Jordan Mintzer

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For 119 reviews, this critic has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Jordan Mintzer's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Blue Is the Warmest Color
Lowest review score: 20 Colonia
Score distribution:
  1. Positive: 64 out of 119
  2. Negative: 6 out of 119
119 movie reviews
    • 81 Metascore
    • 100 Jordan Mintzer
    It’s like watching a first-rate standup routine transformed into fiction, or in this case auto-fiction, as Rock has more on his mind than just making us laugh, offering up a witty celebrity satire that doubles as a love story set during one long and eventful New York City day.
    • 73 Metascore
    • 100 Jordan Mintzer
    It’s a surprising and often thought-provoking effort from a filmmaker who has never chosen to take the simple path, confirming Larrain as one of the more genuine talents working in cinema today.
    • 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.
    • 89 Metascore
    • 100 Jordan Mintzer
    Both a powerful allegory for post-war regeneration and a rich Hitchcockian tale of mistaken identity, Phoenix once again proves that German filmmaker Christian Petzold and his favorite star, Nina Hoss, are clearly one of the best director-actor duos working in movies today.
    • 86 Metascore
    • 90 Jordan Mintzer
    It’s all quite perverse for sure, which of course is no surprise coming from either the actress or the director, though what’s welcome about Elle is the way they combine their talents to make a film that hardly skimps on the sex, violence and sadism, yet ultimately tells a story about how one woman uses them all to set herself free.
    • 71 Metascore
    • 90 Jordan Mintzer
    The issues come clashing together in an explosive package that, despite some snafus, remains fairly riveting to the end.
    • 91 Metascore
    • 90 Jordan Mintzer
    Raw
    It’s rare to see such confidence in a first feature, yet Ducournau seems to know where she’s going at all times, keeping the narrative lean and mean while utilizing an array of stylistic techniques – slow-motion, sequence shots and tons of on-screen prosthetics – that never let up until the witty, and inevitably grisly, final scene.
    • 87 Metascore
    • 90 Jordan Mintzer
    Director Laurent Becue-Renard’s engrossing study of soldiers coping with trauma through intensive group therapy offers a rare look at real men shaken by real experiences, underlining the monumental courage it takes for them to get their lives back on track.
    • 72 Metascore
    • 90 Jordan Mintzer
    This terrifically performed piece of filmed theater is filled with twists, turns and underhanded schemes that show how history sometimes lies in the hands of a selected few, not to mention a good glass of Chardonnay.
    • 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.”
    • 85 Metascore
    • 80 Jordan Mintzer
    In Porumboiu’s movies, what you see is never what you get, and there are riches to be had if you just keep looking.
    • 87 Metascore
    • 80 Jordan Mintzer
    Past lives and ancient ancestors are evoked through conversations that are both cryptic and oddly matter-of-fact, in a work that has the realistic vibe of a documentary but the unearthly qualities of a sustained reverie.
    • 72 Metascore
    • 80 Jordan Mintzer
    While this may be the actor-director’s most polished feature yet, it’s far from a traditional suspense movie.
    • 69 Metascore
    • 80 Jordan Mintzer
    Like other recent French cartoons — ranging from Persopolis to the Kirikou series — this one manages to maintain something personal within a broadly appealing framework: it doesn’t shy away from the dark side of life, and in the end, even allows us to enjoy it.
    • 85 Metascore
    • 80 Jordan Mintzer
    This endearing old-age drama works best as an earnest and colorful character study, even if it doesn't really break any new cinematic ground.
    • 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.
    • 82 Metascore
    • 80 Jordan Mintzer
    If the film runs a tad too long, especially in its second half, Embrace of the Serpent is still an absorbing account of indigenous tribes facing up to colonial incursions, revealing how Westerners are in many ways far behind the native peoples they conquer.
    • 88 Metascore
    • 80 Jordan Mintzer
    The film’s shrewd sense of humor, its way of underlining the absurdity of life’s foibles, is fully carried by Huppert’s disarming performance, which never panders to easy sentiments but doesn’t shy away from showcasing raw emotion.
    • 67 Metascore
    • 80 Jordan Mintzer
    [Aubrey Plaza] adds something different to Hartley’s usual hijinks, making for a crime dramedy that’s ostensibly quirky, but also short, sweet and quite moving.
    • 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.
    • 68 Metascore
    • 80 Jordan Mintzer
    Lapid’s approach is so cautious yet so ambitious, he manages to weave an engrossing narrative that -- despite some longueurs after the one-hour mark -- grows progressively intense.
    • 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.
    • 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.
    • 73 Metascore
    • 80 Jordan Mintzer
    With an acute style marked by lengthy tracking shots and crisp natural cinematography from Laurent Desmet (Shall We Kiss?), Leonor manages to convey emotions through purely visual terms.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Jordan Mintzer
    It’s a tricky proposition that will surely ruffle the feathers of many viewers, but one that also makes a curious, if lasting, impression, thanks in part to strong turns from actors Anais Demoustier and Josh Charles.
    • 71 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. [Unrated Version]
    • 86 Metascore
    • 70 Jordan Mintzer
    A delightfully old-fashioned kid’s flick with a meaningful message.
    • 59 Metascore
    • 70 Jordan Mintzer
    It’s Kateb -- a rising star with three films in Cannes this year -- who steals the show, portraying a man whose professionalism and humanity are constantly thwarted by the other staff members, especially the Gallic natives that don't have to jump through the same hoops he does.
    • 75 Metascore
    • 70 Jordan Mintzer
    There’s a carefree spirit about everything that happens, including all the talk about girls and masturbation, that makes the story as breezy as the summer air,
    • 74 Metascore
    • 70 Jordan Mintzer
    Acevedo deserves credit for crafting something so audacious – along with the photography, the sound design by Felipe Rayo is also boldly conceived – though there are moments when the style really dominates the subject matter, in a film that’s a pleasure to watch but not always one to follow.
    • 74 Metascore
    • 70 Jordan Mintzer
    Highlighted by an all-consuming lead performance from Lindon – surrounded here by an excellent cast of non-pros – this third collaboration strays further into Dardennes Bros. territory than previous efforts, although its depiction of an Average Joe scraping by in contemporary France features its own unique voice.
    • 89 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.
    • 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.
    • 50 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.
    • 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."
    • 49 Metascore
    • 70 Jordan Mintzer
    It’s a unique take on what could otherwise be a morbidly depressing tale of loss and grief, dishing out tons of energy and spats of devilish humor, though not always fitting its numerous parts into a succinct whole.
    • 64 Metascore
    • 70 Jordan Mintzer
    Using a wide-ranging color palette that shifts from the warmer hues of the Sahara desert to the colder, sadder blues and grays of old-time Paris, Lie and his team provide a pared-down animation technique that recalls classic Disney, albeit with a rougher, at times abstract touch.
    • 60 Metascore
    • 70 Jordan Mintzer
    What makes the movie work are the lively performances, both from the supporting cast and from Cranston, who sheds the mimicry and pontificating of earlier scenes to turn Trumbo into a wry, self-deprecating and somewhat cheeky older man, even if he continued to stand up for what was right.
    • 59 Metascore
    • 70 Jordan Mintzer
    The film is not always subtle in its portrayal of a family ripped apart by tragedy, but remains captivating as a pure procedural that raises questions about the Paris police's handling of such situations, as well as about the state of race relations in contemporary France.
    • tbd Metascore
    • 70 Jordan Mintzer
    Filled with strong performances and numerous twists that keep the tension high, even if the plot gets tied up a tad too neatly.
    • 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.
    • 76 Metascore
    • 70 Jordan Mintzer
    Writer-director Xavier Giannoli offers up an amusingly entertaining portrait of fortune, infamy and severe melodic dysfunction in the polished French period dramedy, Marguerite.
    • 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.
    • 67 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.
    • 59 Metascore
    • 70 Jordan Mintzer
    An aesthetically arresting hit man story that gets by more on its craftsmanship than on its minimalist, borderline ham-fisted narrative, Salvo nonetheless marks an impressive feature debut from Italian writing-directing duo Fabio Grassadonia and Antonio Piazza.
    • 63 Metascore
    • 70 Jordan Mintzer
    There are definitely more worthy endeavors than circling the globe in search of the perfect cut of meat, but French producer-director Franck Ribiere nonetheless delivers an absorbing, and often enlightening, quest for the world’s greatest sirloin in his exhaustive food documentary, Steak (R)evolution.
    • 65 Metascore
    • 70 Jordan Mintzer
    It’s a must-see for anyone interested in the mind of a major auteur, even if Thomsen tends to favor psychology over cinema.
    • 70 Metascore
    • 70 Jordan Mintzer
    With her sophomore effort, Evolution, the writer-director delivers another disturbing mélange of experimental genre filmmaking and adorable, tortured French kids, offering up a trippy visual feast that satisfies on an aesthetic level, if not always on a narrative one.
    • 76 Metascore
    • 70 Jordan Mintzer
    Like his erratic protagonist, Gilroy doesn’t always know when to settle down or call it quits, and the film’s constant shifts of tone can grow tiring, even if the action as a whole never gets boring.
    • 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.
    • 89 Metascore
    • 70 Jordan Mintzer
    While the plot can sometimes feel too lightweight for feature length, with a score by composer Laurent Perez del Mar (Now or Never) that tends to overdo it on the gushy side, The Red Turtle benefits from the beautiful animation work of Dudok de Wit and his team.
    • 45 Metascore
    • 70 Jordan Mintzer
    Black and White never panders too easily to sentiments, creating characters who are riddled with flaws but likeable all the same.
    • 58 Metascore
    • 70 Jordan Mintzer
    As pure entertainment it certainly does the job, although much of the text's existential weight is lost in the process.
    • 65 Metascore
    • 70 Jordan Mintzer
    A classically helmed biopic that brings nothing new to the genre, but benefits from handsome craftmanship and solid performances by Tobey Maguire as the Brooklyn boy wonder, and Liev Schreiber as his longtime Russian nemesis, Boris Spassky.
    • 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.
    • tbd Metascore
    • 70 Jordan Mintzer
    Like many science-fiction films, Star slowly but surely reveals itself as a parable of our self-destructive times – an artsy Interstellar with a threadbare narrative rather than one that’s forever running on hyperdrive.
    • 68 Metascore
    • 70 Jordan Mintzer
    Doyle overstuffs some of the content, jumping through dozens of interviews without allowing us enough time to process them. Still, the director and editor John Murphy manage to give all the material a solid through-line, making the many voices echo into one underlying argument: Showrunning sucks, but it may be the greatest job in entertainment today.
    • 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
    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.
    • 85 Metascore
    • 70 Jordan Mintzer
    It’s only when the story heads to pure sci-fi territory later on that April stretches itself a bit thin, though a smart epilogue manages to put things in perspective for both the characters and viewer.
    • 61 Metascore
    • 60 Jordan Mintzer
    Like the professional dogwalker who can’t exactly keep count of Max and his cohorts, it feels like the filmmakers are juggling too many chatty creatures at once, while trying to maintain a plot that tends to grow more outlandish as the story progresses.
    • 43 Metascore
    • 60 Jordan Mintzer
    A slick, occasionally hilarious but ultimately uneven appraisal of France’s favorite extramarital pastime.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 60 Jordan Mintzer
    It’s unfortunate that Light feels both too traditional and too concerned with showcasing life behind the music, instead of trying to explain why Williams was one of the greatest American musicians of the last century.
    • 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.
    • 69 Metascore
    • 60 Jordan Mintzer
    The material doesn’t always feel fresh enough, despite the unique setting and cast of true-to-life characters.
    • tbd Metascore
    • 60 Jordan Mintzer
    Unfortunately, [Miike] never quite tops the hijinks of this film’s opening reel, and at nearly two hours, As the Gods Will grows gradually tiresome until it seriously drags during a lengthy and entirely kitschy closing battle.
    • 47 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.
    • 65 Metascore
    • 60 Jordan Mintzer
    An explosive family drama whose intense performances can't always compensate for such a heavy-handed scenario, Bad Hurt nonetheless marks a promising directorial debut from playwright Mark Kemble.
    • 59 Metascore
    • 60 Jordan Mintzer
    The powerful turns don’t necessarily build towards a satisfying conclusion, in a film that starts off strong but can’t always decide whether it wants to keep it real or give viewers the sort of movie moments found in less-inventive dramas.
    • 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.
    • 32 Metascore
    • 60 Jordan Mintzer
    This offbeat indie chiller benefits from colorful cinematography and bits of satisfying butchery, even if a less than airtight scenario fails to make it run efficiently.
    • 39 Metascore
    • 60 Jordan Mintzer
    This plot-heavy suspense flick loses some of the book’s originality in translation while failing to channel its sense of Midwestern malaise. But it keeps the guessing game going long enough to compensate for some otherwise shallow characterizations, while Theron offers up an earnest and downbeat turn that says a lot with little dialogue
    • 75 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.
    • 65 Metascore
    • 60 Jordan Mintzer
    There are moments when The Other Side seems to traverse into arts-ploitation territory, and it’s ultimately hard to tell if the movie is trying to render its subjects with some humanity or otherwise if it's taking advantage of all these poor, beautiful losers.
    • 50 Metascore
    • 60 Jordan Mintzer
    At best, Trash works as a vibrant, occasionally suspenseful postcard-portrait of a place that’s always great to see on the big screen.
    • 53 Metascore
    • 60 Jordan Mintzer
    Victoria is definitely what you would call a passive protagonist, and although the film subtly explores questions of ethnic identity, it doesn't necessarily keep one engaged until the end.
    • 68 Metascore
    • 60 Jordan Mintzer
    Though it drags in spots and doesn’t convince on all fronts, Bliss is nonetheless a worthy minor addition to a canon of homefront films.
    • tbd Metascore
    • 60 Jordan Mintzer
    Cedric Anger’s stylish thriller Next Time I’ll Aim for the Heart (La prochaine fois je viserai le coeur) offers up a strong central turn from Guillaume Canet while dishing out a number of crafty and suspenseful set-pieces. But it can also be too self-serious at times and winds up dragging a bit in its latter stages.
    • tbd Metascore
    • 60 Jordan Mintzer
    Best when it reveals the painstaking details of investigative work, worst when it plunges into improbable emotional depths, SK1 is an above-average policier.
    • 56 Metascore
    • 50 Jordan Mintzer
    If Chambermaid lacks the dramatic push to carry it through to the end, Seydoux’s performance remains robust and engaging throughout.
    • 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.
    • tbd Metascore
    • 50 Jordan Mintzer
    Benyamina has a hard time maintaining her film's pace and plausibility, especially during a third act that slides too far into genre territory and its accompanying clichés.
    • 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.
    • 54 Metascore
    • 50 Jordan Mintzer
    Despite its late shortcomings, Going Away demonstrates Garcia’s ability to coax strong performances out of a relatively young cast.
    • 54 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.
    • 51 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.
    • 44 Metascore
    • 50 Jordan Mintzer
    A schmaltzy, mildly satisfying Anglo take on the BFFs-to-bedfellows subgenre that’s been seen recently in romantic comedies.
    • 57 Metascore
    • 50 Jordan Mintzer
    Even if the film does manage to reveal the splendor of each voyage, it tends to lose its characters in the landscape.
    • 40 Metascore
    • 50 Jordan Mintzer
    By doubling down on a movie that yearns to be both introspective and bone-crunchingly cool, Wild Card overplays its hand.
    • 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.
    • 51 Metascore
    • 50 Jordan Mintzer
    Eric Hannezo’s debut feature showcases some skill in the craft department, but remains a strictly B-level enterprise in terms of content.
    • 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."

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