Manohla Dargis
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For 1,599 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 Gett: The Trial of Viviane Amsalem
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
1,599 movie reviews
    • 80 Metascore
    • 80 Manohla Dargis
    An old-fashioned weepie tucked inside a fiercely indicting political thriller.
    • 71 Metascore
    • 80 Manohla Dargis
    It tells a good story well, and in the process quietly says a little something about what it means to look at the American dream from the bottom up.
    • 75 Metascore
    • 80 Manohla Dargis
    The film works its magic largely by sending up, at times with a wink, at times with a hard nudge, some of the very stereotypes that have long been this company’s profitable stock in trade.
    • 47 Metascore
    • 80 Manohla Dargis
    A sly conceptual coup d’art and a deeply sincere exploration of masculinity and its discontents, with a little hot sex thrown in.
    • 77 Metascore
    • 80 Manohla Dargis
    Mr. Godard treads on dangerous ground by linking the historical suffering of Jews and the Palestinians, but his sympathy for both people is so manifest, his sense of history so deep, that the film defies reductive readings.
    • 55 Metascore
    • 80 Manohla Dargis
    Few directors can put loneliness on screen as persuasively or capture the eerie quiet of people waiting for something, anything to happen. It's in moments such as these, when all sense of time disappears and all that remains are bodies in motion and Ken Kelsch's limpid cinematography, that you remember just how good Ferrara can be.
    • 67 Metascore
    • 80 Manohla Dargis
    It has the virtue of Lin's tangy wit but it also suffers from the vice of a director who, torn between personal vision and wide public reach, tends to smother his ideas under a veneer of cool.
    • 73 Metascore
    • 80 Manohla Dargis
    The newest in British gangland entertainment and the tastiest in years.
    • 80 Metascore
    • 80 Manohla Dargis
    Tokyo Sonata, looks like a family melodrama -- if a distinctly eccentric variant on the typical domestic affair -- there is more than a touch of horror to its story of a salaryman whose downsizing sets off a series of cataclysmic events.
    • 74 Metascore
    • 80 Manohla Dargis
    Curiously, one of the film's stranger effects is that it's more convincing as a meditation on desire and Hollywood than as a biographical exploration.
    • 88 Metascore
    • 80 Manohla Dargis
    Beautifully shot by the French cinematographer Georges Périnal (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.
    • 82 Metascore
    • 80 Manohla Dargis
    A soulful, piercingly beautiful story.
    • 74 Metascore
    • 80 Manohla Dargis
    More than anything, Munich is a slammin' entertainment filled with dazzling set pieces and geometric camerawork.
    • 72 Metascore
    • 80 Manohla Dargis
    One of the graces of Gone Baby Gone is its sensitivity to real struggle, to the lived-in spaces and worn-out consciences that can come when despair turns into nihilism.
    • 71 Metascore
    • 80 Manohla Dargis
    Pitched between interludes of anxious intimacy and equally nerve-shredding set pieces, Collateral scores its points with underhand precision.
    • 71 Metascore
    • 80 Manohla Dargis
    Like the film itself, Mr. Dillon’s performance works through understatement.
    • 65 Metascore
    • 80 Manohla Dargis
    Known for an elegant visual style, Jarmusch has a great gift for playing actors against one another, for finding complementary eccentrics (Murray and RZA) and uncovering rare gems (Bill Rice and Taylor Mead in "Champagne").
    • 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.
    • 70 Metascore
    • 80 Manohla Dargis
    It unapologetically exults in its characters' glorious imperfection. It's good to know that oddballs, outcasts and people who don't look like Barbie and Ken still have a place in American movies and that not everyone in Hollywood pays lip service to the nice and polite.
    • 62 Metascore
    • 80 Manohla Dargis
    This tough, crackling thriller from director Gary Gray is one of those rare action movies with something on its mind other than moviestar sneers and incessant big bangs.
    • 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.
    • 72 Metascore
    • 80 Manohla Dargis
    This film paints a haunting portrait of existential solitude, one in which the images speak louder and often more forcefully than do any of the words.
    • 92 Metascore
    • 80 Manohla Dargis
    The director, Andrey Zvyagintsev, has a heavenly eye but a leaden hand, and his movie is as heavy as it is transporting, filled with stirring shots of the natural world and deep dives into a human realm flooded with tears and vodka.
    • 82 Metascore
    • 80 Manohla Dargis
    There is also something rather splendid about this extended-play peep show, as if Mr. Maddin had stumbled across a hitherto lost archive of cinema's less-than-innocent past. What makes all this nostalgia for a movie history that never happened is that, as is always the case with Mr. Maddin's work, it's executed with more love than irony and not a whit of derision.
    • 59 Metascore
    • 80 Manohla Dargis
    While it can be seen as an environmental horror movie (if you must), Rubber doesn't dig down but instead merrily rolls on, as Mr. Dupieux plays with narrative and form. In one wonderful cinematic coup the tire spots a crow and shifts toward the bird so that it's framed in the tire hole, an angle that turns the tire into a camera. Point. Click. Explode.
    • 77 Metascore
    • 80 Manohla Dargis
    It's easy to take issue with a documentary like The House I Live In, which tackles too much in too brief a time and glosses over complexities, yet this is also a model of the ambitious, vitalizing activist work that exists to stir the sleeping to wake.
    • 81 Metascore
    • 80 Manohla Dargis
    Trading the cooler, more emotionally detached style and vibe that characterized "Home," her debut feature, about a family falling apart, Ms. Meier quietly goes for the emotional jugular in Sister.
    • 51 Metascore
    • 80 Manohla Dargis
    Michael Mann’s thriller Blackhat, a story about the intersection of bodies and machines, is a spectacular work of unhinged moviemaking. By turns brutal and sentimental, lovely and lurid, as serious as the grave and blissfully preposterous, it combines a truckload of plot with many of the obsessions, tropes, sights and sounds that distinguish his other movies.
    • 77 Metascore
    • 80 Manohla Dargis
    It's deeply satisfying watching these public school, hard-knock kids win, and Ms. Dellamaggiore knows it.
    • 78 Metascore
    • 80 Manohla Dargis
    The film has the feel of a gift. Particularly noteworthy are Mr. Haroun's eloquent silences, visual and aural.

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