Kevin Jagernauth
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For 187 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Kevin Jagernauth's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 Third Person
Score distribution:
  1. Positive: 89 out of 187
  2. Negative: 36 out of 187
187 movie reviews
    • 49 Metascore
    • 42 Kevin Jagernauth
    A lack of courage on behalf of the filmmakers to take any position renders the film narratively limp.
    • 56 Metascore
    • 33 Kevin Jagernauth
    Director Ari Sandel, working with a script by Josh A. Cagan, doesn't have the deftness to really convey how Bianca's personality turns conventional wisdom into her own unique, attractive qualities.
    • tbd Metascore
    • 33 Kevin Jagernauth
    If Playing It Cool is meant to be an ironic interpretation of what happens to these characters, the film isn't sharp, smart or insightful enough about how actual humans interact to pull it off.
    • 73 Metascore
    • 33 Kevin Jagernauth
    The Impossible strikes an insincere tone, one that doesn't let the obviously powerful moments stand on their own, but instead follows the beautiful Hollywood stars to safety, while the real story is left on the ground.
    • 52 Metascore
    • 33 Kevin Jagernauth
    Felony isn't a federal case of a bad film, but it's certainly a serious misdemeanor, one whose crime is running away from the challenge the story sets up, to settle on something cheap and conventional.
    • 37 Metascore
    • 33 Kevin Jagernauth
    Aiming for a trifecta of small kids, their older sisters and parents in the audience, Fun Size fails them all in a movie that is neither a trick nor a treat.
    • 22 Metascore
    • 25 Kevin Jagernauth
    Eventually settles into a dull routine much like the dissatisfied characters of the film, which will make for an easily dissatisfied audience.
    • 26 Metascore
    • 25 Kevin Jagernauth
    Sadly, the sequel isn't even so bad as to be memorable. Instead, it's vaporous, not even possessing the qualities indicating that anyone involved cared about any detail of the film.
    • 36 Metascore
    • 25 Kevin Jagernauth
    This film requires so many leaps of faith and suspensions of disbelief that you might develop acrophobia.
    • 53 Metascore
    • 25 Kevin Jagernauth
    Broken simply can't get it together on any level, delivering a tedious drama, that for all the characters and over-emoting, doesn't have much to say.
    • 22 Metascore
    • 25 Kevin Jagernauth
    While the idea is original, it's also ridiculous, and the story is not close to clever enough to put it into any kind of context that is compelling, interesting or believable.
    • 42 Metascore
    • 25 Kevin Jagernauth
    For the most part, the most shocking thing about Swerve is how utterly straightforward it is.
    • 63 Metascore
    • 25 Kevin Jagernauth
    Mr. Nobody is simply a failure.
    • 47 Metascore
    • 25 Kevin Jagernauth
    Overstuffed yet trite and empty, Fort McCoy attempts to mix heavy drama, slapstick comedy and romance all in the wrappings of a coming of age tale set in the summer of 1944, but flounders on all fronts, resulting in a picture that offers a rather naive and simplistic view of the murky territory between good and evil.
    • 35 Metascore
    • 25 Kevin Jagernauth
    Can't Stand Losing You lacks that sense of the three dimensional when it comes to documenting the band, presenting a sanitized, bird's eye view of their history
    • 26 Metascore
    • 25 Kevin Jagernauth
    Almost coming off like an academic blueprint of what a serial killer movie should look like, rather than anything with a distinct voice or authorial hand, "No One Lives" shocks by virtue of being completely uninteresting.
    • 44 Metascore
    • 25 Kevin Jagernauth
    Even within the spinning cylinder of mediocrity that is Into The Storm, there are some minor pleasures to be had. Those are mostly found in Walsh, who is probably best known for comedic supporting turns, but makes the most with what is nearly a leading man part here.
    • 36 Metascore
    • 25 Kevin Jagernauth
    There is something of a manufactured air to the proceedings, one that is acutely aware of the techniques and traits of other similar better film, but without the strength in writing to back it up.
    • 36 Metascore
    • 25 Kevin Jagernauth
    By time the third act arrives, the film turns harshly toward cliché, convenience and melodrama to disastrous effect.
    • 57 Metascore
    • 25 Kevin Jagernauth
    Bad Words wants so desperately to be funny that there isn't much time left to make any logic out of the story.
    • 35 Metascore
    • 25 Kevin Jagernauth
    A b-movie potboiler at best, and indebted to countless other and much better films, this tedious, dumb, so-bad-it's-almost-funny procedural is an overstuffed thriller that offers one single idea, and proceeds to beat it to death, without much of anything to say.
    • 42 Metascore
    • 25 Kevin Jagernauth
    Devil's Knot lacks potency or a compelling narrative reason why anyone remotely familiar with the case needs to be watching it.
    • tbd Metascore
    • 25 Kevin Jagernauth
    Big Game comes away with the distinction of being watchably terrible. There is a certain ridiculousness that is engaging, but this shouldn't be confused for merit.
    • 32 Metascore
    • 25 Kevin Jagernauth
    If you've seen the previous "Transformers" you know what you're getting into, only this time, the director feels uninspired, more like he's punching a clock at the blockbuster factory, with even his flair for inventive setpieces mostly muted.
    • 65 Metascore
    • 25 Kevin Jagernauth
    The Good Lie is so manufactured around a particular dramatic blueprint that any sense of spontaneity, surprise and engagement are sucked right out of the picture.
    • 45 Metascore
    • 25 Kevin Jagernauth
    Woefully misguided, Black And White is at times painfully quaint and obtuse about contemporary issues surrounding race and class.
    • 66 Metascore
    • 25 Kevin Jagernauth
    The film is not only one dimensional when it comes to its subject, but also of the time and place where Hendrix arrived.
    • 53 Metascore
    • 25 Kevin Jagernauth
    When the end comes, and the suggestion of a sequel is left faintly lingering (though not in the way you’re expecting), weariness descends on just how unimaginative Carrie is and how easily it settles for the expected, rather than striving to be excitingly refreshing.
    • 25 Metascore
    • 25 Kevin Jagernauth
    Savannah does attempt to tell the story of the friendship of those two accomplished men, but does so in a manner that is so astonishingly tone deaf, confused and narrowly focused that it leaves you almost amazed at the lack of vision behind the entire enterprise.
    • 52 Metascore
    • 25 Kevin Jagernauth
    White House Down wants to riff on the stirring action crowd-pleasers of old. But instead of playing on those motifs, White House Down becomes a slave to them, turning into the very kind of rote, brainless, poorly choreographed and leaden action movie it wants to lighten up.

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