Leslie Felperin

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For 238 reviews, this critic has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Toni Erdmann
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Negative: 10 out of 238
238 movie reviews
    • 77 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.
    • tbd 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.
    • 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.
    • 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.
    • 64 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.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Leslie Felperin
    Although director Alan Taylor manages to get things going properly for the final battle in London, the long stretches before that on Asgard and the other branches of Yggdrasil are a drag.
    • 34 Metascore
    • 50 Leslie Felperin
    In sartorial terms, the fabric is to die for, but helmer Whitney Sudler-Smith's documentary follows a banal pattern, while the finishing lacks finesse.
    • 52 Metascore
    • 50 Leslie Felperin
    The result is a superficially handsome crime thriller that doesn't tick, although it's got a pretty, jeweled face, and some clever scripting by William Monahan (scribe of "The Departed"), making his directorial debut here.
    • 39 Metascore
    • 50 Leslie Felperin
    In the end, the film is so guilelessly unabashed about its hokum that it becomes sort of endearing in a way, and one can’t but admire the likes of Cox, McElhone and Toby Stephens as the boo-hiss bad guy for fully committing to the corn.
    • 47 Metascore
    • 50 Leslie Felperin
    Some viewers might find that very cognitive dissonance interesting in itself, but many others may struggle to connect with a story that's essentially about an assortment of extremely entitled, self-absorbed people who ultimately have little new to say about addiction, families or the process of recovery.
    • 60 Metascore
    • 50 Leslie Felperin
    Corny as a vat of polenta, but still rib-sticking enough to satisfy those who like lightly seasoned, easily digestible cinematic starch, Italy-set Love Is All You Need offers a romantic comedy for middle-aged palettes.
    • 63 Metascore
    • 50 Leslie Felperin
    There is a decorousness at play here that adds an odd new flavor to the Almodovar repertoire, a politeness that’s quite unlike the lusty vulgarity of the past.
    • 43 Metascore
    • 50 Leslie Felperin
    A Tempest so kitschy, yet curiously drab and banal.
    • 47 Metascore
    • 50 Leslie Felperin
    What's singularly lacking here is any sense of how to use the underage characters, who, apart from one or two, are a barely distinguishable gaggle.

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