For 50 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Jordan Mintzer's Scores

  • Movies
Average review score: 63
Highest review score: 100 Blue Is the Warmest Color
Lowest review score: 30 Beauty and the Beast
Score distribution:
  1. Positive: 26 out of 50
  2. Negative: 3 out of 50
50 movie reviews
    • 88 Metascore
    • 100 Jordan Mintzer
    Less concerned with classic storytelling than with creating virtual performance pieces on screen, the film features dozens of extended sequences of Adele and Emma both in and out of bed—scenes that are virtuously acted and directed, even if they run on for longer than most filmmakers would allow.
    • 72 Metascore
    • 90 Jordan Mintzer
    The issues come clashing together in an explosive package that, despite some snafus, remains fairly riveting to the end.
    • 65 Metascore
    • 80 Jordan Mintzer
    The picture is marked by superb performances and a dazzling technical display by the helmer and praiseworthy cinematographer Eric Gautier.
    • 59 Metascore
    • 80 Jordan Mintzer
    Combining the glamour of "To Catch a Thief" with the ruckus of a Ben Stiller movie, TV vet Pascal Chaumeil's French Riviera-set intrigue stars Romain Duris.
    • 81 Metascore
    • 80 Jordan Mintzer
    While things get a tad buckled town in mayhem and special effects throughout the film’s busy final reels, Wright spends enough time sketching out his mischievous middle-aged men so that their journey...feels worthwhile and even meaningful for a few of them.
    • 77 Metascore
    • 80 Jordan Mintzer
    Toback does a great job introducing the non-initiated to the sticky job of getting a film funded outside the studio system.
    • 79 Metascore
    • 80 Jordan Mintzer
    Reteaming to play a duo similar to the one in A Prophet, Rahim and Arestrup maintain the film’s tense and sinister tone – the former providing a convincing mix of fragility and machismo, and the latter looking and acting more and more like Brando in the latter half of his career.
    • 71 Metascore
    • 80 Jordan Mintzer
    A riveting and often hilarious demonstration of the Slovenian philosopher’s uncanny ability to turn movies inside out and accepted notions on their head.
    • 56 Metascore
    • 80 Jordan Mintzer
    The film is a textured portrait of human beings and the jobs they do, offering scant commentary but much to chew on, not to mention plenty of laughs -- no small feat in a movie dedicated to something as dry sounding as “public radio.”
    • 82 Metascore
    • 80 Jordan Mintzer
    Stranger by the Lake invites you into its alluring and peaceful world, only to gradually uncover the darkness beneath it.
    • 68 Metascore
    • 80 Jordan Mintzer
    While this may be the actor-director’s most polished feature yet, it’s far from a traditional suspense movie.
    • 72 Metascore
    • 70 Jordan Mintzer
    Despite an initial forecast of smart laughs and witty tete-a-tetes, the French dramedy Let It Rain winds up being a partly cloudy affair that lacks the cohesiveness of Agnes Jaoui’s two previous features, "The Taste of Others" and "Look at Me."
    • 65 Metascore
    • 70 Jordan Mintzer
    The remake ups the adrenaline factor, and features strong performances across the board, yet feels bogged down by a weighty love triangle and a subject that merits more than the old-school good vs. evil approach.
    • 59 Metascore
    • 70 Jordan Mintzer
    French feel-good filmmaking to the max. Yet a heaping pile of cliches doesn't prevent this touchingly simplistic tale -- from exuding a strong and universal emotional appeal.
    • 58 Metascore
    • 70 Jordan Mintzer
    Both evocative and faithful in its depiction of the famed French singer's lascivious life, "Gainsbourg (vie heroique)" offers up a feast of memorable chansons and an almost endless parade of drop-dead-gorgeous muses.
    • 63 Metascore
    • 70 Jordan Mintzer
    Picture initially suggests a sort of Gallic "Damages," with Kristin Scott Thomas and Ludivine Sagnier in the Glenn Close and Rose Byrne roles, but the corporate catfight soon gives way to a cleverly designed whodunit.
    • 75 Metascore
    • 70 Jordan Mintzer
    Unlike John Boorman's trippy 1967 L.A. noir of the same title, frenetic Gallic suspenser Point Blank provides few existential thrills but plenty of heart-racing action as it follows one man's marathon dash to save his kidnapped wife from execution.
    • 65 Metascore
    • 70 Jordan Mintzer
    Juliette Binoche’s portrayal of the ill-fated artist is a study of restraint peppered with brief outbursts of emotion -- a riveting performance in an imposing, at times off-putting micro-biopic.
    • 86 Metascore
    • 70 Jordan Mintzer
    A delightfully old-fashioned kid’s flick with a meaningful message.
    • 66 Metascore
    • 70 Jordan Mintzer
    Adapting their highly successful stage version to the screen with keen comic-timing but much less cinematic panache, Mathieu Delaporte and Alexandre de la Patelliere offer up a lively take on love, friendship and baby-naming.
    • 75 Metascore
    • 70 Jordan Mintzer
    An episodic coming-of-age story whose plot holes are paved over by strong performances and a few emotional highlights.
    • 68 Metascore
    • 70 Jordan Mintzer
    It’s a rather fascinating bit of artistic self-indulgence that’s both made by, and about, self-indulgent men, although one that can certainly grow taxing.
    • 83 Metascore
    • 70 Jordan Mintzer
    National Gallery feels closer to a pure aesthetic investigation than an organizational exposé, and in that respect is reminiscent of recent Paris-set films like Crazy Horse or La Danse, mostly allowing the art to speak for itself.
    • 49 Metascore
    • 70 Jordan Mintzer
    Despite what sounds, and sometimes plays out, like a working-class soap opera, Pagnol’s genius is evident in the way emotions are often distilled through the characters’ winsome Southern attitudes, creating an atmosphere infused with playful humor, innate wit and an endless flow of alcohol.
    • 62 Metascore
    • 70 Jordan Mintzer
    With such well-tuned performances and scattered intensity, it's unfortunate that the technical aspects of the film are not always up to par.
    • 76 Metascore
    • 60 Jordan Mintzer
    Guediguian's lengthy period yarn features a wide array of characters filmed with his habitual simpatico eye, but loses the dramatic thread in too many plots, too little action and not enough originality.
    • 56 Metascore
    • 60 Jordan Mintzer
    Tightly wound and crafted, with robust performances by Kristin Scott Thomas and recurrent Spanish Don Juan Sergi Lopez, the picture offers a rough, no-frills take on a story as old as France itself.
    • 49 Metascore
    • 60 Jordan Mintzer
    Turning one of the darkest moments in modern French history into syrupy historical drama, writer-director Rose Bosch's The Round Up is a polished, pathos-driven re-creation of the Vichy regime's mass imprisonment and disposal of 13,000 Parisian Jews in summer 1942.
    • 51 Metascore
    • 60 Jordan Mintzer
    While nothing in The Nun feels inspiring or truly groundbreaking, it’s certainly a well-handled package, and the strong performances are abetted by superb technical contributions.
    • 50 Metascore
    • 60 Jordan Mintzer
    Gimmicks aside, this decently acted and paced effort shows that the 74-year-old auteur can still be marginally transgressive, if not entirely original.
    • 43 Metascore
    • 60 Jordan Mintzer
    A slick, occasionally hilarious but ultimately uneven appraisal of France’s favorite extramarital pastime.
    • 69 Metascore
    • 60 Jordan Mintzer
    The material doesn’t always feel fresh enough, despite the unique setting and cast of true-to-life characters.
    • 74 Metascore
    • 60 Jordan Mintzer
    2 Autumns often lets its cute and eccentric stylings get in the way of the story itself, which, once you strip away all the accouterments, feels rather underdeveloped.
    • 46 Metascore
    • 60 Jordan Mintzer
    Fanny is definitely a worthy companion to Marius, although it’s also more claustrophobic in terms of staging, confining the action to a handful of interior sequences that feel less like a movie than like filmed theater, albeit of a rather high order.
    • 56 Metascore
    • 50 Jordan Mintzer
    On a dramatic level, Dutch-born helmer Jan Kounen's hyper-stylized, emotionally vacuous film is like a pair of designer pants that look great but don't fit, or a rare vinyl recording that keeps skipping at the best parts.
    • 59 Metascore
    • 50 Jordan Mintzer
    Two's company, three's a crowd and eight is definitely way more than enough in writer-director Daniele Thompson's mismanaged comic ensembler, Change of Plans. Less a crowdpleaser and more a headscratcher than her previous hit, "Avenue Montaigne."
    • 34 Metascore
    • 50 Jordan Mintzer
    Starts off promisingly but peters out as the story, told practically sans dialogue, heads nowhere consistent.
    • 40 Metascore
    • 50 Jordan Mintzer
    Euro-financed production throws large chunks of change at a corporate espionage saga spanning several continents, yet most of the money seems to have landed in locations, with too little allocated to the script and stunt departments.
    • 63 Metascore
    • 50 Jordan Mintzer
    Delightfully old-school on the animation side, but too old-fashioned on the story side, French 2D toon A Cat in Paris is easy enough on the eyes yet never quite justifies feature-length status.
    • 50 Metascore
    • 50 Jordan Mintzer
    With its bloated running time and tonal shifts, the story tends to steer off course, though strong performances help keep it in tow.
    • 55 Metascore
    • 50 Jordan Mintzer
    An exhausting pièce d’indulgence from the veteran video/feature director, who can never quite shape all the bric-a-brac, not to mention an all-star Gallic cast, into a workable whole.
    • 56 Metascore
    • 50 Jordan Mintzer
    Although the film’s dark humor and colorful, thriller aesthetics provide some juicy material at the beginning, its overindulgence in chatter, fornication and occasional gore feels too blatant to make Sono’s social commentary run anywhere but skin-deep.
    • 50 Metascore
    • 50 Jordan Mintzer
    Has some clever ideas up its sleeve, but otherwise fails to provoke much interest in the travails of its 40-something central character.
    • 51 Metascore
    • 40 Jordan Mintzer
    An old-fashioned, Robin Hood-style revenge tale that favors self-serious storytelling over action and suspense, Arnaud des Pallieres’ Michael Kohlhaas provides a few quick thrills and some beautifully photographed landscapes, but never really convinces as an intellectual’s swords-and-horses period piece.
    • 40 Metascore
    • 40 Jordan Mintzer
    Once it’s evident that there’s hardly a point to all the random mischief — or that the point is precisely that there isn’t one — the idea of watching a pair of grown men inflect violence upon innocent bystanders feels awfully tedious
    • 38 Metascore
    • 40 Jordan Mintzer
    While the portrait of domestic malaise is occasionally intriguing (and owes much to the original comics), things wind up all-too easily working themselves out in the long run.
    • 25 Metascore
    • 30 Jordan Mintzer
    This ludicrous outing from helmer Christian Alvart ("Pandorum") and scribe Ray Wright ("The Crazies") takes its psycho-satanic babble much too seriously, and should elicit more laughs than frights.
    • 39 Metascore
    • 30 Jordan Mintzer
    While Anderson excels in the film’s many moments of digital doom-and-gloom, he can’t deliver a single authentic emotion between the two star-crossed leads, leaving us with a sooty aftertaste of having sat through one very loud rendition of Titanic in togas.
    • 24 Metascore
    • 30 Jordan Mintzer
    Whenever the camera settles down to record a simple conversation between two characters, things suddenly feel stilted, as if the filmmakers cannot build the drama without flinging a hundred different things in front of the lens at the same time.