For 705 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Justin Chang's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Gone Girl
Lowest review score: 0 Persecuted
Score distribution:
  1. Negative: 75 out of 705
705 movie reviews
    • tbd Metascore
    • 50 Justin Chang
    The love and dedication that the filmmakers (including Dominguez’s wife and exec producer, Shelley Morrison) have poured into this project are more than evident onscreen; what it needs now is the sort of strong, supple cinematic vision that could tie its disparate strands together.
    • 49 Metascore
    • 50 Justin Chang
    To be sure, Aniston leads with her scowl here, in the sort of performance that often gets called “brave” but is, in fact, more accurately described as a well-executed change of pace.
    • 38 Metascore
    • 50 Justin Chang
    This painfully well-meaning but largely unpersuasive bid for cross-generational understanding feels at once of-the-moment and too obvious by half, like a less overblown version of “Crash” for the information superhighway.
    • 38 Metascore
    • 50 Justin Chang
    This silly but straight-faced supernatural thriller manages to elicit an occasional shudder in between cheap jolts and false scares, emerging as a feat of competent direction (by debuting helmer Stiles White) over derivative scripting (by White and writing partner Juliet Snowden).
    • 55 Metascore
    • 50 Justin Chang
    A movie of slick, surface-level pleasures that’s unpersuasive at its core.
    • 62 Metascore
    • 50 Justin Chang
    Despite Amy Adams’ affecting performance as an artist and ’50s/’60s housewife complicit in her own captivity, this relatively straightforward dramatic outing for Tim Burton is too broadly conceived to penetrate the mystery at the heart of the Keanes’ unhappy marriage — the depiction of which is dominated by an outlandish, ogre-like turn from Christoph Waltz that increasingly seems to hold the movie hostage.
    • 59 Metascore
    • 50 Justin Chang
    A bit embalmed in its own nobility, it’s an extraordinary story told in dutiful, unexceptional terms, the passionate commitment of all involved rarely achieving gut-level impact.
    • 50 Metascore
    • 50 Justin Chang
    For all these missteps — including the convenient and predictable use of elderly death as a plot device — the leads’ odd-couple chemistry does become steadier and affectionate as their dance lessons continue, and the film manages to close on a quietly touching final note.
    • 53 Metascore
    • 50 Justin Chang
    Although shot and performed in a determinedly raw, naturalistic register, this emotionally roiling portrait of two twentysomething Texas sweethearts too often veers toward melodramatic overstatement, inspiring little empathy or understanding despite the committed performances of promising young leads Taissa Farmiga and Ben Rosenfield.
    • 54 Metascore
    • 50 Justin Chang
    A mix of found-footage thriller, mock-doc realism and public service announcement that rings true almost as often as it rings false.
    • 60 Metascore
    • 50 Justin Chang
    An alternately sensitive and heavy-handed small-town drama that turns the Salem witchcraft trials into a tenuous metaphor for the intense pressures brought to bear on today’s female youth.
    • 46 Metascore
    • 50 Justin Chang
    The actors are all game and well paired, but flashes of chemistry and an appreciable level of production finesse (courtesy of d.p. Simon Chapman and composer Michael Yezerski) aren’t enough to bring the requisite charge to this flimsy, pseudo-provocative material.
    • 48 Metascore
    • 50 Justin Chang
    Where the film falters is in the writing of its central relationship: That Jackie and Angelo love each other fiercely doesn’t make their interactions any less hard to take, and Australian newcomer Thwaites (“Maleficent,” “Son of a Gun”), despite his ample charisma and pitch-perfect American accent, can’t quite get past his character’s callow, whiny affect.
    • 60 Metascore
    • 50 Justin Chang
    The glaring failure of Tomorrowland is that its central premise — children are the future — is almost completely negated by the preachiness of the execution and the clumsiness of the storytelling.
    • 57 Metascore
    • 50 Justin Chang
    The undeniable intensity of Gyllenhaal’s bulked-up, Method-mumbling performance may leave you feeling more pummeled than convinced in this heavy-handed tale of redemption, in which director Antoine Fuqua once more demonstrates his fascination with codes of masculine aggression, extreme violence and not much else.
    • 34 Metascore
    • 50 Justin Chang
    While the fine cast teases out glimmers of nuance here and there, Mary Agnes Donoghue’s film plays like a series of hand-holding growth exercises for closed-minded conservatives, and relies too heavily on its tying-the-knot finale for both dramatic momentum and emotional closure.
    • tbd Metascore
    • 50 Justin Chang
    A mildly intriguing thriller of comeuppance that leaves you wanting more — not more archly stylized violence or repetitive revenge fantasy, perhaps, but more insight into the connection between the eponymous assassin (Abigail Breslin) and her highly skilled mentor (Wes Bentley).
    • 58 Metascore
    • 50 Justin Chang
    It’s no stretch for Kingsley to project stiff dignity and forthrightness, but that familiarity works against him here, despite his every effort to give the character a human pulse. Clarkson, expert at bringing authenticity to the most inauthentic material, gets to show far more range.
    • 46 Metascore
    • 50 Justin Chang
    We Are Your Friends” has its heart in the right place, and it’s shrewd and cuddly enough to get a few likes. But it would be an infinitely better movie if it sustained the sort of trancelike sonic ecstasy that turns fans into fanatics.
    • 45 Metascore
    • 40 Justin Chang
    Not a thriller so much as an extremely violent swimsuit calendar, the lushly lensed but dramatically waterlogged Into the Blue is too infatuated with its scantily clad stars to make sense of all the drug dealers, boat looters and bloodthirsty sharks trying to hunt them down.
    • 40 Metascore
    • 40 Justin Chang
    Brimming with fanciful ideas about life, romance and the rejuvenating power of music, Sueno sings a lovely tune but chokes on its own banal lyrics.
    • 38 Metascore
    • 40 Justin Chang
    Josh Stolberg launches a scalding attack on the stodgy conservatism of the American public school system, only to end up stacking the deck in egregiously smirky and simple-minded ways.
    • 40 Metascore
    • 40 Justin Chang
    This murky psychological suspenser manages the tricky feat of being as predictable as it is finally preposterous.
    • 36 Metascore
    • 40 Justin Chang
    The future looks alternately grim and hysterical in Aeon Flux, a spectacularly silly sci-fier that plays like "The Matrix" crossed with "The Island" and reinterpreted as a long-lost Michael Jackson video.
    • 34 Metascore
    • 40 Justin Chang
    Bland, canned but studiously professional sequel retains most of the principals from Fox's family-friendly 2003 hit, including the ever-reliable Steve Martin and Bonnie Hunt.
    • 43 Metascore
    • 40 Justin Chang
    This fur-fetched tale is bearable family viewing.
    • 47 Metascore
    • 40 Justin Chang
    Uninspired character animation and obnoxious banter aside, The Wild is ultimately done in by the persistent stench of been-there-seen-that.
    • 45 Metascore
    • 40 Justin Chang
    Adam Sandler's recent low-key phase continues with this cleverly conceived but conspicuously unfunny comedy.
    • 38 Metascore
    • 40 Justin Chang
    Appropriating all the external trappings of big-budget fantasy but none of the requisite soul, this leaden epic never soars like the CG-rendered fire-breather at the core of its derivative mythology.
    • 48 Metascore
    • 40 Justin Chang
    This rambunctious, "Jumanji"-style extravaganza is a gallery of special effects in search of a story; rarely has so much production value yielded so little in terms of audience engagement.

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