Leslie Felperin
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For 122 reviews, this critic has graded:
  • 58% higher than the average critic
  • 0% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 5.6 points higher than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Mr. Turner
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Positive: 74 out of 122
  2. Negative: 6 out of 122
122 movie reviews
    • 81 Metascore
    • 100 Leslie Felperin
    One of Wiseman’s best, a summation of sorts of a career’s worth of principled filmmaking from a director in his ninth decade.
    • 99 Metascore
    • 100 Leslie Felperin
    Simultaneously a modern essay on suffering, an open-ended thriller, and a black social comedy, it is most importantly of all a thinly-veiled political parable drenched in bitter irony that takes aim against the corrupt, corrosive regime of Vladimir Putin.
    • 96 Metascore
    • 100 Leslie Felperin
    Anchored by a masterful performance by Timothy Spall in a role he was born to play, and gilded by career-best effort from DoP Dick Pope, working for the first time on digital for Leigh to bridge the gap between the painting and cinematography, Mr. Turner manages to illuminate that nexus between biography and art with elegant understatement.
    • 87 Metascore
    • 100 Leslie Felperin
    It’s a lovely piece of work.
    • 87 Metascore
    • 90 Leslie Felperin
    This at first slow-moving and then wildly kinetic actioner possesses a cool classicism that will appeal to offshore audiences as well as those at home.
    • 68 Metascore
    • 90 Leslie Felperin
    Clearly rejuvenated by his collaboration with producer Peter Jackson, and blessed with a smart script and the best craftsmanship money can buy, Spielberg has fashioned a whiz-bang thrill ride that's largely faithful to the wholesome spirit of his source but still appealing to younger, Tintin-challenged audiencs.
    • 68 Metascore
    • 90 Leslie Felperin
    An exquisitely realized adaptation of Lionel Shriver's bestselling novel. In a rigorously subtle performance as a woman coping with the horrific damage wrought by her psychopathic son, Tilda Swinton anchors the dialogue-light film with an expressiveness that matches her star turn in "I Am Love."
    • 85 Metascore
    • 90 Leslie Felperin
    An inventive, meaty distillation of Le Carre's 1974 novel, picture turns hero George Smiley's hunt for a mole within Blighty's MI6 into an incisive examination of Cold War ethics, rich in both contempo resonance and elegiac melancholy.
    • 83 Metascore
    • 90 Leslie Felperin
    Offering further proof that the latest 3D technology is good for a lot more than just lunging knives and fantastical storylines, Wim Wenders' dance docu Pina reps multidimensional entertainment that will send culture vultures swooning.
    • 82 Metascore
    • 90 Leslie Felperin
    Although laid out with such clarity that any layperson could catch the gist of what's being discussed, Side by Side is not afraid to get nitty-gritty about more technical matters.
    • 65 Metascore
    • 90 Leslie Felperin
    Repulsive and sublimely beautiful, arguably celebratory and damning of its characters, it’s hideous and masterful all at once, “Salo” with sunburn.
    • 78 Metascore
    • 90 Leslie Felperin
    In the Fog explores the moralities of wartime with restraint and exacting execution.
    • 85 Metascore
    • 90 Leslie Felperin
    '71
    This outstanding, muscular feature debut for French-born, British-based director Yann Demange almost never puts a foot wrong, from the softly underplayed performances to the splendidly speckled cinematography and fine-grained period detailing.
    • 98 Metascore
    • 90 Leslie Felperin
    The use of sign language, deafness and silence itself adds several heady new ingredients to the base material, alchemically creating something rich, strange and very original.
    • 84 Metascore
    • 90 Leslie Felperin
    Visually ravishing, emotionally wise, and kinky as a coiled rope, writer-director Peter Strickland’s third feature The Duke of Burgundy is a delight.