John Bleasdale

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For 241 reviews, this critic has graded:
  • 36% higher than the average critic
  • 1% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

John Bleasdale's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 20 Rodin
Score distribution:
  1. Positive: 97 out of 241
  2. Negative: 6 out of 241
241 movie reviews
    • 75 Metascore
    • 80 John Bleasdale
    This Is Congo is an angry film, yet one which is never blinded by its anger. McCabe offers no solutions – the UN Peacekeeping Force are rounded on at one point by furious locals – and no grounds for optimism. Yet even in its attempts to understand and to communicate that understanding, there is a defiance against the easy fallback of despair.
    • 62 Metascore
    • 40 John Bleasdale
    There’s nary a memorable shot in the whole film. As for Ehrenreich’s performance, it’s honestly difficult to tell how good he is. Remarkably for a film called Solo, with so many characters each one nibbling at the scenes, he hardly has room to shine.
    • 72 Metascore
    • 60 John Bleasdale
    Deladonchamps and Lacoste make for engaging leads and there is warmth and humour here too.
    • 93 Metascore
    • 100 John Bleasdale
    A quietly devastating portrayal of family and theft in contemporary Japan.
    • 59 Metascore
    • 80 John Bleasdale
    Yomeddine is an accomplished appeal for empathy and an entertaining journey of discovery.
    • 67 Metascore
    • 40 John Bleasdale
    Everything seems designed to disturb or perhaps infuriate the viewer.
    • 77 Metascore
    • 80 John Bleasdale
    Border is a piece of modern gothic, a far out midnight movie which delivers on the WTF-ery while maintaining a surprisingly big and generous heart.
    • 59 Metascore
    • 40 John Bleasdale
    Mitchell’s third film feels like a script that was locked in a drawer after numerous rejections but now can be brought out and pushed through with clout earned from the success of It Follows.
    • 91 Metascore
    • 100 John Bleasdale
    This is the refined work of an artist at the peak of his powers, and, dare we say it, a masterpiece.
    • 41 Metascore
    • 40 John Bleasdale
    After all is said and done, ‘The House that Lars Built’ is an impressive construction for an obnoxious purpose. In fact, the best criticism comes from Talking Heads and their song Psycho Killer: “You’re talking a lot but you’re not really saying anything.”
    • 82 Metascore
    • 60 John Bleasdale
    Cosmatos’ Mandy matches Cage grimace for grimace and achieves, at times, a transcendent midnight madness.
    • 72 Metascore
    • 60 John Bleasdale
    Panahi keeps everything as softly spoken as his own onscreen presence and yet some of those quiet observations are devastating.
    • 80 Metascore
    • 60 John Bleasdale
    Ash Is Purest White is a fascinating chapter in Jia’s ongoing chronicle of ordinary lives affected by unprecedented change in China.
    • 87 Metascore
    • 80 John Bleasdale
    Sweet Country is a hoarsely angry film, a powerful denunciation of the racism and violence on which modern Australia was eventually founded.
    • 40 Metascore
    • 40 John Bleasdale
    Other than a sinking feeling, there’s not much else The Chamber is going to give you.
    • 92 Metascore
    • 100 John Bleasdale
    It's triumph is its determined optimism, even if it admits that is probably a fantasy. It's a tale of the fallen who, like Moonee's favourite tree, keeps on growing regardless.
    • 77 Metascore
    • 60 John Bleasdale
    As with Kaufman's own stunts, it's difficult to know what to take seriously.
    • 81 Metascore
    • 100 John Bleasdale
    Blade Runner 2049 is not a perfect film. The pace occasionally puts the plod in the procedural and some story elements are introduced only to drift away to the land of possible sequels. But Villeneuve has created a genuinely thoughtful piece of sci-fi which escapes the gravitational pull of its inspiration to become something - to paraphrase Dr. Eldon Tyrrell - more Blade Runner than Blade Runner.
    • 52 Metascore
    • 60 John Bleasdale
    There's a lot that's wonderful about Andrei Konchalovsky's Holocaust drama Paradise and yet there's something fundamentally wrong with the film.
    • 45 Metascore
    • 80 John Bleasdale
    The Leisure Seeker is dry-eyed even at its most moving and a celebration of love even as it reaches its end.
    • 58 Metascore
    • 20 John Bleasdale
    It is difficult to work out what to dislike most about Victoria and Abdul: the literal foot-licking or the cliché-ridden plot, but the greatest shame is the waste of a genuinely fascinating piece of history and a world-class Judi Dench performance.
    • 91 Metascore
    • 60 John Bleasdale
    It's as if Wiseman has taken his cue from the old style librarians and has wanted to give a portrait of a community but without the inevitable noise that goes with it, issuing one long "shhhhhhhhh".
    • 88 Metascore
    • 80 John Bleasdale
    Three Billboards Outside Ebbing, Missouri is a multi-layered piece with such swathes of great dialogue that it will no doubt reward - if not demand - multiple viewings. It's also another item of evidence pointing toward a filmmaker getting into his stride.
    • 77 Metascore
    • 80 John Bleasdale
    With its epic scale and global reach, Human Flow is a powerful testament to a shameful crime against humanity.
    • 75 Metascore
    • 100 John Bleasdale
    Yes, it is pretentious. But pretension is also about ambition and this is cinema that is willing to kick out the lights.
    • 42 Metascore
    • 40 John Bleasdale
    Clooney only shows flashes of comic moxy, and everything is drowned in a now tiresome fetishizing of the 1950s aesthetic, with gizmos and supermarkets, office furniture and hairdos glossily remade.
    • 87 Metascore
    • 80 John Bleasdale
    It's witty, smart and brilliantly played, plumbing the sub-aqueous depths of our psyches, our histories and desires.
    • 63 Metascore
    • 80 John Bleasdale
    This is Payne's most political film since Election and refreshingly eschews the gentle social realism of Sideways and Nebraska for something much more subversive. The pointillist normalcy of those films is used well as a context in which to embed the craziness of his Kaufmanesque high concept.
    • 44 Metascore
    • 40 John Bleasdale
    There are the occasional moments when Bushwick lets on that it knows that this is all truly awful.
    • 60 Metascore
    • 40 John Bleasdale
    In its determined avoidance of sensationalism, it finds itself stranded in an empty space so understated, it is genuinely difficult to understand what, if anything, it is saying.

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