Manohla Dargis

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For 1,805 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Miss Bala
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
1805 movie reviews
    • 57 Metascore
    • 60 Manohla Dargis
    An entertainingly ridiculous update of Mary O’Hara’s 1941 children’s novel, “My Friend Flicka.”
    • 68 Metascore
    • 60 Manohla Dargis
    Ms. Myers too often tells rather than shows, and she doesn’t have the cinematic skill set to transform her idea into a fully satisfying movie, especially at this low-budget level.
    • 67 Metascore
    • 60 Manohla Dargis
    Filled with brilliant filmmaking and features outstanding performances, but it's neither profound enough nor pop enough to be great -- it's mournful, serious, beautiful and, finally, pointless.
    • 56 Metascore
    • 60 Manohla Dargis
    No matter how seriously everyone works to make the CIA impossibly sexy, the illusion that these pencil pushers are incarnations of Bond, James Bond, is difficult to sustain.
    • 65 Metascore
    • 60 Manohla Dargis
    Mr. Broomfield maintains a level of cool detachment throughout. That's to the good of the movie, which, though technically exemplary, falters dramatically on occasion, becoming dangerously close to overheated whenever the characters speak for any length.
    • 67 Metascore
    • 60 Manohla Dargis
    Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés.
    • 68 Metascore
    • 60 Manohla Dargis
    It's good -- when it's not adrift in an absence of meaning.
    • 58 Metascore
    • 60 Manohla Dargis
    Best appreciated for its sustained creepy vibe and sporadically arresting images, Heartless moves from one outré moment to another, from one self-conscious allusion to the next ("Donnie Darko" and "Taxi Driver"). It doesn't go anywhere special or much of anywhere, though it goes there in appreciably icky style.
    • 66 Metascore
    • 60 Manohla Dargis
    Unforgivable isn't one of Mr. Téchiné's greatest achievements, but it's engrossing even when its increasingly populated story falters, tripped up by unpersuasive actions, connections and details.
    • 74 Metascore
    • 60 Manohla Dargis
    Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
    • 52 Metascore
    • 60 Manohla Dargis
    Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
    • 74 Metascore
    • 60 Manohla Dargis
    At once a heartfelt story about a family undone by violence and an overburdened allegory of fascism.
    • 66 Metascore
    • 60 Manohla Dargis
    Mr. Webb's Spider-Man movie works only because he keeps the whole package, at least until the requisite final blowout, tethered to his two appealing leads.
    • 71 Metascore
    • 60 Manohla Dargis
    Animal people sometimes say the wackiest things, but here, alas, they never satisfyingly address the ethical questions of what it means to capture and keep wild animals. Happily, while this movie's head may not always be in the right place, its heart is.
    • 59 Metascore
    • 60 Manohla Dargis
    The movie isn’t especially well made, yet because Tucker is such a gloriously rich figure — immigrant turned runaway mother turned vaudevillian turned superstar — she renders its formal and aesthetic shortcomings (mostly) irrelevant.
    • 69 Metascore
    • 60 Manohla Dargis
    Although Ms. Davenport pushes the analogy between this modest rescue operation with America’s invasion of Iraq a bit too forcefully, she nonetheless makes her point with persuasive, touching candor.
    • 66 Metascore
    • 60 Manohla Dargis
    [Proyas] hasn't yet learned how to enliven his characters as fully as his sets. Part of this is structural (somnolence is built into the script), but the greater fault lies with Proyas' direction of his performers, most of whom deliver their lines in a strangulated whisper.
    • 48 Metascore
    • 60 Manohla Dargis
    Ms. Lemmons has a tough time finding her tone. From scene to scene, the actors are good and then less so, while the direction wavers from assured to unsteady.
    • 73 Metascore
    • 60 Manohla Dargis
    There are not one, but two wars raging inside this adaptation: one between the North and the South, and another, more calamitous war between art and middlebrow entertainment.
    • 54 Metascore
    • 60 Manohla Dargis
    The new movie is as moth-eaten as the serapes strewn through the 1960 film, but there’s no denying the appeal of the image of Mr. Washington riding a horse, shooting a Colt and leading a posse of vigilantes to save a mostly white Western town.
    • 40 Metascore
    • 60 Manohla Dargis
    The movie is as blunt an instrument as the poster, but it’s also crammed with enough moving parts and unexpected distractions (Winona Ryder as a “meth whore”) to make it an indefensibly enjoyable piece of exploitation hackwork.
    • 65 Metascore
    • 60 Manohla Dargis
    In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
    • 53 Metascore
    • 60 Manohla Dargis
    The horror of where rationalism can lead (the death camps, for one) hangs over Irrational Man and helps hold you as does Mr. Phoenix, even with some bad writing and Mr. Allen’s narrative laxity and lack of interest in how real people live.
    • 56 Metascore
    • 60 Manohla Dargis
    Nicely directed, the film version proves refreshingly free of the customary blights that affect most modern children's movies, notably adult condescension. But, man, is it mean.
    • 71 Metascore
    • 60 Manohla Dargis
    Watching this reasonably funny, professionally assembled calculation is a little like snuggling up in front of the television with a mug of hot cocoa and a warm blanket. Those who prefer their drinks and recreation spiked would do well to look elsewhere.
    • 41 Metascore
    • 60 Manohla Dargis
    A nondramatic work best appreciated as a pure image-and-sound event.
    • 61 Metascore
    • 60 Manohla Dargis
    Neither the screenplay nor the direction has the requisite depth to turn the banality of one unremarkable life into the stuff of Chekhov, much less of Mr. Payne.
    • 58 Metascore
    • 60 Manohla Dargis
    There's so much that's right in it that its blunders are all the more frustrating.
    • 53 Metascore
    • 60 Manohla Dargis
    The tick tick tock of the mortal clock gives the science-fiction thriller In Time its slick, sweet premise.
    • 60 Metascore
    • 60 Manohla Dargis
    A dreamy, elliptical neo-noir about a cop turned killer turned something else altogether.

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