Manohla Dargis
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For 1,548 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 0.5 points higher than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Silver Linings Playbook
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
1,548 movie reviews
    • 72 Metascore
    • 80 Manohla Dargis
    The strange and delightful Talent Given Us is a movie that shouldn't work but does rather remarkably.
    • 82 Metascore
    • 80 Manohla Dargis
    What distinguishes Memories of Murder, setting it apart from rank-and-file thrillers, is its singular mix of gallows humor and unnerving solemnity.
    • 78 Metascore
    • 80 Manohla Dargis
    Shows a young filmmaker pushing at the limits of cinematic narrative with grace and a certain amount of puckish willfulness.
    • 57 Metascore
    • 80 Manohla Dargis
    It's possible that Maggie Gyllenhaal will never become a major star, but there isn't an American actress in movies today who holds the screen with as much deep-seated soul.
    • 65 Metascore
    • 80 Manohla Dargis
    Filled with small, cute kids and large, goofy laughs and buoyed by fine supporting work from Greg Kinnear and Marcia Gay Harden, the director's latest effort won't rock your movie world, but the fact that he manages to keep the freak flag flying in the face of our culture of triumphalism is a thing of beauty.
    • 80 Metascore
    • 80 Manohla Dargis
    A delicate wisp of a film with a surprisingly sharp sting.
    • 82 Metascore
    • 80 Manohla Dargis
    A soulful, piercingly beautiful story.
    • 73 Metascore
    • 80 Manohla Dargis
    Even a starring role in the American version of the British show "The Office," which has given Mr. Carell a higher profile, conveys neither his sheer likability nor his range as an actor, both crucial to making this film work as well as it does.
    • 71 Metascore
    • 80 Manohla Dargis
    The casting of the two leads is a nice surprise in Red Eye, as is its modest scale. One of the ironies about the film is that its relatively small-movie feel allows Mr. Craven to focus on the sorts of things - the performances and little bits of business from the extras - that a director like Michael Bay doesn't have time for, partly because he is so busy blowing stuff up.
    • 73 Metascore
    • 80 Manohla Dargis
    The title character in this nicely kinked Belgian thriller faces a unique adversary: the enemy hot on his heels is Alzheimer's.
    • 83 Metascore
    • 80 Manohla Dargis
    There is something heartening about Mr. Burton's love for bones and rot here, if only because it suggests, despite some recent evidence, that he is not yet ready to abandon his own dark kingdom.
    • 78 Metascore
    • 80 Manohla Dargis
    The line between cinematic art and exploitation has rarely seemed finer and nervier, at least in recent memory, than in the French film Innocence.
    • 71 Metascore
    • 80 Manohla Dargis
    If all this sounds a bit nuts, dangerously self-indulgent and very of its experimental moment, it is. But it's also highly entertaining and, at moments, revelatory about filmmaking as a site of creative tension between individual vision and collective endeavor.
    • 81 Metascore
    • 80 Manohla Dargis
    His (Ralph Fiennes) Voldemort may be the greatest screen performance ever delivered without the benefit of a nose; certainly it's a performance of sublime villainy.
    • 76 Metascore
    • 80 Manohla Dargis
    Based on Mr. Lepage's play of the same title, Far Side of the Moon carries traces of the theater both in some of the dialogue and in its schematic construction. That said, it has been beautifully shot by the cinematographer Ronald Plante in the kind of high-definition digital video that makes the future of cinema look rather less grim than usual.
    • 77 Metascore
    • 80 Manohla Dargis
    In a film filled with plaintively expressive faces, characters say as much when they don't talk as when they speak Mr. Arriaga's dialogue, which sometimes sounds like hardscrabble poetry, sometimes sounds real as dirt and is, rather surprisingly, often darkly funny.
    • 74 Metascore
    • 80 Manohla Dargis
    More than anything, Munich is a slammin' entertainment filled with dazzling set pieces and geometric camerawork.
    • 69 Metascore
    • 80 Manohla Dargis
    If the affair seems strangely ethereal, as if it were taking place in another dimension, in a lovelier, more enchanted realm, it is because Mr. Malick is fashioning a countermythology in The New World, one to replace, or at least challenge, a mythology already in place.
    • 63 Metascore
    • 80 Manohla Dargis
    Easier to admire than love, Bubble is a fascinating exercise that seems calculated to repel most audiences, which probably suits Mr. Soderbergh just fine.
    • 85 Metascore
    • 80 Manohla Dargis
    At one point, during one of his occasional verbal rambles, he (Young) says half-jokingly, half-defensively that he's got some love songs left in him. This film, which is at once a valentine from one artist to another and a valentine from a musician to his audience, is surely proof that he does.
    • 88 Metascore
    • 80 Manohla Dargis
    Beautifully shot by the French cinematographer Georges PĂ©rinal (whose credits include Cocteau's "Blood of a Poet"), the film soon evolves from a claustrophobic domestic affair into a mordantly discomfiting look at the betrayal of innocence.
    • 63 Metascore
    • 80 Manohla Dargis
    Mr. Willis has always been an acquired taste, but for those who did acquire that taste, riding shotgun on his good times and bad, it's a pleasure to see him doing what comes naturally.
    • 58 Metascore
    • 80 Manohla Dargis
    More than anything else, Ask the Dust feels like a compendium of desires - for a city, for a woman, for youth.
    • 76 Metascore
    • 80 Manohla Dargis
    Filled with playful noise and nonsense, clever feints and digressions, Inside Man has a story to tell, but its most sustained pleasures come from its performances, especially the three leads.
    • 87 Metascore
    • 80 Manohla Dargis
    The Dardennes know how to build a scene for maximum tension: you yearn to find out who bought Jimmy, and whether his fate lies with a childless couple or an organ mill. But because they make moral thrillers, what matters isn't only actions and events but their emotional, spiritual and psychological costs.
    • 68 Metascore
    • 80 Manohla Dargis
    Greatly appealing if not especially adventurous, either for its director or for her admirers.
    • 72 Metascore
    • 80 Manohla Dargis
    4
    As opaque as it is mesmerizing, 4 demands open eyes and open minds, but neither is it as difficult as all its weighty silences, oblique detours and countless images of glistening, sweating animal flesh - Mother Russia's raw and seriously overcooked - might suggest.
    • 77 Metascore
    • 80 Manohla Dargis
    Films about environmental catastrophes tend to wax preachy, putting pedagogy and scolding above art. This one, for all its sorrow and the throb of righteous anger it provokes (only about 50,000 antelopes remain), is more than anything a work of creative imagination.
    • 80 Metascore
    • 80 Manohla Dargis
    Taiwanese director Hou Hsiao-hsien's hypnotically beautiful cinematic trilogy Three Times doesn't just illuminate faces and objects; it seems to fill them up, as if they were lighted from within.
    • 73 Metascore
    • 80 Manohla Dargis
    This new film feels like something of a gift, as if the director had decided to burn some of his favorite songs for his newfound friends, the world-cinema audience.