Lawrence Van Gelder
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For 174 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 8.3 points lower than other critics. (0-100 point scale)

Lawrence Van Gelder's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 90 Set Me Free
Lowest review score: 10 Glitter
Score distribution:
  1. Positive: 60 out of 174
  2. Negative: 44 out of 174
174 movie reviews
    • 67 Metascore
    • 50 Lawrence Van Gelder
    No more than a sentimental little comedy.
    • 57 Metascore
    • 50 Lawrence Van Gelder
    Weighing in at almost exactly one pound and unable to breathe or eat on his own, Nicholas James Baba-Conn seemed doomed to a very short life; his chance for survival was calculated at close to zero.
    • 61 Metascore
    • 50 Lawrence Van Gelder
    This mediocre sci-fi horror film about an Ohio high school being taken over by thirsty space aliens intent on world domination breaks no new ground. But it has an engaging cast.
    • 40 Metascore
    • 50 Lawrence Van Gelder
    Amy
    Warm of heart, modest in polish, Amy provides satisfactions that must be balanced against its flaws.
    • 66 Metascore
    • 50 Lawrence Van Gelder
    However fascinating the source material, there's something less than cinematic about 90 minutes of watching people read letters in front of windows.
    • 37 Metascore
    • 50 Lawrence Van Gelder
    Knock Off runs breathlessly over land and water in familiar comic book fashion, offering more action than sense and next to nothing in the way of suspense, humor or romance.
    • 44 Metascore
    • 50 Lawrence Van Gelder
    Slight but bright and charming.
    • 52 Metascore
    • 50 Lawrence Van Gelder
    Amounts to recycling rather than reinvention.
    • 53 Metascore
    • 50 Lawrence Van Gelder
    The Devil's Rejects is a trompe l'oeil experiment in deliberately retro filmmaking. It looks sensational, but there is a curious emptiness at its core.
    • 34 Metascore
    • 50 Lawrence Van Gelder
    Combines old-fashioned boys' adventure with a heavy-handed modern lecture on parenthood. The film possesses a decent heart but suffers from a simple mind.
    • 41 Metascore
    • 50 Lawrence Van Gelder
    Serious, competent and unsurprising debut film.
    • 37 Metascore
    • 50 Lawrence Van Gelder
    Sheds heat but insufficient light.
    • 46 Metascore
    • 50 Lawrence Van Gelder
    The buoyancy is only intermittent.
    • The New York Times
    • 46 Metascore
    • 50 Lawrence Van Gelder
    Though it generates its share of unintentional giggles, Desert Wind does manage to take us to a seldom-visited place: the hidden corners of the straight male mind.
    • 36 Metascore
    • 50 Lawrence Van Gelder
    A well-cast disaster movie more notable for special effects and stunts than for credible drama.
    • 56 Metascore
    • 50 Lawrence Van Gelder
    The Time We Killed has the raw intimacy of a filmed diary, but as with reading a stranger's journal, it eventually gets dull.
    • 54 Metascore
    • 50 Lawrence Van Gelder
    Where "Ringu" derived its power from the simplicity of its premise and the purity of its execution, One Missed Call staggers under the weight of its director's taste for baroque excess.
    • 27 Metascore
    • 50 Lawrence Van Gelder
    What results is a candy-colored broad comedy with noteworthy performances.
    • 63 Metascore
    • 50 Lawrence Van Gelder
    A rare and often chilling glimpse into the culture of North Korea.
    • 61 Metascore
    • 50 Lawrence Van Gelder
    Rather than seeming classic, Freeway appears to be another film maker showcase, a derivative apprentice work.
    • 46 Metascore
    • 50 Lawrence Van Gelder
    This sweet-natured but plodding adaptation of a young-adult novel by Carl Hiaasen could have used a little less broad satire of corporate greed and a few more, well, owls.
    • 58 Metascore
    • 40 Lawrence Van Gelder
    While instructive on environmental concerns about the impact of logging, Butterfly does not reward those who seek dispassionate psychological insight into the zealous Ms. Hill.
    • 24 Metascore
    • 40 Lawrence Van Gelder
    Structurally, Sex, Politics and Cocktails is wildly, almost frantically inventive, with techniques ranging from stop-motion to split-screen to silent film-style intertitles. But no amount of directorial trickery can mask the essential vacuousness of the story and its characters.
    • 27 Metascore
    • 40 Lawrence Van Gelder
    It is a measure of the shortcomings of this genial, well-meaning but ultimately unenchanting film that scene after scene is stolen by the second bananas.
    • 44 Metascore
    • 40 Lawrence Van Gelder
    The offending videotape is never seen, but the entire film is built around its absence. Periodically, the film returns to a written police account of the video, which scrolls up the screen, documenting the animal's suffering blow by blow to the sound of ominous music.
    • 43 Metascore
    • 40 Lawrence Van Gelder
    Turns out to be a pretentiously righteous drama that drowns any claim to serious attention in a sea of superficial characters.
    • The New York Times
    • 34 Metascore
    • 40 Lawrence Van Gelder
    Ordinary lives have become an ordinary film.
    • 46 Metascore
    • 40 Lawrence Van Gelder
    Mr. Morel's predilection for murky, nearly pitch-black cinematography and spare, elliptical dialogue indicates his debt to filmmakers like François Ozon and Claire Denis, but Three Dancing Slaves lacks the psychological precision of Mr. Ozon's or Ms. Denis's work.
    • 38 Metascore
    • 40 Lawrence Van Gelder
    Mr. Rodriguez seems unsure what his film is really about, making the moral of the story -- "dream an unselfish dream" -- feel more like a vaguely judgmental homily than a satisfying conclusion.
    • 36 Metascore
    • 40 Lawrence Van Gelder
    Repackaged as cyberthriller, the old time-travel adventure returns in this stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.

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