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 Barbara
Lowest review score: 0 Formula 51
Score distribution:
1805 movie reviews
    • 51 Metascore
    • 90 Manohla Dargis
    An effectively creepy thriller about a 911 operator and a young miss in peril, The Call is a model of low-budget filmmaking.
    • 76 Metascore
    • 90 Manohla Dargis
    Reality is a story about one man’s desire to make it big on the small screen, and something of a familiar exploration of the blurring between reality and its simulations. More elliptically and more interestingly, it is also a look at an Italy engrossed with rituals and spectacle, in watching and being watched.
    • 66 Metascore
    • 90 Manohla Dargis
    Again and again, as the story shifts between women, times and moods, Mr. Jordan adds a punctuating flourish...that exquisitely illustrates the once-upon-a-time mood.
    • 68 Metascore
    • 90 Manohla Dargis
    The dread gathers and surges while the blood scarcely trickles in The Conjuring, a fantastically effective haunted-house movie.
    • 79 Metascore
    • 90 Manohla Dargis
    Much like the Dardennes, Mr. Joachim holds to the truth that the personal is political, which is why this isn’t simply a movie about a woman and an unspeakable crime, but also an exploration of the power and cruelty that brought her to that very dark place.
    • 75 Metascore
    • 90 Manohla Dargis
    Mr. Howard doesn’t just want you to crawl inside a Formula One racecar, he also wants you to crawl inside its driver’s head.
    • 69 Metascore
    • 90 Manohla Dargis
    The story grips you entirely even if Ms. Denis’s worldview here finally feels like a tomb: terrifying, pitiless, inevitable.
    • 70 Metascore
    • 90 Manohla Dargis
    A potent, persuasive and quietly furious documentary.
    • 86 Metascore
    • 90 Manohla Dargis
    Mostly, Ernest & Celestine is an ode to the happiness that comes from being with those different from us.
    • 69 Metascore
    • 90 Manohla Dargis
    What tethers the movie and especially April and Teddy is how Ms. Coppola captures that exquisitely tender, moving moment between fragile, self-interested youth and tentatively more outwardly aware adulthood, a coming into consciousness that she expresses through their broken sentences, diverted glances and abrupt turns.
    • 72 Metascore
    • 90 Manohla Dargis
    [A] handsome, intelligently absorbing and stirring biographical portrait.
    • 76 Metascore
    • 90 Manohla Dargis
    Mr. Stevens’s watchful restraint gives the early scenes a slow burn and a sinister glaze.
    • 73 Metascore
    • 90 Manohla Dargis
    Mr. Amalric, who directed this dark, delectable, shivery tale, adapting it from the Georges Simenon novel, sets its uneasy, dank mood with energetic economy.
    • 81 Metascore
    • 90 Manohla Dargis
    Mr. Miller does his finest work with his three superb leads.
    • 83 Metascore
    • 90 Manohla Dargis
    '71
    Mr. Demange makes his feature directing debut with ’71, but he already knows how to move bodies through space and the complex choreography that he’s worked out in this movie is a thing of joy.
    • 80 Metascore
    • 90 Manohla Dargis
    In classic narrative fashion, Mr. Mundruczo works the setup like a burlesque fan dancer, teasing out the reveal bit by bit.
    • 78 Metascore
    • 90 Manohla Dargis
    [Mr. Garland] plays with visual contrasts — Mr. Isaac’s compact, muscled body and Mr. Gleeson’s long, drooping one, picture windows that look out onto an expansively lush landscape and windowless rooms that register as upmarket prison cells — that dovetail with the narrative’s multiple, amusingly deployed dualities: confinement and liberation, agency and submission, mind and body.
    • 78 Metascore
    • 90 Manohla Dargis
    The three women in Clouds of Sils Maria love, talk and move, move, move, sharing lives, trading roles and performing parts. The lives they lead are messy and indeterminate, but each woman’s life belongs to her.
    • 80 Metascore
    • 90 Manohla Dargis
    What is clear is that while there are several stories folded into Iris — a marriage tale, an ode to multiculturalism and a fashion spectacular — it is also about the insistent rejection of monocultural conformity.
    • 85 Metascore
    • 90 Manohla Dargis
    Amy
    With Amy, Mr. Kapadia isn’t simply revisiting Ms. Winehouse’s life and death, but also — by pulling you in close to her, first pleasantly and then unpleasantly — telling the story of contemporary celebrity and, crucially, fandom’s cost.
    • 75 Metascore
    • 90 Manohla Dargis
    What’s energizing and exciting about Amy, especially when compared with the sexless cuties populating rom-coms, in which female pleasure is often expressed through shopping, is that her erotic appetites aren’t problems that she needs to narratively solve and vanquish.
    • 76 Metascore
    • 90 Manohla Dargis
    A kinetically visceral, enjoyable nasty joy ride, “A Hard Day” is pretty much as advertised.
    • 83 Metascore
    • 90 Manohla Dargis
    The songs in Office aren’t especially memorable. But it’s hard to care too much when you have a director who knows how to create tension by moving the camera and characters even while he’s delivering a nimble political softshoe with filmmaking dazzle.
    • 81 Metascore
    • 90 Manohla Dargis
    Mr. Almereyda takes Milgram, his work and ideas seriously but doesn’t suffocate them: Despite the story’s freight, the laboratory shocks and Milgram’s insistent melancholia, Experimenter is a nimble, low-frequency high.
    • 84 Metascore
    • 90 Manohla Dargis
    Heart of a Dog is about telling and remembering and forgetting, and how we put together the fragments that make up our lives — their flotsam and jetsam, highs and lows, meaningful and slight details, shrieking and weeping headline news.
    • 81 Metascore
    • 90 Manohla Dargis
    Over time, as the movie returns to specific spaces, touching on human rights and gentrification along the way, it develops into a deeply stirring ode to the immigrant experience and American identity.
    • 65 Metascore
    • 90 Manohla Dargis
    What makes the material still feel personal — other than the yearslong investment and love that transform entertainments into fan communities — is the combination of Katniss and Ms. Lawrence, who have become a perfect fit.
    • 77 Metascore
    • 90 Manohla Dargis
    The laughs in Spike Lee’s corrosive Chi-Raq burn like acid. Urgent, surreal, furious, funny and wildly messy, the movie sounds like an invitation to defeat, but it’s an improbable triumph that finds Mr. Lee doing his best work in years.
    • 81 Metascore
    • 90 Manohla Dargis
    Mr. Abrams may be as worshipful as any Star Wars obsessive, but in The Force Awakens he’s made a movie that goes for old-fashioned escapism even as it presents a futuristic vision of a pluralistic world that his audience already lives in. He hasn’t made a film only for true believers; he has made a film for everyone (well, almost).
    • 79 Metascore
    • 90 Manohla Dargis
    Mr. Jia’s approach means that you have to do a certain amount of interpretive work, though mostly you just have to pay attention and be a little patient. If you do, you will notice that Mountains May Depart is a movie of threes: its main characters, moments in time, narrative sections, historical symbols and even aspect ratio come in triplicate.

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