For 1,067 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Justin Chang's Scores

  • Movies
  • TV
Average review score: 64
Lowest review score: 0 Some Kind Of Beautiful
Score distribution:
1067 movie reviews
    • 63 Metascore
    • 60 Justin Chang
    The result doesn't feel evasive so much as vaguely incurious, and its focus on the message over the man himself can be as impressive in its single-mindedness as it is frustrating.
    • 63 Metascore
    • 40 Justin Chang
    An initially amusing but fatally overstretched action-comedy that marks a lamer-than-expected big-screen outing for Keegan-Michael Key and Jordan Peele.
    • 63 Metascore
    • 50 Justin Chang
    Comes off as a derivative wisecracking machine rather than a feat of sustained imagination.
    • 61 Metascore
    • 50 Justin Chang
    Aiming for an Alexander Payne-style synthesis of wry comedy and unflinching character study, pic has been made with the utmost sincerity, but the frankly lugubrious material and barely compensating spasms of humor are all but impossible to warm to.
    • 63 Metascore
    • 60 Justin Chang
    Maddin's singular humor and fabulous black-and-white mise-en-scene can't sustain this fever dream beyond its initial fascination, making for an intriguing transitional work unlikely to broaden his audience.
    • 63 Metascore
    • 60 Justin Chang
    ATL
    Higher on stylistic dazzle than originality or coherence.
    • 62 Metascore
    • 50 Justin Chang
    Ehrenreich isn't given much to work with here, but his sly comic reserve and devil-may-care attitude give you reasons to keep watching, well after the story has stopped doing anything of the sort.
    • 62 Metascore
    • 60 Justin Chang
    Though its absurdist inventions occasionally border on twee, this affectionate slow-blooming romance mines an understated vein of comic melancholy that the actors' wistful performances perfectly capture.
    • 62 Metascore
    • 60 Justin Chang
    A serviceable picture that offers all the sumptuous visual pleasures of a historical costume drama, yet little in the way of actual history.
    • 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.
    • 62 Metascore
    • 60 Justin Chang
    It plays less like a meaty mystery than an extended thank-you to the fans who breathed it into existence. Still, it’s smooth and engaging enough on its own compromised terms, clearly informed by Thomas’ genre-savvy storytelling and unpretentious craftsmanship, and not without a certain self-deprecating sense of humor about its own immodest origins.
    • 62 Metascore
    • 60 Justin Chang
    Amirpour has vision to burn, and inside this not-so-bad batch of splendid atmospherics and half-baked ideas is a leaner, sharper movie trying to chew its way out.
    • 61 Metascore
    • 40 Justin Chang
    The French are smelly, vulgar, racist and oversexed, or so it would seem based on 2 Days in New York, a scattershot culture-clash comedy that goes down like yesterday's foie gras.
    • 61 Metascore
    • 60 Justin Chang
    Where the film falters is in its willingness to settle for canned uplift, reducing the substance of Malala’s global activism to multicultural montages, goosed by Thomas Newman’s emotional cattle prod of a score.
    • 61 Metascore
    • 60 Justin Chang
    Haley’s movie is ultimately a feature-length valentine to his star, and as such it’s something of a mixed blessing.
    • 61 Metascore
    • 50 Justin Chang
    Although fiercely committed performances by Hilary Swank and Sam Rockwell provide director Tony Goldwyn's film with a core of emotional integrity, a less heavy-handed, more informative approach would have served them and the audience better.
    • 61 Metascore
    • 50 Justin Chang
    This unwieldy drama of conscience in the wake of tragedy is hyperarticulate but rarely eloquent, full of wrenchingly acted scenes that lack credible motivation or devolve into shrill hectoring.
    • 61 Metascore
    • 60 Justin Chang
    The Sense of an Ending, despite its polished construction and immaculate pedigree, doesn’t ultimately mean as much as it thinks it does.
    • 61 Metascore
    • 60 Justin Chang
    Even the flaws of Thank You for Playing have the effect of underscoring its humanity; the movie may immortalize a creative endeavor, but it never loses sight of the fact that it’s also honoring a life.
    • 61 Metascore
    • 60 Justin Chang
    This vulgar romp is a generally harmless, heartwarming affair, a cinematic Christmas cookie almost sweet and flaky enough to cover the fact that it's laced with hash, cocaine and assorted bodily fluids, blood included.
    • 61 Metascore
    • 60 Justin Chang
    Context and psychological insight are the major casualties of Day Night Day Night, a dramatically limited but strangely powerful portrait of a young would-be terrorist.
    • 61 Metascore
    • 40 Justin Chang
    Muppets Most Wanted looks and sounds eager to please but immediately feels like a more slapdash, aimless affair, trying — and mostly failing — to turn its stalled creativity into some sort of self-referential joke.
    • 61 Metascore
    • 40 Justin Chang
    The picture's attempts at comic portraiture feel sketchy at best, more or less assigning each character a single, belabored trait.
    • 61 Metascore
    • 50 Justin Chang
    The real battle in Roman Polanski's brisk, fitfully amusing adaptation of Yasmina Reza's popular play is a more formal clash between stage minimalism and screen naturalism, as this acid-drenched four-hander never shakes off a mannered, hermetic feel that consistently betrays its theatrical origins.
    • 60 Metascore
    • 50 Justin Chang
    A cheerful summer lark that briefly achieves comic liftoff but peters out well before its overblown Times Square climax, it proudly demonstrates that mediocrity — whether in the hunting of malevolent apparitions or the making of a mainstream comedy — is not, and never has been, an exclusively male pursuit.
    • 60 Metascore
    • 50 Justin Chang
    Picture needs every ounce of goodwill it can wring from Rudd's likable lead performance to offset a sour, borderline misogynistic streak for which scattered snickers offer only modest compensation.
    • 60 Metascore
    • 60 Justin Chang
    Its fun first hour soon gives way to a leaden, expository approach that unwisely favors emotional stakes over speculative-fiction smarts.
    • 60 Metascore
    • 50 Justin Chang
    This final production from the team of James Ivory and the late Ismail Merchant is itself adrift in more ways than one, with a literate but meandering script by "The Remains of the Day" novelist Kazuo Ishiguro that withholds emotional payoffs to an almost perverse degree.
    • 60 Metascore
    • 60 Justin Chang
    Working from a tightly compressed screenplay by David Nicholls, director Mike Newell strikes the beats of a deservedly oft-told tale with dour competence but little in the way of dramatic inspiration or visual flair.
    • 60 Metascore
    • 60 Justin Chang
    A rare studio entertainment featuring a largely Latino ensemble, yet necessarily fronted by a big-name draw like Costner, McFarland, USA feels at once mildly progressive and unavoidably retrograde.

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