Kevin Jagernauth

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For 262 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

Kevin Jagernauth's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Killing Them Softly
Lowest review score: 0 ma ma
Score distribution:
  1. Negative: 53 out of 262
262 movie reviews
    • 63 Metascore
    • 50 Kevin Jagernauth
    Haphazard and on the edge of half-hearted, the documentary always feels like a sketch rather than a finished design.
    • 59 Metascore
    • 50 Kevin Jagernauth
    Grigris is the unusual movie that takes a lead's obvious talents, and curiously backgrounds them, hoping for their charisma to carry over to more traditional cinematic purposes.
    • 55 Metascore
    • 50 Kevin Jagernauth
    Yet despite recent solid entries like "Margin Call" and "Too Big Too Fail," we're yet to see the first great contemporary movie about the country, and world's, economic woes, and unfortunately Costa-Gavras' Le Capital doesn't remedy that situation.
    • 65 Metascore
    • 50 Kevin Jagernauth
    It’s a film that desperately wants to upend the tropes of the comic book movie, but perhaps more shocking than anything that comes out of the mouth of its often obnoxious titular hero, is how blandly the picture sticks to the origin story playbook.
    • 52 Metascore
    • 50 Kevin Jagernauth
    Lethargic and not particularly invigorating or fresh, you can skip Wasteland and wait for the next Brit crime flick that will be following before long.
    • 61 Metascore
    • 50 Kevin Jagernauth
    Directed by Timo Tjahjanto and Kimo Stamboel aka The Mo Brothers, with a script by the former, what they lack in original or even compelling drama in Headshot, they make up for with the film’s multiple action scenes.
    • 58 Metascore
    • 50 Kevin Jagernauth
    The problem is that the movie becomes more focused on diagnosis than character, and so what eventually unfolds is a meandering picture that only too late in the game leans toward highlighting any kind of thematic undercurrent while introducing romantic interests for the leads that do little but pad out an already too long running time.
    • 47 Metascore
    • 50 Kevin Jagernauth
    Ultimately, Dellal’s film is never as brave or courageous as Ray, and in spending more time on Maggie than her son, misses the opportunity to jump from informational to insightful.
    • 78 Metascore
    • 50 Kevin Jagernauth
    The film is an almost overly thorough look at every single step along the way in the battle to bring Prop 8 down. And while that's admirable, and gay rights is certainly a fight that needs to be documented, the minutely detailed The Case Against 8 has the curious effect of dampening the drama through its approach.
    • 48 Metascore
    • 50 Kevin Jagernauth
    The movie is never without forward momentum, it's just too bad when just when it's ready to go to interesting places, we jump back to Bonner and Aya's pedestrian romance.
    • 66 Metascore
    • 50 Kevin Jagernauth
    It's the picture's lack of focus that eventually diminishes whatever little The Bling Ring has to say.
    • 60 Metascore
    • 50 Kevin Jagernauth
    Though LaGravenese's faithfulness to the songbook is perhaps admirable, the results don't quite work cinematically.
    • 62 Metascore
    • 50 Kevin Jagernauth
    Since the music doesn't connect like it should, everything else that is underpinned in the story by these songs also doesn't come together with the weight or power Carney surely intended.
    • 42 Metascore
    • 50 Kevin Jagernauth
    The film’s haphazard construction is made all the more frustrating because somewhere in this material is a much more resonant picture.
    • 44 Metascore
    • 50 Kevin Jagernauth
    A valiant attempt to build on the magic of “The Wizard Of Oz,” and while it certainly doesn’t diminish the standing of that movie, Sam Raimi’s film provides proof that the more we know about the mysteries of our favorite stories, the less interesting they become.
    • 69 Metascore
    • 50 Kevin Jagernauth
    While Lion isn’t the kind of drama that demands risky storytelling, it is one that has within it a whole world of emotional topography that is disappointingly scrolled over instead of mapped out.
    • 65 Metascore
    • 50 Kevin Jagernauth
    screenwriter Amy Jump and director Ben Wheatley are less concerned with the message than with the madness, and their resulting picture is heavier on style than substance.
    • 78 Metascore
    • 50 Kevin Jagernauth
    Director Anne Fontaine’s film is based on actual events and grapples with thorny questions that plague even the most zealous during times of crisis. It’s a pity, then, that this picture finds Fontaine compelled to find a resolution in a situation that seldom yields easy answers.
    • 63 Metascore
    • 50 Kevin Jagernauth
    Ozon wants to have it both ways with Young & Beautiful, using a young woman's risk-filled sexual awakening as an illustration of coming-of-age, while also demanding a realism from a situation that he keeps far from being rationalized and justified.
    • 55 Metascore
    • 50 Kevin Jagernauth
    The narrative may hit all the markers, but its transparent attempts to wring emotion fail to move.
    • 57 Metascore
    • 50 Kevin Jagernauth
    Comparatively simplistic and somewhat lazy, Unfinished Song presents one-dimensional characters in a thoroughly predictable story that aspires to be little more than easily digestible.
    • 53 Metascore
    • 50 Kevin Jagernauth
    The Book Thief covers a large span of time, but the film's episodic nature, often moving from one incident to the next with little time to pause or reflect, often obscures that fact and hinders an evocation of the cumulative effect the war has on the psyche of not just the Hubermanns, but their neighbors, too.
    • 35 Metascore
    • 50 Kevin Jagernauth
    No matter how it shakes out, 'Mad Man' will never be more than an interesting curio that provides a basic overview of why Stern matters. But for the rest of us, the images themselves will be the greatest evidence on their own of Stern's innovation in photography, fashion and advertising.
    • 52 Metascore
    • 50 Kevin Jagernauth
    The movie is basically The Portrait Of The Artist As A Young Mad Man, but don't be shocked if you find yourself asking just what art he was practicing in the first place.
    • 71 Metascore
    • 50 Kevin Jagernauth
    Benyamina displays an empathetic and insightful view of young women, and the challenges of growing up, even if the screenplay doesn’t always follow through. But what Divines absolutely gets right is the deep longing and hunger young people have to better their circumstances, and the desperate lengths they’ll go to reach those goals.
    • 72 Metascore
    • 50 Kevin Jagernauth
    Yes, the idea is unique. But they aren't quite ready to shake off what has worked for them for years -- namely making girls want to be special and popular, and boys strong and heroic.
    • 58 Metascore
    • 50 Kevin Jagernauth
    Fading Gigolo is mostly an inoffensive trifle, slightly undone by its lack of focus and mishmash of genres that don't quite come together. But it's breezily told and acted, with some decent laughs and unlike many comedies these days, it actually cares and respects the characters and the consequences of what they go through.
    • 58 Metascore
    • 50 Kevin Jagernauth
    Gemma Bovery attempts to bring new heat to an old story, but mostly winds up cooling on the sill.
    • 44 Metascore
    • 50 Kevin Jagernauth
    Love, Rosie doesn't aspire to be anything more than a digestible rom-com trifle. It's a sweet movie about sweet people who are always sweet to each other and it's enough to make one sick on the saccharine.
    • 67 Metascore
    • 50 Kevin Jagernauth
    The trio (Hoffman/Keener/Walken) give top shelf performances as we've always come to expect from them in A Late Quartet. But it's just too bad that they're in service of Yaron Zilberman's film, which takes the unique focus of a string quartet in Manhattan, and puts it in the middle of a standard and unsatisfying soap opera, that spins off into one subplot too many.

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