Leslie Felperin

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For 321 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 2.3 points higher than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Leviathan
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Negative: 10 out of 321
321 movie reviews
    • 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.
    • 65 Metascore
    • 60 Leslie Felperin
    As a bit of anthropology offering a glimpse into Tibetan life today, it’s perfectly serviceable.
    • 42 Metascore
    • 70 Leslie Felperin
    Although some of the film’s many twists are not that surprising, they’re satisfyingly delivered, and with a strong supporting cast ...plus striking dream imagery, this adds up to arguably the best in the franchise so far.
    • tbd Metascore
    • 90 Leslie Felperin
    Utterly absorbing all the way through, this showcase for Bercot’s skill with large casts and intellectually rigorous storytelling may be her best yet.
    • 73 Metascore
    • 80 Leslie Felperin
    Wrenching to watch, but told with clarity and guts.
    • 52 Metascore
    • 60 Leslie Felperin
    At its worst, the film oozes the sickly smugness of a self-help pamphlet, but when it relaxes its didactic grip and lets the actors take control it can be quite charming.
    • 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.
    • 47 Metascore
    • 50 Leslie Felperin
    By sticking so slavishly to the original Blair Witch film’s template, the result is a dull retread rather than a full-on reinvention, enlarging the cast numbers this time but sticking to the same basic beats.
    • 59 Metascore
    • 50 Leslie Felperin
    There are crisply folded lines, and pleasingly peppery performances from the supporting cast especially, but where its beating heart should be there is a splinter of ice, the sense that no one involved is really doing this for that much love.
    • 70 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.
    • 77 Metascore
    • 80 Leslie Felperin
    The most affecting moments in the film are in more intimate settings.
    • 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.
    • 70 Metascore
    • 80 Leslie Felperin
    It’s a proper animation buff’s piece of work, and admittedly a little slow to get its yarn ripping, but mesmerising and moving in the later stretches.
    • 59 Metascore
    • 70 Leslie Felperin
    Stuffed to its statement earrings with celebrities, fashion folk and comedian chums making cameos, this breezy blast of bawdy jokes and Bollinger product placement should lift spirits in a post-Brexit Britain.
    • 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.
    • 32 Metascore
    • 60 Leslie Felperin
    The main thing consumers will be looking for from Resurgence is bang-for-buck entertainment, and that it delivers reasonably successfully.
    • 75 Metascore
    • 80 Leslie Felperin
    If this film were a person, you’d want to give it a big hug, as you would a gawky teenager, and reassure it that it will be tough out there, that not everyone is going to get its idiosyncratic charms, but that’s OK because it’s awesome just the way it is.
    • 57 Metascore
    • 60 Leslie Felperin
    Although engaging enough to hold interest, the just slightly off casting of Ewan McGregor and Stellan Skarsgard...dampens plausibility.
    • 74 Metascore
    • 80 Leslie Felperin
    A compelling gateway documentary that should absorb both fans and novices alike.
    • 29 Metascore
    • 30 Leslie Felperin
    It’s not a problem there’s a hole, as it were, in the common-sense logic of the film’s world; it’s that there’s a big, gaping hole where the illogic should be, a whole lot of nothing where there should be metaphor, playfulness, all that juicy, enigmatic, magical-realism stuff that helps films like Being John Malkovich and its many knockoffs become fodder for film-studies essays.
    • 68 Metascore
    • 90 Leslie Felperin
    As with so many of the best mystery-horror films, the optimum way to enjoy a first viewing of this is try to remain as ignorant as possible about what happens. That said, it also brims with tiny, blink-and-you'll-miss-them details that will repay repeat viewings.
    • 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.
    • 85 Metascore
    • 80 Leslie Felperin
    Unfortunately, the narrative endgame is a mess, and should have been rethought in development, but there’s no denying Ezer has made a bold, audacious debut.
    • 77 Metascore
    • 80 Leslie Felperin
    Some viewers may feel a little uneasy watching her being almost "catfished" by the deception, even if it turns out to be a delightful surprise, and a real emotional money shot when it finally lands.
    • 64 Metascore
    • 60 Leslie Felperin
    With such an elliptical tease of a plot, which jumps back and forth temporally disdaining explication, some may feel a little of this travelogue goes a long way.
    • 54 Metascore
    • 70 Leslie Felperin
    Hands of Stone is far from perfect, but it punches above its weight enough to prevent it from being easily dismissed.
    • 84 Metascore
    • 80 Leslie Felperin
    Graduation isn’t one of Mungiu’s finest, but even a restrained, emotionally measured work like this is more interesting and provocative than many another director’s best effort.
    • 76 Metascore
    • 80 Leslie Felperin
    Offers both a universally relevant examination of religious zealotry and, at the same time, a damning, satirical look at modern Russia, a country whose major institutions have become increasingly dominated and cowed by medieval-minded reactionaries and bigots.
    • 63 Metascore
    • 70 Leslie Felperin
    Director Bose handles the material with a light, elegant touch. It helps that the cast, especially the remarkable Koechlin who gives a bravura performance in both physical and emotional terms, can carry it all off.
    • 93 Metascore
    • 100 Leslie Felperin
    According to the most basic laws of cinema, Toni Erdmann, Maren Ade’s third feature as a writer-director (she has five times that many credits as a producer), shouldn’t work. It’s practically one long string of nesting, oxymoronic self-cancelling paradoxes: here is the world’s first genuinely funny, 162-minute German comedy of embarrassment.

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