metascore
    • 60 Joe Neumaier
    Director Samuel Maoz's gripping you-are-there feel does for tanks what "Das Boot" did for submarines, and that chokehold only gets tighter as this taut drama about the 1982 Israeli-Lebanese war goes on.
    • 56 Metascore
    • 60 Joe Neumaier
    Colangelo shows a mature levelheadedness in depicting how close-knit communities fall and rise together.
    • 64 Metascore
    • 60 Joe Neumaier
    Andrew Cohn and Davy Rothbart’s doc, exec-produced by Steve Buscemi and Stanley Tucci, is one more sad, serious eulogy for a way of life.
    • 69 Metascore
    • 60 Joe Neumaier
    Kristen Wiig is scary. That’s a good thing. It’s part of her appeal as a comedian, and crucial in the funny-weird comedy-drama Welcome to Me, which uses the working-without-a-net aspect of Wiig’s humor to unsettling effect.
    • 65 Metascore
    • 60 Joe Neumaier
    It’s hard to fault a movie like The Good Lie for its intentions. But it can be faulted for pandering, both to its subject and to audiences.
    • 60 Metascore
    • 60 Joe Neumaier
    Director Mike Newell’s rich take on the story is a fine introduction for new viewers.
    • 48 Metascore
    • 60 Joe Neumaier
    The result ends up like an "SNL" skit: knowingly over-the-top but still fun.
    • 49 Metascore
    • 60 Joe Neumaier
    Bridges is enjoyable as he gives the older Flynn a Zen hero quality, and even breaks through the effects to make his younger-Clu-self oddly engaging.
    • 73 Metascore
    • 60 Joe Neumaier
    Wong’s visual grandeur is, as ever, all-encompassing.
    • 76 Metascore
    • 60 Joe Neumaier
    Writer-director Julia Loktev sustains the tension for long, Antonioni-esque passages that portend something momentous. The film delivers in unexpected ways, and then ponders what it means.
    • 70 Metascore
    • 60 Joe Neumaier
    As a look at how we got from there to here, “Evocateur” is one for the time capsule.
    • 80 Metascore
    • 60 Joe Neumaier
    What Room 237 is really about is how movies inspire passion. Which is a great thing, even if it comes out in wack-job ways.
    • 66 Metascore
    • 60 Joe Neumaier
    The faces and voices are endlessly compelling as they talk about what inspires them to lay down beats and recall the early days in New York. Ice-T, disentangled from acting, makes himself a fine focal point.
    • 65 Metascore
    • 60 Joe Neumaier
    Keshavarz's vision is clear and heartfelt, and everyone has an urgency in their eyes.
    • 63 Metascore
    • 60 Joe Neumaier
    This beautifully photographed drama is well-played throughout with great conscience without becoming heavy-handed.
    • 74 Metascore
    • 60 Joe Neumaier
    This trip through the seminal performance artist's (often literal) body of work is sometimes too cozy, yet Abramovic might argue that objectivity is impossible if truth is the destination.
    • 74 Metascore
    • 60 Joe Neumaier
    Director Megumi Sasaki's film feels like a cozy visit with neighbors whose insights are priceless.
    • 45 Metascore
    • 60 Joe Neumaier
    A well-done, conscientious and funny little film that recalls "Clueless," only with more heart.
    • 58 Metascore
    • 60 Joe Neumaier
    Toscanini plays a role in the tale, as does Einstein and a young Zubin Mehta. If director Josh Aronson tries to follow a few too many strands of the story, it's only because there's so many tantalizing ones.
    • 75 Metascore
    • 60 Joe Neumaier
    If Hitchcock had done a coming-of-age drama, it might have resembled this haunting, nervous, sad movie about an early twentysomething.
    • 54 Metascore
    • 60 Joe Neumaier
    Thor: The Dark World may not be thunder from the movie gods, but it is — shock! — an entertaining journey into mystery, action and fun.
    • 55 Metascore
    • 60 Joe Neumaier
    Quirky, but infinitely more interesting than big-budget Hollywood cousins.
    • 53 Metascore
    • 60 Joe Neumaier
    Weixler is a delight, and director Tom Gammill captures the right level of deadpan to pull this off.
    • 46 Metascore
    • 60 Joe Neumaier
    Is it all valid? Perhaps. Should the film's questions be addressed? Absolutely.
    • 42 Metascore
    • 60 Joe Neumaier
    As the team gets in shape, a hot new ringer is brought in and the fallen son redeems himself - and director Steve Rash's movie wins us over.
    • 49 Metascore
    • 60 Joe Neumaier
    Its hard sell wears you down and draws you in, even as you know you're being manipulated.
    • 48 Metascore
    • 60 Joe Neumaier
    Yelling is a prosaic look at a hard life. Like Sweetness, the movie finds its way by instinct.
    • 61 Metascore
    • 60 Joe Neumaier
    The genuinely sweet nature of this sometimes clunky movie is mixed with a little sass, and wins you over.
    • 85 Metascore
    • 60 Joe Neumaier
    Even after experiencing the film, what they've gone through - and how they deal with it - deliberately remains a mystery.
    • 57 Metascore
    • 60 Joe Neumaier
    Though he has a true appreciation for detail, Joffe has the scar-faced Pinkie so scurvy that Rose ought to run the minute she sees him.
    • 76 Metascore
    • 60 Joe Neumaier
    Adventureland has the structure of a Tilt-a-Whirl ride: It goes where you expect, and may fill you with dread.
    • 51 Metascore
    • 60 Joe Neumaier
    Those who only know Chiwetel Ejiofor from his quietly powerful work in the Best Picture-winning “12 Years a Slave” should see him here — to experience his range.
    • 63 Metascore
    • 60 Joe Neumaier
    Johnson's feel for the rhythms of reconnection are steady, and she and her fine actors make Return one of only a handful of films to honestly address what to many is heartbreaking reality.
    • 60 Metascore
    • 60 Joe Neumaier
    This fantasy adventure lacks focus when it should be laser-sharp, and stumbles when it could soar.
    • 57 Metascore
    • 60 Joe Neumaier
    It's not a lightning show, but "Flash" still shines.
    • 47 Metascore
    • 60 Joe Neumaier
    As a vampire might say, "Be- vaaare , all who enter here above the age of 7! What lies on the screen ... is not for you !"
    • 47 Metascore
    • 60 Joe Neumaier
    Every generation gets the time travel it deserves. Project Almanac isn’t “Time After Time” (1979) or “Back to the Future” (1985) or “12 Monkeys” (1996), but the new release does turn out to be a surprisingly jaunty trip for jaded Gen-Y kids.

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