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 42
Lowest review score: 0 The Last House on the Left
Score distribution:
1,166 movie reviews
    • 49 Metascore
    • 60 Joe Neumaier
    Leave it to Spike Lee to deliver one of the strangest, most off-putting movies for the Thanksgiving holiday.
    • 73 Metascore
    • 60 Joe Neumaier
    Fearless nonfiction filmmaker Alex Gibney ("Taxi to the Dark Side," "Client 9: The Rise and Fall of Eliot Spitzer") details a history of horrific abuse by Catholic clergy in this tough-to-watch documentary.
    • 67 Metascore
    • 60 Joe Neumaier
    It's been a long, not always linear path to the opening of the new tower, planned for 2014. Yet, as one observer says here, the project has helped heal New York in a very New York way - acrimonious, messy and loud.
    • 91 Metascore
    • 60 Joe Neumaier
    A fascinating and informative, if sometimes stodgy, documentary about the most secret wing of Israel's anti-espionage unit.
    • 60 Metascore
    • 60 Joe Neumaier
    This crisp, involving South African drama comes at you in waves, changing course and tone expertly.
    • 81 Metascore
    • 60 Joe Neumaier
    Upstream Color is weird, but it’s worth the time.
    • 48 Metascore
    • 60 Joe Neumaier
    Yelling is a prosaic look at a hard life. Like Sweetness, the movie finds its way by instinct.
    • 52 Metascore
    • 60 Joe Neumaier
    Writer-director David Riker's film is tough going, but worth it.
    • 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.
    • 54 Metascore
    • 60 Joe Neumaier
    Movies like this, from "Diner" to "Beautiful Girls" to "Garden State," have a standard trajectory, and this film's no different. But it has a nuance and a rumpled comfort with itself, which turns Fairhaven into an inviting place to visit.
    • 63 Metascore
    • 60 Joe Neumaier
    So often not in his element — his turn in “Oz the Great and Powerful” is evidence of that — Franco is in freako mode here, and walks a line between spaced-out caricature and just plain Out There.
    • 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.
    • 76 Metascore
    • 60 Joe Neumaier
    Australian director Cate Shortland’s straightforward approach to the blinders worn by Hitler Youth creates a disconcerting and eerie film, made even more memorable since it’s seen through the prism of childhood’s end.
    • 71 Metascore
    • 60 Joe Neumaier
    The politician who almost pathologically asked the question "How'm I doin'?" clearly never needed a view outside his own. Which is as New York as it gets.
    • 61 Metascore
    • 60 Joe Neumaier
    This time the movie really is — as the old theme song promises — sensational, celebrational and Muppetational.
    • 57 Metascore
    • 60 Joe Neumaier
    Atmosphere is three-fourths of the game in a horror film, and The Lords of Salem has it in spades. It’s not too much to say that until this culty-witchy throwback chiller turns too bloody, it shows how far a little style can go.
    • 62 Metascore
    • 60 Joe Neumaier
    It’s playful, stable and sexy, thanks to a cast that knows how to find the sweet spots.
    • 65 Metascore
    • 60 Joe Neumaier
    Owing a debt to Albert Brooks’ early comedies, Red Flag might be too much if it weren’t just right.
    • 71 Metascore
    • 60 Joe Neumaier
    Even with no wood sprites, witches or spells, there’s plenty of magic in this coming-of-age charmer.
    • 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.
    • 33 Metascore
    • 60 Joe Neumaier
    Nothing terribly special here, but perfectly played and a spiritual cousin to such early ’90s indies as “Naked in New York” and “Ed’s Next Move.”
    • 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
    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.
    • 89 Metascore
    • 60 Joe Neumaier
    Can’t-look-away stuff, though it’s tough to believe your eyes and ears.
    • 73 Metascore
    • 60 Joe Neumaier
    As a wry, knowing narrator guides us in and out of their symphonic affair, there’s no doubt the trip is worth it.
    • 74 Metascore
    • 60 Joe Neumaier
    A gripping, personal examination of a seemingly unresolvable conflict.
    • 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.
    • 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.
    • 38 Metascore
    • 60 Joe Neumaier
    The actors make the raucousness feel as easy as the cinematic couples therapy.
    • 71 Metascore
    • 60 Joe Neumaier
    The laughs are what keep the film together, even when the conceit feels been-there-done-that.