Manohla Dargis

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For 1,773 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Our Daily Bread
Lowest review score: 0 Downloading Nancy
Score distribution:
1773 movie reviews
    • 40 Metascore
    • 30 Manohla Dargis
    It’s hard to know what the director Allen Coulter could have done to improve Will Fetters’s absurdly contrived, yakky script about love and loss, largely set in the summer of 2001. But Mr. Coulter doesn’t help matters by infusing the movie with grave self-importance.
    • 59 Metascore
    • 30 Manohla Dargis
    There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this.
    • 62 Metascore
    • 30 Manohla Dargis
    There is very little fun in The Ice Harvest, which wouldn't pose a problem if the film had some fleshed-out ideas to go along with the booze, the booty and the recycled plot points.
    • 29 Metascore
    • 30 Manohla Dargis
    But since Costner canít save his movie, it's something of a stretch to think he might be able to save the world.
    • 51 Metascore
    • 30 Manohla Dargis
    At once illogical and insultingly stupid, filled with dead-end twists and the sort of dialogue that makes a mockery of actual adult relations.
    • 43 Metascore
    • 30 Manohla Dargis
    The amateurish production values might be pardonable if the clichés -- the hard-core porn star with the soft heart, the therapist who needs to heal herself -- inside the poorly lighted, badly shot images weren’t so absurd and often insulting.
    • 31 Metascore
    • 30 Manohla Dargis
    The television commercials for the movie say something about this being the same team that brought you “Face/Off,” which is about as relevant to this picture as noting that Paul Thomas Anderson got Wahlberg to drop his pants in “Boogie Nights.”
    • 50 Metascore
    • 30 Manohla Dargis
    A.C.O.D., an unfunny comedy about a guy mooning over his parents’ divorce decades later, is so eager to please it’s hard to hate. But it’s sluggish even at 87 minutes, clichéd and gives you nothing of interest to look at other than some familiar faces.
    • 52 Metascore
    • 30 Manohla Dargis
    Zombies, Arnold Schwarzenegger and a certain Terrence Malick je ne sais quoi — what could go wrong? More or less everything in this low-budget head-scratcher and periodic knee-slapper.
    • 45 Metascore
    • 30 Manohla Dargis
    Doesn’t seem as if it would translate easily to the big screen. It hasn't.
    • 49 Metascore
    • 30 Manohla Dargis
    The result is that what was once insignificant is now insufferable.
    • 32 Metascore
    • 30 Manohla Dargis
    A cringing romance that Mr. Vinterberg tries and fails to spin into a political allegory.
    • 46 Metascore
    • 30 Manohla Dargis
    A tediously didactic, often condescendingly reductive 10-part lesson on cinema.
    • 64 Metascore
    • 30 Manohla Dargis
    Like too many big-studio productions, Cloverfield works as a showcase for impressively realistic-looking special effects, a realism that fails to extend to the scurrying humans whose fates are meant to invoke pity and fear but instead inspire yawns and contempt. Rarely have I rooted for a monster with such enthusiasm.
    • 41 Metascore
    • 30 Manohla Dargis
    Marc Forster takes a maximalist approach to this mumbo jumbo, which means that in addition to lots of wacky angles, shiny surfaces, seemingly endless stairs, and sets of twins, triplets and quadruplets, he deploys the unsettling vision of three talented actors - Ewan McGregor, Naomi Watts and Ryan Gosling - straining credulity and neck tendons in the service of serious claptrap.
    • 44 Metascore
    • 30 Manohla Dargis
    An exploitation flick, but without the thrills or cleavage.
    • 53 Metascore
    • 30 Manohla Dargis
    Something certainly blows here, but it isn't the archangel's horn.
    • 52 Metascore
    • 30 Manohla Dargis
    As witless as it is formulaic.
    • 24 Metascore
    • 30 Manohla Dargis
    A consistently underused and often underrated actor, Kinnear gives one of those sympathetic performances that prevent you from believing the worst about a movie despite the sounding alarms.
    • 38 Metascore
    • 30 Manohla Dargis
    My hand trembles slightly as I type these words, but the truth is that while watching 2 Fast 2 Furious, the follow-up to the pleasurably cheap-thrills sleeper "The Fast and the Furious," I realized just how much I miss Vin Diesel.
    • 27 Metascore
    • 30 Manohla Dargis
    A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
    • 41 Metascore
    • 30 Manohla Dargis
    Dragon Blade is the kind of nutsy maximalist entertainment that isn’t content merely to tap a handful of influences. Instead, it stuffs an entire encyclopedia of dicey ideas (visual, narrative, political) into a blender to create a wacky, eyeball-popping and -glazing extravaganza.
    • 45 Metascore
    • 30 Manohla Dargis
    Delectably vulgar for 20 minutes or so, almost too bad to be true, but because it lacks the demented conviction of real camp, the glint of madness that keeps a bauble like "Valley of the Dolls" afloat, it soon loses its cheap-thrills appeal.
    • 45 Metascore
    • 30 Manohla Dargis
    Slight and goofy, this cut-rate attempt to mine "Harry Potterville" is undermined by its ostensible draw: the lead casting of Jonathan Lipnicki.
    • 54 Metascore
    • 30 Manohla Dargis
    This banal horror retread involves a couple of critters flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel.
    • 51 Metascore
    • 30 Manohla Dargis
    Kidman, who speaks Russian for much of the movie, turns in a technically impeccable performance, but the movie gets far more out of her than she out of it.
    • 33 Metascore
    • 30 Manohla Dargis
    A dud.
    • 43 Metascore
    • 30 Manohla Dargis
    Embedded between all the sex and sunlight are some woefully underdeveloped ideas about American militarism and masculinity. Dumont doesn't bother to develop these ideas, principally because he seems to think it's enough to arrange his characters like puppets and tear off their heads.
    • 27 Metascore
    • 30 Manohla Dargis
    Apparently, because all the good jokes were used up in the first two "Fockers" movies, the wisenheimers behind the latest installment in this unnecessary trilogy decided to bring in some spew, opening a sick toddler's mouth like a fire hydrant and letting it rip.
    • 56 Metascore
    • 30 Manohla Dargis
    An uncharacteristic if unsurprising dud.
    • 54 Metascore
    • 30 Manohla Dargis
    Oblivion never transcends its inspirations to become anything other than a thin copy.
    • 44 Metascore
    • 30 Manohla Dargis
    Despite Mr. Nakata's track record and the radiant presence of its star, Naomi Watts, The Ring Two is a dud.
    • 32 Metascore
    • 30 Manohla Dargis
    One of the good things about bad movies is that when someone sneers about the unworthiness of a perfectly mediocre film like, say, "Crash," you can turn to a seriously unworthy film like, say, The Santa Clause 3: The Escape Clause and laugh. Ho. Ho. Ho.
    • 57 Metascore
    • 30 Manohla Dargis
    The movie lurches from the improbably silly to the drearily so, while the characters remain so emotionally and psychologically divorced from life that they might as well be zombies or sitcom stick figures.
    • 40 Metascore
    • 30 Manohla Dargis
    Riddled with holes and undeveloped characters, and marred by lurching rhythms that may reflect some triage editing, so it's hard to see what Mr. Hafstrom brings to this film other than a murky palette.
    • 31 Metascore
    • 30 Manohla Dargis
    As a film, it essentially bites.
    • 47 Metascore
    • 30 Manohla Dargis
    In the end, it taketh — your time, patience and faith in newly imagined dystopias — more than it giveth.
    • 48 Metascore
    • 30 Manohla Dargis
    A most unfortunate film that combines standard documentary techniques, including talking-head interviews, with some maladroit dramatizations from Aury's life and her novel.
    • 44 Metascore
    • 30 Manohla Dargis
    The movie is apparently the most popular British comedy in history. I guarantee that its success has nothing to do with the quality of the actual movie.
    • 43 Metascore
    • 30 Manohla Dargis
    Scott's energy helps keep the movie going during its sluggish moments and animates its few bright spots, including a pleasurably dumb showdown on the dance floor of a gay bar.
    • 33 Metascore
    • 30 Manohla Dargis
    For the most part it is an uninteresting slog alleviated only by the occasional unintended laugh and moments of visual beauty. Mr. Shyamalan generally torpedoes his movies with overweening self-seriousness.
    • 21 Metascore
    • 30 Manohla Dargis
    Cast adrift with vague, improbable characters and a plot that's at once under-and overcooked, the actors struggle to find a steady tone, lurching from somber to silly as the director tries to figure out what he's doing.
    • 51 Metascore
    • 30 Manohla Dargis
    Far more troubling than the documentary's lack of data and analysis, its refusal to pose even basic questions -- whether, for instance, the so-called war on drugs is a total farce -- is the sense that these seven lost souls are principally on display for our viewing displeasure.
    • 28 Metascore
    • 30 Manohla Dargis
    The film means to be a darkly funny look at the perils of winning at all costs, but there's nothing dark and searching about its take.
    • 49 Metascore
    • 30 Manohla Dargis
    The mood is hermetic to the point of claustrophobia, embellished with a sense of everyday surrealism indebted to David Lynch.
    • 38 Metascore
    • 30 Manohla Dargis
    Unlike Tracy and Hepburn, the loving and loathing here are absent music and wit and tend to imply that what Moore's character really needs is a good frolic.
    • 47 Metascore
    • 30 Manohla Dargis
    Long on atmosphere and short on believability.
    • 61 Metascore
    • 30 Manohla Dargis
    A grave and disappointing failure, as much of imagination as of technology.
    • 50 Metascore
    • 30 Manohla Dargis
    It’s a bummer to see Ms. Page and especially Ms. Moore — who at this point in her career can usually act her way out of any cliché — so badly stranded by a generic script, credited to Ron Nyswaner, and by a director, Peter Sollett, who can’t figure out how to lift his actors and the material above the bad writing.
    • 17 Metascore
    • 30 Manohla Dargis
    Although it's often laugh-out-loud laughably bad, 88 Minutes is mostly just a slog.
    • 48 Metascore
    • 30 Manohla Dargis
    Bruckheimer's latest is in some crucial respects worse than those earlier blockbuster bids ("Gone in 60 Seconds" and "Coyote Ugly") -- certainly it's more fraudulent -- because unlike those films, which don't claim to be about anything other than thrills and tits, Remember the Titans means to be about race.
    • 56 Metascore
    • 30 Manohla Dargis
    If only the whole thing were as funny as an Albert Brooks movie.
    • 18 Metascore
    • 30 Manohla Dargis
    Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
    • 24 Metascore
    • 30 Manohla Dargis
    The appealing Mr. Baker never manages to find the right tone for the material, partly because he’s been seriously miscast (he radiates too much decency and intelligence for the role), though more because Mr. Waters never establishes a coherent tone for either the character or his situation.
    • 41 Metascore
    • 30 Manohla Dargis
    Maybe it's the sight of Leguizamo running around dressed only in boots and a well-placed sock that does her in, or maybe it's just that she's seen this movie too many times before. She isn't the only one.
    • 17 Metascore
    • 30 Manohla Dargis
    The real-life sisters Hilary and Haylie Duff star in this incompetent spin on the poor-little-rich-girl story.
    • 68 Metascore
    • 30 Manohla Dargis
    Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
    • 30 Metascore
    • 30 Manohla Dargis
    The risible dialogue, the bulging eyeballs, the heaving bosoms, the digitally rendered hyenas and squirming maggots, the movie fails to achieve the status of the instant camp classic. That's partly because the vibe of the film is too torpid.
    • 30 Metascore
    • 30 Manohla Dargis
    If nothing else, it’s amusing to imagine what [Mr. Bridges] and Ms. Moore chatted about between takes and how each managed to keep from cracking up, more or less.
    • 26 Metascore
    • 30 Manohla Dargis
    Twisted is rubbish, but it looks good enough, moves fast enough and does improve as it progresses, principally because its plot disintegrtes to the point of outright comedy.
    • 25 Metascore
    • 30 Manohla Dargis
    The Benchwarmers is the sort of trash that Hollywood does really well. It is also, to quote Mr. Schneider, "a master's thesis on the form of a quintessential Adam Sandler comedy."
    • 29 Metascore
    • 30 Manohla Dargis
    Neither ambitious enough to take seriously nor sleazy enough to enjoy, The Quiet flirts with the trappings of exploitation cinema without going all the way.
    • 36 Metascore
    • 30 Manohla Dargis
    The actors don’t just look uncomfortable in their period duds, they also look uneasy in their own skins, which is a feat for two such natural, physically confident screen performers.
    • 45 Metascore
    • 30 Manohla Dargis
    The jokes don't just fizzle into insignificance; they flop about with gaudy ineffectualness, gasping for air like newly landed trout.
    • 39 Metascore
    • 30 Manohla Dargis
    This is the costliest, most logistically complex feature of the filmmaker's career, and it appears that the effort to wrangle so many beasts, from elephants to movie stars and money men, along with the headaches that come with sweeping period films, got the better of him.
    • 73 Metascore
    • 30 Manohla Dargis
    The film portrays a family undone by grief over the death of a loved one; that, in any event, is its plot synopsis. More accurately, the film is a wallow of authorial narcissism, and a tedious, unrelenting, uninteresting wallow at that.
    • 54 Metascore
    • 30 Manohla Dargis
    They drink at the pub, they drink at home. They drink until they pass out and then, after they have had a good vomit, they drink again. If that sounds too disgusting to watch, it almost is.
    • 36 Metascore
    • 30 Manohla Dargis
    With so little trust and even less dialogue to back him up, it's no wonder Li rarely takes his left hand out of his pants pocket. His fists aren't furious; they're on strike.
    • 42 Metascore
    • 30 Manohla Dargis
    There may once have been a real movie rattling inside the empty studio package known as The Big Bounce, but no longer.
    • 64 Metascore
    • 30 Manohla Dargis
    About the only good thing to say about this mess is that it's rotten enough that even Altman cultists may be forced to reconsider their devotion.
    • 35 Metascore
    • 30 Manohla Dargis
    Hitman exploits every action-flick cliché imaginable and still manages to be dull. It’s bang, boom, blah -- action movies for bored dummies.
    • 54 Metascore
    • 30 Manohla Dargis
    By literalizing the idea of American military aggression and all that it implies Ms. Nair doesn’t just invest Mr. Hamid’s story with Hollywood-style beats, she also completely drains it of ambiguity.
    • 39 Metascore
    • 30 Manohla Dargis
    The combustible Mr. Ironside vaulted into movie immortality as the antagonist in “Scanners,” David Cronenberg’s down-and-dirty, exploding-head anti-classic. Synchronicity, a low-budget misfire about time and love, could use some exploding heads, dialogue and ideas.
    • 62 Metascore
    • 30 Manohla Dargis
    There’s no denying the real Heyerdahl’s bravery, but if this movie is to be believed, his voyage was largely bereft of tension and interesting conversation.
    • 30 Metascore
    • 30 Manohla Dargis
    A film worthy neither of Mr. Keaton's talents nor even a desperate horror fan's attention.
    • 32 Metascore
    • 30 Manohla Dargis
    The lackluster, at times abysmal writing wouldn’t much matter if Resurgence popped visually or featured a charismatic star who could lift a movie as effortlessly as Will Smith did in the first feature.
    • 31 Metascore
    • 30 Manohla Dargis
    A would-be erotic thriller with no heat and zero chills, Deception has the kind of glassy, glossy sheen and risible story that mean to suggest "Basic Instinct" but instead invoke lesser laughers like "Jade" and "Sliver."
    • 33 Metascore
    • 30 Manohla Dargis
    An accidental entertainment, Equilibrium is a science-fiction pastiche so lacking in originality that if you stripped away its inspirations there would be precious little left.
    • 61 Metascore
    • 30 Manohla Dargis
    Increasingly, reviewing the latest Woody Allen movie has taken on the feel of a dreaded ritual, an annual excursion into careless filmmaking, desperate shtick, and vainglorious misanthropy disguised as cuddly neurosis.
    • 35 Metascore
    • 30 Manohla Dargis
    Dopey, derivative and dull, The Host is a brazen combination of unoriginal science-fiction themes, young-adult pandering and bottom-line calculation. That sounds like it should work (really!), but it never does, largely because the story is as drained of energy as are its moony aliens.
    • 52 Metascore
    • 30 Manohla Dargis
    Of course, it's terrible -- but did it have to be this bad?
    • 39 Metascore
    • 30 Manohla Dargis
    Kept in check by his character's neuroses, Pearce holds our attention throughout, but it isn't until near the end that he manages to break free of his character's and his director's inhibitions.
    • 50 Metascore
    • 30 Manohla Dargis
    Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
    • 38 Metascore
    • 30 Manohla Dargis
    Played by DMX in a gravel-pit monotone and a near-total lack of affect, King David cuts an unremittingly tedious swath through Never Die Alone.
    • 44 Metascore
    • 30 Manohla Dargis
    Billy Bob Thornton's leer is much in evidence in the shoddy comedy School for Scoundrels, though the tackiness of the film, its lazy direction and its self-satisfied stupidity may mean that Mr. Thornton curled his lip about the production rather than for it.
    • 41 Metascore
    • 30 Manohla Dargis
    Sabotage isn’t any good, even if its jagged, jolting visual excesses and frenzied energy keep you awake, gasping and guffawing by turns.
    • 30 Metascore
    • 30 Manohla Dargis
    The film teeters so perilously and routinely at the edge of camp, both with some of its casting choices and some unfortunate dialogue (the repeated warning that "Jumby wants to be born now"), that it's hard to know if Mr. Goyer wants to make us howl with fear or laughter.
    • 50 Metascore
    • 30 Manohla Dargis
    Taken starts in low gear and almost immediately stalls out.
    • 40 Metascore
    • 30 Manohla Dargis
    Jennifer Lopez's butt? Alas, the moment is over all too soon; the movie, sadly, is not.
    • 45 Metascore
    • 30 Manohla Dargis
    This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."
    • 38 Metascore
    • 30 Manohla Dargis
    Not since John Travolta sprouted a head of dreadlocks and strapped on platform boots for "Battlefield Earth" has cinematic science fiction been such good-bad fun as in The Chronicles of Riddick.
    • 28 Metascore
    • 30 Manohla Dargis
    Timing, good jokes and characters you can laugh with and at are mostly missing from Gentlemen Broncos.
    • 26 Metascore
    • 30 Manohla Dargis
    Not that Madonna has gone in for originality, which isn't really her thing: rather, instead of repurposing a genre, she has riffled through the art-house catalog for inspiration, as evidenced by the film's intentionally grubby visual texture, jumpy editing, direct-address commentary, freeze frames and other tricks.
    • 35 Metascore
    • 30 Manohla Dargis
    Mr. Lichtenstein seems to want your tears. Nothing wrong there. The problem is that, because he never settles persuasively into one groove -- you don’t believe the tears or the smiles or anything in between -- he can’t begin to approach the complex contradictions suggested by his movie’s title.
    • 60 Metascore
    • 30 Manohla Dargis
    Trimmed to an hour, and tucked between a documentary on snails and an episode of Coronation Street, writer-director Mark Herman's Brassed Off could prove lively watching indeed. As it is, however, his pedestrian if sweetly well-meaning inspirational about a coal-mining town done in by Thatcherism is too long, too laborious and 15 years too late.
    • 28 Metascore
    • 30 Manohla Dargis
    Donner's most calamitous mistake, however, was forgetting to light the screenplay on fire and catapult it from the nearest trebuchet.
    • 52 Metascore
    • 30 Manohla Dargis
    Wildly overproduced and filled with fussy flourishes that make even a derelict hallway look like a million bucks, Dark Water fails to rustle up either meaning or meaningful scares.
    • 42 Metascore
    • 30 Manohla Dargis
    Written by Mr. Vaughn and Jared Stern, The Internship spreads the corporate gospel with sporadic jokes, the usual buddy-film shenanigans (a visit to a strip club, a teasingly shared bed) and a lot of motivational cant.
    • 43 Metascore
    • 30 Manohla Dargis
    In the preposterous thriller The Forgotten, a pseudospiritual, mumbo-jumbo, science-fiction inflected mess, the director Joseph Ruben does not just fail to tap into Ms. Moore's talent; he barely gets her attention.
    • 50 Metascore
    • 30 Manohla Dargis
    You don’t have to be a historian to wonder about the timing of the opening or a critic to regret that Mr. Crowe has signed onto a preposterous, would-be sweeping historical romance that’s far too slight and silly to carry the weight of real history.

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