Kenji Fujishima

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For 120 reviews, this critic has graded:
  • 28% higher than the average critic
  • 3% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 6 points lower than other critics. (0-100 point scale)

Kenji Fujishima's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 91 Right Now, Wrong Then
Lowest review score: 10 Honeyglue
Score distribution:
  1. Positive: 60 out of 120
  2. Negative: 28 out of 120
120 movie reviews
    • 57 Metascore
    • 60 Kenji Fujishima
    Slight though it may be, Lace Crater's mix of Andrew Bujalski–style naturalism and Roman Polanski–style body horror is at least off-kilter enough to keep one absorbed throughout.
    • 75 Metascore
    • 60 Kenji Fujishima
    Our Little Sister often vibrates with such tenderness of feeling that it’s difficult to dismiss outright. The excellent performances from the four lead actresses help offset the occasional heavy-handedness of the script, with Kore-eda alive to their distinctive tics and gestures.
    • 50 Metascore
    • 50 Kenji Fujishima
    An immensely gifted physical performer, Donnie Yen isn't strong enough an actor to suggest an authentic inner life to his character beyond a vague sense of stone-faced dissatisfaction.
    • 67 Metascore
    • 50 Kenji Fujishima
    Jorge R. Gutierrez subsumes the film's darker themes in a relentlessly busy farrago of predictable kids'-movie tropes and annoying attempts at hipness.
    • 60 Metascore
    • 50 Kenji Fujishima
    The end-credits sequence shows up the rest of the film as the broad and incoherent live-action cartoon that it is.
    • 72 Metascore
    • 50 Kenji Fujishima
    Adds up little more than an anguished man using the hook of following his famous brother in order to gaze, however critically, at his reflection for 75 minutes.
    • 41 Metascore
    • 50 Kenji Fujishima
    Take away Forster’s hard-working visual style, and what All I See Is You essentially presents is a standard relationship drama, with two generic, privileged people at its heart who don’t become any more striking even as the tensions between the two gradually reach a breaking point.
    • 55 Metascore
    • 50 Kenji Fujishima
    Ira Sachs, for all the tenderness of feeling he brought to Love Is Strange, wouldn't have countenanced the stacked-deck sentimentality that lies at this film's heart.
    • 79 Metascore
    • 50 Kenji Fujishima
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
    • 48 Metascore
    • 50 Kenji Fujishima
    The film's makers lose trust in the intellectual heft of their material and chose to prioritize empty sensation instead.
    • 81 Metascore
    • 50 Kenji Fujishima
    Haimes seems less interested in examining this unfamiliar world and the people involved than in shoving them into feel-good platitudes about following your dreams.
    • tbd Metascore
    • 50 Kenji Fujishima
    Fraud adds up to little more than a formally provocative but thematically tired stunt.
    • 55 Metascore
    • 50 Kenji Fujishima
    Its greater focus on disreputable genre thrills comes at the expense of making coherent points about class inequalities, political exploitation, or man's inhumanity.
    • 64 Metascore
    • 50 Kenji Fujishima
    Mark Mori goes a bit overboard in hammering home his appreciation of Bettie Page's significance, allowing the film to occasionally lapse into repetitiveness.
    • 60 Metascore
    • 50 Kenji Fujishima
    There are distinctive touches to give this passing interest.
    • 69 Metascore
    • 50 Kenji Fujishima
    Lake Bell and Simon Pegg's star wattage isn't enough to distract from the sense that their characters are almost exclusively defined by their single-ness.
    • tbd Metascore
    • 50 Kenji Fujishima
    Some of the biking footage is pretty in a generic way; for the most part, we're told rather than shown how astonishing the riders' athletic feats are. More off-putting is the film's reflexive canonization of its subject.
    • 54 Metascore
    • 50 Kenji Fujishima
    It remains more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
    • 58 Metascore
    • 50 Kenji Fujishima
    There's only so much that Fanning's vividly expressive face and Hawkes's charismatic sensitivity can mask before we realize how little we truly understand what goes on in anybody's head.
    • 58 Metascore
    • 50 Kenji Fujishima
    A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
    • 19 Metascore
    • 50 Kenji Fujishima
    It's hardly a desecration of Pascal Laugier's 2008 French horror film of the same name, but that assumes the original is a canonical text.
    • 64 Metascore
    • 50 Kenji Fujishima
    As informative and passionate as he often is on screen, Michael Moore also always toes the line toward shooting himself in the rhetorical foot with his own thuggish persona.
    • 58 Metascore
    • 50 Kenji Fujishima
    Hanks brings to Clay a nervous energy, a sense of desperation to even his most outwardly optimistic of gestures, that nevertheless always seems tempered by a more sober inner awareness of his own failures. It’s a remarkable performance in a film that is unworthy of it.
    • 55 Metascore
    • 50 Kenji Fujishima
    As informative, revealing, and occasionally poignant as some of the unearthed revelations are, the doc is ultimately hampered by a level of self-congratulation that nearly undoes its effectiveness as an activist polemic.
    • 34 Metascore
    • 50 Kenji Fujishima
    All of the film's nuances are ultimately negated by the its relentless canonization of its subject.
    • tbd Metascore
    • 50 Kenji Fujishima
    The even-handedness of Yu's gaze throughout the first part of the film, alas, isn't sustained in the second and third chapters.
    • 51 Metascore
    • 50 Kenji Fujishima
    Alan Rickman's film is consistently, and often dispiritingly, mired in the quaint tradition of the classy costume drama.
    • 46 Metascore
    • 50 Kenji Fujishima
    The filmmakers are so disengaged from the psyches of its characters that The Whole Truth ultimately plays as little more than the cinematic equivalent of a trashy airport novel that will grip you in the moment before it dissolves from memory immediately afterward.
    • 58 Metascore
    • 50 Kenji Fujishima
    It aims for John Waters-style transgression without evincing half of Waters’s wit and affection for eccentric lifestyles.
    • 66 Metascore
    • 50 Kenji Fujishima
    Maxime Giroux's sharp filmmaking instincts aren't always supported by similarly acute dramatic instincts.

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