For 921 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Justin Chang's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 Some Kind Of Beautiful
Score distribution:
  1. Negative: 95 out of 921
921 movie reviews
    • 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.
    • 59 Metascore
    • 70 Justin Chang
    On its own unpretentious, unapologetically pleasure-seeking terms, “The Shallows” has enough to recommend it — not least the fact that you could watch it twice in roughly the same amount of time it would take to watch “The Revenant,” and with little appreciable loss in adrenaline or poetry.
    • 59 Metascore
    • 50 Justin Chang
    Despite some clever virtual-reality concepts and projections about the next frontier of globalization, Alex Rivera's ambitious directing debut lacks the vision, or the budget, to pull off its fusion of sci-fi and aspirational saga.
    • 59 Metascore
    • 70 Justin Chang
    Even when he’s dealing with this boilerplate material, Collet-Serra brings an understated intensity and a subtle emotional pull to every scene, aided immeasurably by actors who invest their roles, big and small, with just the right degree of conviction.
    • 59 Metascore
    • 80 Justin Chang
    Savages never quite captures the novel's diamond-hard sarcasm, it offers other satisfactions in its visceral immediacy, its overriding sense of danger and a clutch of performances that, whatever one's reservations about the characters, can't help but court the viewer's emotional investment.
    • 59 Metascore
    • 50 Justin Chang
    Funky disco-era throwback never fully jells with a surprisingly intense central tale of father-son estrangement, strongly acted by Chi McBride and 18-year-old rapper-thesp Bow Wow.
    • 59 Metascore
    • 80 Justin Chang
    Has Gordon Gekko gone soft? The answer is, sort of -- a development that takes some of the bite out of Oliver Stone's shrewdly opportunistic, glibly entertaining sequel, which offers another surface-skimming peek inside the power corridors of global finance.
    • 59 Metascore
    • 80 Justin Chang
    This accomplished debut feature avoids most of the usual pitfalls, channeling its outrage into a tense, focused piece of storytelling with a powerful sense of empathy.
    • 59 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.
    • 59 Metascore
    • 70 Justin Chang
    Roughly three parts charming to one part cloying, The F Word attempts and largely succeeds at pulling off a smart, self-aware riff on romantic-comedy conventions while maintaining a core of earnest feeling.
    • 59 Metascore
    • 70 Justin Chang
    Ben-Ari seems just as invested, if not more so, in the social and psychological obstacles that can make breastfeeding problematic, and she explores them with impressive rigor, sensitivity and a refreshing lack of judgment, listening intently while prescribing little.
    • 59 Metascore
    • 80 Justin Chang
    Judd Apatow's instincts have rarely been sharper, wiser or more relatable than in This Is 40, an acutely perceptive, emotionally generous laffer about the joys and frustrations of marriage and middle age.
    • 59 Metascore
    • 50 Justin Chang
    Lovely to look at but a headache to listen to.
    • 58 Metascore
    • 50 Justin Chang
    Lovely but listless.
    • 58 Metascore
    • 80 Justin Chang
    Never before has Malick explored sexuality so openly onscreen, and while the nudity is fairly discreet, the eroticism of flesh cradling flesh, even the gesture of a hand touching a shoulder, turns out to be a natural subject for Lubezki’s exquisitely graceful camerawork.
    • 58 Metascore
    • 70 Justin Chang
    It’s without a shred of guilt that I say there is honest pleasure to be found in Before I Fall, which takes an unapologetically silly conceit and wrings from it a surprisingly nimble and affecting survey of contemporary teenage attitudes and anxieties.
    • 58 Metascore
    • 50 Justin Chang
    Much nastier and less genteel than his best-known Stephen King adaptations ("The Shawshank Redemption," "The Green Mile"), Frank Darabont's screw-loose doomsday thriller works better as a gross-out B-movie than as a psychological portrait of mankind under siege, marred by one-note characterizations and a tone that veers wildly between snarky and hysterical.
    • 58 Metascore
    • 70 Justin Chang
    The result, though it delivers only in fits and starts, is still sharper and more inventive than most comicbook-adapted fare, and eventually gets the job done as far as action buffs are concerned.
    • 58 Metascore
    • 80 Justin Chang
    An eerily precise match of filmmaker and material, Cosmopolis probes the soullessness of the 1% with the cinematic equivalent of latex gloves.
    • 58 Metascore
    • 80 Justin Chang
    A defiantly analog rejoinder to last year's tech-savvy baseball drama, "Moneyball," Robert Lorenz's square but sturdy directing debut rests on the wonderfully spiky chemistry between Eastwood and Amy Adams.
    • 58 Metascore
    • 60 Justin Chang
    Snakes on a Plane is exactly the sort of tasteless, utterly depraved, no-nonsense sluts-and-guts extravaganza it was meant to be.
    • 58 Metascore
    • 70 Justin Chang
    Gallic helmer Eric Valette (“State Affairs”) invests this giddily implausible crime yarn with a propulsive sense of energy.
    • 58 Metascore
    • 70 Justin Chang
    Bello gives a tremulous wacko-mom performance from which she has eliminated every whisper of camp. She’s both sympathetic and infuriating, and her scenes with her daughter hint at a more painful, complicated emotional history than the movie has time to explore, though it’s nice that it bothers to explore it at all.
    • 58 Metascore
    • 40 Justin Chang
    There’s a deeper emptiness at the core of the movie, a failure of nerve and a fundamental incuriosity about what makes the Snowden affair interesting and relevant, then and now.
    • 58 Metascore
    • 60 Justin Chang
    Though it renders a convincing portrait of fractured family life and boasts its share of powerfully acted moments, this schematic tale of two siblings, ripped apart by jealousy, misunderstanding and unshakable trauma, plays like a more polished but less effective twin to the 2005 Danish original.
    • 58 Metascore
    • 60 Justin Chang
    A Hologram for the King arrives at its feel-good conclusion honestly enough, but its cultural engagement feels tentative, even secondhand: The movie conjures no shortage of potent images, but push a bit deeper and your fist closes on empty air.
    • 58 Metascore
    • 50 Justin Chang
    Cage supplies a stream of tension-defusing laughs while the script steadily applies the screws, but this disposable exercise in comic nihilism offers only a modest payoff at best.
    • 58 Metascore
    • 50 Justin Chang
    A fabulously designed underground metropolis proves more involving than the teenagers running through its streets in City of Ember, a good-looking but no more than serviceable adaptation of Jeanne Duprau's 2003 novel.
    • 58 Metascore
    • 70 Justin Chang
    While it never tops the explosive hilarity of its first 20 minutes, The Invention of Lying is a smartly written, nicely layered comedy that, like last year's underappreciated "Ghost Town," casts Ricky Gervais as a mild-mannered schlub who manages, in spite of himself, to make the world a better place.
    • 57 Metascore
    • 40 Justin Chang
    The more the film implicates David, the more it distances itself and the viewer, playing out in the emotionally detached but sensationalistic, overripe manner of a tabloid freakshow.

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