Leslie Felperin

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For 261 reviews, this critic has graded:
  • 49% higher than the average critic
  • 1% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Negative: 10 out of 261
261 movie reviews
    • 51 Metascore
    • 60 Leslie Felperin
    Half of a Yellow Sun is the kind of ambitious literary adaptation that wants it all kinds of ways, not all of them compatible.
    • 61 Metascore
    • 60 Leslie Felperin
    It’s tempting to give this more of a pass because the subject is so noble and so few African-made films make it over here, but it has to be admitted that the some of the acting is a bit ropey and the script is a little too on-the-nose at times.
    • 59 Metascore
    • 60 Leslie Felperin
    A pleasant, polished, but somewhat by-the-numbers effort.
    • 68 Metascore
    • 60 Leslie Felperin
    The farcical elements in the plot take far too long to gel, and Robespierre and company push too hard at mixing sad, silly and sweet.
    • 75 Metascore
    • 60 Leslie Felperin
    It's to the script's credit that it doesn't tie up the story in cute little bows and instead leaves a number of questions unanswered by the end.
    • 79 Metascore
    • 60 Leslie Felperin
    A sweet but slight love story about world-weary hipster bloodsuckers.
    • 55 Metascore
    • 60 Leslie Felperin
    The semi-improvised dialogue has the juicy tang of authenticity in the hands of this highly competent cast, and the players and Shelton never sneer at the characters' new-agey beliefs.
    • 65 Metascore
    • 60 Leslie Felperin
    Without stridency but with a clear sense of purpose, director Tonje Hessen Schei compiles a mix of original interviews and footage and archive material and simulations to explore the history of drones.
    • 69 Metascore
    • 60 Leslie Felperin
    One of the flaws that keeps the film being as engaging as it might be is the way every shot seems to last about the same amount of time, producing a monotonous visual rhythm that only serves to make the plot seem even more episodic.
    • 62 Metascore
    • 60 Leslie Felperin
    As a horror film using that now-tired device, "found footage" supposedly shot by the characters themselves, it's quite passable.
    • 65 Metascore
    • 60 Leslie Felperin
    Even though this feature debut for director Matt Spicer, who co-wrote the script with David Branson Smith, is sort of all over the place, it’s still often sharply amusing, crisply assembled and features game, broad-brushstroke performances from leads Aubrey Plaza and Elizabeth Olsen.
    • 69 Metascore
    • 60 Leslie Felperin
    Ultimately, it's mostly a mood piece where not much really happens apart from the inciting incident, but as a study of childhood and adolescence (it makes a great companion piece to Richard Linklater's Boyhood) it's ripe with telling details and atmosphere.
    • 71 Metascore
    • 60 Leslie Felperin
    Presented and narrated with warmth and welcome moments of humor by thesp Jeremy Irons, often seen wearing a hat that looks salvaged from a recycling bin, the picture delivers a judicious mix of human interest and useful statistics that will make it accessible to middle-class audiences.
    • 72 Metascore
    • 60 Leslie Felperin
    The result is an amusing, and occasionally touching meditation on fame, sibling rivalry and ambition, with a sweet payoff.
    • 63 Metascore
    • 60 Leslie Felperin
    The script is smarter than the premise sounds, with writers David Chirchirillo and Trent Haaga dispensing enough information to make victims both sympathetic and despicable, the instigators charismatic and sinister.
    • 59 Metascore
    • 60 Leslie Felperin
    Illumination’s latest plays to the company’s strengths, with inventive character and background design, hyper-rendered animation that pushes the technology envelope, especially in the realm of lighting and cute sight gags. But just as with, for example, The Secret Life of Pets or Minions (and let’s not even go there with Dr. Seuss’ The Lorax), storytelling remains the outfit’s weak spot.
    • 78 Metascore
    • 60 Leslie Felperin
    It’s a good, solid little picture, but it’s not that great, and certainly not noticeably more accomplished or compelling than many of the other music-themed docs that come out each week with less fanfare.
    • 66 Metascore
    • 60 Leslie Felperin
    This documentary, by the first-time director Jack Pettibone Riccobono, is a deep drink of bleak. But there are incidental moments of beauty or startling surreality to marvel at.
    • 66 Metascore
    • 60 Leslie Felperin
    The film feels a little too eulogistic, too reliant on hyperbole and too in love with its own gimmicks to make it more than just a serviceable crowd-pleaser.
    • 51 Metascore
    • 60 Leslie Felperin
    If the metrics by which you want to measure Love are its brute sexiness and technical panache, then the film is indeed rather extraordinary. Thanks to Noe's regular collaborator Benoit Debie (who also shot such recent visually bravura films as Spring Breakers and Lost River), Love contains some of the prettiest shagging scenes in cinematic history.
    • 80 Metascore
    • 60 Leslie Felperin
    In the end, the material feels a bit attenuated, like a short that’s been stretched to feature length, even if the characters are enjoyable, sympathetic enough company for the pic’s 84-minute running time.
    • 66 Metascore
    • 60 Leslie Felperin
    Hancock's apparently irrepressible penchant for folksy Midwestern types and perky montages dilutes any cynicism or misanthropy that might have given this material the edginess it deserves.
    • 67 Metascore
    • 50 Leslie Felperin
    Mixed-media approach is eye-catching, and the subject is unquestionably powerful, but the sentimental score and stridently drawn imagery detract from picture's impact.
    • 54 Metascore
    • 50 Leslie Felperin
    Fuzzy-headed biopic, which glosses over the former British prime minister's politics in favor of a glib, breakneck whirl around her career and marriage.
    • 51 Metascore
    • 50 Leslie Felperin
    Ultimately, "Renee" feels less like a walk away than a retread.
    • 54 Metascore
    • 50 Leslie Felperin
    A film that admirably tries to remain true to the slightly gritty spirit of its source material. Unfortunately, it also occasionally sprays the wall with maudlin touches and misjudged additions to the story.
    • 41 Metascore
    • 50 Leslie Felperin
    The film’s thudding shocks and predictability dull its edge.
    • 41 Metascore
    • 50 Leslie Felperin
    Picture may not be Scots helmer David Mackenzie's best effort, but it's easily his most lighthearted, a cheery trifle that reps a contrast to his recent pictures, the apocalyptic "Perfect Sense" and U.S.-set comic misfire "Spread."
    • 49 Metascore
    • 50 Leslie Felperin
    Aniston submits an honest, sturdy performance. However, the film, directed by Daniel Barnz (Phoebe in Wonderland, Beastly) and written by Patrick Tobin, is less emotionally potent than it wants to be.
    • 69 Metascore
    • 50 Leslie Felperin
    At heart, the film's biggest flaw is that it doesn't seem to have any faith in its audience's emotional intelligence. It effectively neuters all the original story's elusive, poetic, melancholy qualities by spelling things out in capital letters.

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