For 1,166 reviews, this critic has graded:
  • 26% higher than the average critic
  • 2% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 10.7 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Blue Valentine
Lowest review score: 0 Ender's Game
Score distribution:
1,166 movie reviews
    • 60 Metascore
    • 60 Joe Neumaier
    The film winds up as a chronicle of uneasy forgiveness.
    • 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.
    • 74 Metascore
    • 60 Joe Neumaier
    The shadow of Terrence Malick falls hard across this Texas crime drama, a beautiful-looking prose poem that starts strong but winds up with nowhere to go.
    • 82 Metascore
    • 60 Joe Neumaier
    Watching Ushio Shinohara and his wife Noriko make their art, we’re reminded of how much life is inside even the most abstract of pieces.
    • 59 Metascore
    • 60 Joe Neumaier
    A colorful account of the life and art of the recently retired Drew Struzan, whose amazing poster work from the 1970s onward still delights cineastes and casual observers.
    • 72 Metascore
    • 60 Joe Neumaier
    Wong’s visual grandeur is, as ever, all-encompassing.
    • 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.
    • 34 Metascore
    • 60 Joe Neumaier
    The Lifeguard is one of those deceptive movies that, to its credit, winds up being about more than just an easy-to-describe tagline. In this case, that line would be: “Woman goes back to hometown, sleeps with high school boy.”
    • 57 Metascore
    • 60 Joe Neumaier
    This frisky late-’50s-set French comedy about a competitive typing contest hunts and pecks a bit for fun after its story gets rolling, but it’s visually vibrant throughout.
    • 74 Metascore
    • 60 Joe Neumaier
    Director Megumi Sasaki's film feels like a cozy visit with neighbors whose insights are priceless.
    • 77 Metascore
    • 60 Joe Neumaier
    Director Andrew Dosunmu’s film is big-hearted and rich, frequently using slow motion to underscore an artful intimacy.
    • 79 Metascore
    • 60 Joe Neumaier
    Enough Said doesn’t have the intimacy of Holofcener’s “Walking and Talking” or “Lovely & Amazing,” but it still cuts close the bone. Often so close we have to smile in self-defense.
    • 75 Metascore
    • 60 Joe Neumaier
    Howard, whose previous tales of men in professional peril include the topnotch “Apollo 13” as well as “Backdraft” and “Cinderella Man,” works with cinematographer Anthony Dod Mantle to create a style in the racing scenes that makes the most of every angle. By the time the final lap of Rush starts, we’re up for the ride.
    • 61 Metascore
    • 60 Joe Neumaier
    As narrated by Mickey Rourke and with appearances from Arnold Schwarzenegger and Lou Ferrigno, the movie captures the men who mix “sports, entertainment, art and a way of life” — as the former Governator describes body sculpting. It’s their honesty that looms large.
    • 53 Metascore
    • 60 Joe Neumaier
    Best of all, we take a trip back to Depression-era New York and grasp its resonance more than 80 years later. Delicious.
    • 63 Metascore
    • 60 Joe Neumaier
    Interviews with survivors fill us in on the personalities of the lost, but the background of K2, with archival footage from 1954, is equally gripping.
    • 61 Metascore
    • 60 Joe Neumaier
    Michael Starrbury’s astute script draws us in slowly, depicting the realities of Mister and Pete’s lives in progressive reveals.
    • 53 Metascore
    • 60 Joe Neumaier
    Where Sissy Spacek seemed otherworldly and haunted in De Palma’s film, Moretz (“Hugo,” “Kick-Ass”) is sadder. She’s a terrific young actress.
    • 55 Metascore
    • 60 Joe Neumaier
    Sex is plentiful, but the lust is for paydays. This is territory covered far more vibrantly in “Margin Call,” yet director Costa-Gavras (“Z,” “Missing”) still has good, old-fashioned indignation to count on.
    • 70 Metascore
    • 60 Joe Neumaier
    A look into one of the most invisible, and crucial, of cinematic disciplines. Using the seminal casting director Marion Dougherty as a subject, the film walks us through the intricacies of casting, with insight from Woody Allen, Martin Scorsese, Robert Redford and others.
    • 52 Metascore
    • 60 Joe Neumaier
    The fights are strong (though the 49-year-old director’s are slo-mo), and the surface is calm. Say “Whoa!” if you like, but it’s cool.
    • 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.
    • 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.
    • 60 Metascore
    • 60 Joe Neumaier
    Director Mike Newell’s rich take on the story is a fine introduction for new viewers.
    • 83 Metascore
    • 60 Joe Neumaier
    The movie’s spell is solid, even if it doesn’t soar to the heights it could.
    • 55 Metascore
    • 60 Joe Neumaier
    Filmed — patiently, beautifully — over that same length of time, the film’s day-to-day aches are quiet and lovingly rendered.
    • 49 Metascore
    • 60 Joe Neumaier
    Leave it to Spike Lee to deliver one of the strangest, most off-putting movies for the Thanksgiving holiday.
    • 69 Metascore
    • 60 Joe Neumaier
    Throughout, Hollyman rings true . She’s heartfelt, freaked-out and never too way out.
    • 76 Metascore
    • 60 Joe Neumaier
    The result is cool and semi-comical, but also serious.
    • 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.
    • 59 Metascore
    • 60 Joe Neumaier
    This honest and engrossing film shows how ingenuity and spark can restore excitement in education. That goal needs every helping hand it can get.
    • 57 Metascore
    • 60 Joe Neumaier
    Branagh, taking advantage of his experience helming 2011’s “Thor,” shows an allegiance to the genre he’s working in; both as director as co-star, he pours on the menace.
    • 65 Metascore
    • 60 Joe Neumaier
    As seen in Charlie Victor Romeo (code for “Cockpit Voice Recorder”), the events are almost unbearably gripping.
    • 49 Metascore
    • 60 Joe Neumaier
    With a snappy score made up of American standards and tons of Gallic spice, “Love” wins us over.
    • 52 Metascore
    • 60 Joe Neumaier
    There’s great repartee between its cast of this “based on a true [but forgotten] story” of World War II. Yet the film overall isn’t colorful enough.
    • 53 Metascore
    • 60 Joe Neumaier
    This eerily unsettling indie takes a few pleasantly unexpected turns before winding up in a traditional place. But if you think it isn’t worth the time, you have another think coming.
    • 78 Metascore
    • 60 Joe Neumaier
    Though it’s more testimonial exhibit than movie, “Unjust” remains a crucial document.
    • 62 Metascore
    • 60 Joe Neumaier
    It’s playful, stable and sexy, thanks to a cast that knows how to find the sweet spots.
    • 75 Metascore
    • 60 Joe Neumaier
    The movie grips us partly because Bakri’s performance is alternately casual and calculated.
    • 56 Metascore
    • 60 Joe Neumaier
    The best twist is how Neeson’s growly presence makes a bumpy ride enjoyable.
    • 88 Metascore
    • 60 Joe Neumaier
    The result is a film almost too reliant on its players to push it through.
    • 60 Metascore
    • 60 Joe Neumaier
    It never comes to much more than an atmospheric head-scratcher.
    • 63 Metascore
    • 60 Joe Neumaier
    The movie winds up being a real standup flick, if you know what I mean.
    • 61 Metascore
    • 60 Joe Neumaier
    This time the movie really is — as the old theme song promises — sensational, celebrational and Muppetational.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Joe Neumaier
    The movie covers all the bases, but doesn’t advance the story.
    • 75 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.
    • 42 Metascore
    • 60 Joe Neumaier
    A movie that’s of two minds. It’s well-grounded, but also over the top. It’s a man-vs.-machine epic and also an intimate drama. It’s quirky-smart yet sci-fi silly. And it winds up being half as good as it could be.
    • 58 Metascore
    • 60 Joe Neumaier
    For all its shortcomings, “Gigolo” knows when to turn on the charm.
    • 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.
    • 68 Metascore
    • 60 Joe Neumaier
    Scenes of Favreau at the grill bantering with Leguizamo and Cannavale could almost sustain an entire movie.
    • 68 Metascore
    • 60 Joe Neumaier
    The Double belongs to a very specific club. If you’re on its wavelength, it’s a dive into quirky, murky fun. But even if you are, this oddball offering is vague and slippery, a calmer brother to “Brazil” or Orson Welles’ Kafka tale “The Trial.”
    • 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.
    • 74 Metascore
    • 60 Joe Neumaier
    The movie sometimes has the feel of an Olympic sprinter running in place. There’s so much energy expended to get to one spot. Constant searches beget more searches. It all gets exhausting.
    • 76 Metascore
    • 60 Joe Neumaier
    Jodorowsky turns his own youth into an odd, hypnotic mishmash.
    • 56 Metascore
    • 60 Joe Neumaier
    Director Jon S. Baird lets Welsh’s language fill up the room, even when it’s a wee bit hard to fathom.
    • 65 Metascore
    • 60 Joe Neumaier
    While Lucky Them may not be a classic, the actors at least find a cool groove.
    • 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.
    • 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.
    • 75 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.
    • 65 Metascore
    • 60 Joe Neumaier
    This insightful doc from director Andrew Rossi addresses topics that get more polarizing each year: the high cost of college, the factors that dictate who’s educated in this country and the culture that surrounds those decisions.
    • 55 Metascore
    • 60 Joe Neumaier
    Hellion is a glimpse into rural American childhood that’s both tense and melancholy.
    • 71 Metascore
    • 60 Joe Neumaier
    The laughs are what keep the film together, even when the conceit feels been-there-done-that.
    • 38 Metascore
    • 60 Joe Neumaier
    The actors make the raucousness feel as easy as the cinematic couples therapy.
    • 68 Metascore
    • 60 Joe Neumaier
    This mellow chronicle of Nat Hentoff is like a tour through New York’s past.
    • 74 Metascore
    • 60 Joe Neumaier
    Filled with horrific but colorful anecdotes, director Joe Berlinger’s incisive look at the mobster life of Boston career criminal and FBI informant “Whitey” Bulger is essential viewing for fans of lurid, true underworld tales.
    • 84 Metascore
    • 60 Joe Neumaier
    The film features plenty of elements that seem familiar from previous cinematic dystopian visions — class warfare, decrepit living, a feeling of terminal velocity — yet you can’t help but admire director Bong Joon-ho’s high-wire act.
    • 44 Metascore
    • 60 Joe Neumaier
    Monument Valley makes an appearance, and there are soulful moments of slow motion. There’s enough heart here to make up for whatever first-timer miscalculations ride along too.
    • 40 Metascore
    • 60 Joe Neumaier
    The modern stuff is undeniably fawning. But given the eye-popping visuals, you understand the enthusiasm. Especially if you left your heart, and thousands of dollars in quarters, in an arcade.
    • 56 Metascore
    • 60 Joe Neumaier
    Cahill, who did the equally heady, intriguing drama “Another Earth” (2011), keeps the tone consistent. He makes certain his cast walks a savvy tightrope, keeping things taut.
    • 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.
    • 53 Metascore
    • 60 Joe Neumaier
    Affleck is playing someone split down the middle, but we're stuck seeing only one side of him.
    • 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.
    • 76 Metascore
    • 60 Joe Neumaier
    And always there’s Wojtowicz himself, who died in 2006. His patter and persona must be seen to be believed. This guy was a piece of work, and so is The Dog.
    • 66 Metascore
    • 60 Joe Neumaier
    Quiet moments after big decisions are where the power lies in this absorbing French drama.
    • 46 Metascore
    • 60 Joe Neumaier
    Kline sinks his old smoothie teeth into the part of Flynn, but is careful not to draw blood too easily. The man’s pathetic nature, after all, doesn’t spring from his movies. (Flynn worked right up to his death, in 1959.) It’s deeper than that, but also more shallow. Walking that knife’s edge is a trick. Kline finds exactly the right path.
    • 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.
    • 55 Metascore
    • 50 Joe Neumaier
    Noise ultimately becomes a slice of city life instead of a great satire.
    • 43 Metascore
    • 50 Joe Neumaier
    The "Star Trek" gibes feel especially lazy, since the movie ought to be "Men in Black" kicky, not sketch-comedy dusty.
    • 55 Metascore
    • 50 Joe Neumaier
    Plays like a throwback to gritty-but-softhearted English dramas of the 1980s like "Mona Lisa" and "Sammy and Rosie Get Laid."
    • 47 Metascore
    • 50 Joe Neumaier
    A good-ol'-boy civics lesson that's too scattered to achieve its predictable goals.
    • 40 Metascore
    • 50 Joe Neumaier
    Sparky voice performances and heart make up for this family film's theft of Tim Burton's sensibility.
    • 73 Metascore
    • 50 Joe Neumaier
    Amusing as it is, it never feels real.
    • 56 Metascore
    • 50 Joe Neumaier
    This action-comedy will seem fresh only to 8-year-olds -- though it may give parents an excuse to introduce some of the '50s horror movies it parodies.
    • 57 Metascore
    • 50 Joe Neumaier
    Despite the Spierig brothers' punchy visual style and satiric tone, Daybreakers eventually devolves, though Dafoe and his Southern drawl goose things up and Hawke has a greasy romanticism.
    • 62 Metascore
    • 50 Joe Neumaier
    Low-budget, grubby and gleeful, but with a nice sense of style and apparently an endless supply of dry ice. Points deducted, though, for a too-easy alien-corpse joke.
    • 69 Metascore
    • 50 Joe Neumaier
    Sadly, once the movie shifts gears, it becomes a timid "Donnie Darko."
    • 53 Metascore
    • 50 Joe Neumaier
    Yet it all comes down to one simplistic idea, and the result feels like a one-film evangelical movement.
    • 54 Metascore
    • 50 Joe Neumaier
    When the haze wears off and the movie grounds itself in reality, it's a bummer. Until then, though, what's weird here is gloriously weird.
    • 62 Metascore
    • 50 Joe Neumaier
    If it were just Hurt's show, it'd be a helluva trip.
    • 56 Metascore
    • 50 Joe Neumaier
    This year-in-the-life comedy will appeal mostly to its target audience -- the boys of middle school, USA -- and frankly, that's all it needs. Who else would appreciate the idiocy of social pressure,
    • 46 Metascore
    • 50 Joe Neumaier
    In a certain kind of indie movie, the only thing sweeter than a bad boy transformed is slow, sad tragedy. Mercy has both, which isn't good.
    • 68 Metascore
    • 50 Joe Neumaier
    Director John Scheinfeld's film, utilizing interviews with friends and collaborators, hits a high note on Nilsson's friendship with Ringo Starr and his fear of stage performance.
    • 48 Metascore
    • 40 Joe Neumaier
    Don't expect to taste anything surprising.
    • 66 Metascore
    • 40 Joe Neumaier
    Roth's works are particularly hard to do justice to onscreen, perhaps because the celebrated author's personality is really in his words
    • 57 Metascore
    • 40 Joe Neumaier
    In what world does Smart People exist? Clearly not the real one, though this dramedy wants to think it's filled with ironic insights about love and family.
    • 43 Metascore
    • 40 Joe Neumaier
    The long shadow of David Fincher's "Seven" falls on Anamorph, a moody, ultimately unexciting thriller.
    • 57 Metascore
    • 40 Joe Neumaier
    It's a big fat missed opportunity.
    • 71 Metascore
    • 40 Joe Neumaier
    The story's Hitchcockian plot loses steam quickly, though Pinon's salty presence keeps things from getting totally bloodless.