For 1,316 reviews, this critic has graded:
  • 27% higher than the average critic
  • 2% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 11.1 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 The End of the Tour
Lowest review score: 0 Everly
Score distribution:
1,316 movie reviews
    • 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.
    • 77 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.
    • 67 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.

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