Manohla Dargis
Select another critic »
For 1,560 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 0.6 points higher than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 White Material
Lowest review score: 0 The Replacement Killers
Score distribution:
1,560 movie reviews
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 30 Manohla Dargis
    As witless as it is formulaic.
    • 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."
    • 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.
    • 58 Metascore
    • 30 Manohla Dargis
    During the ensuing narrative unpleasantness and visual incoherence (meaningless choker close-ups, pointless slow motion), Hayley subjects Jeff to a range of torture, all in the name of, well, what? Despite the two fine performances, it's hard to say.
    • 45 Metascore
    • 30 Manohla Dargis
    Following the lead tendered by the credited screenwriters, Steve Koren and Mark O'Keefe, the director Frank Coraci struggles to push the character toward the kind of age-appropriate complexity lost on Mr. Sandler, forgetting that his star only works when, as all those ponderous bosoms suggest, he's un-weaned.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Manohla Dargis
    This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."
    • 45 Metascore
    • 30 Manohla Dargis
    Doesn’t seem as if it would translate easily to the big screen. It hasn't.
    • 44 Metascore
    • 30 Manohla Dargis
    The junky, clunky, grimly unfunny follow-up to the marginally better “Rush Hour 2” and the significantly finer “Rush Hour,” isn’t the worst movie of the summer. But it’s an enervating bummer nonetheless, largely because it shows so little respect for its two likable stars and its audience.
    • 49 Metascore
    • 30 Manohla Dargis
    The result is that what was once insignificant is now insufferable.
    • 48 Metascore
    • 30 Manohla Dargis
    100 percent goo.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Manohla Dargis
    A barely coherent genre mishmash.
    • 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.
    • 17 Metascore
    • 30 Manohla Dargis
    Although it's often laugh-out-loud laughably bad, 88 Minutes is mostly just a slog.
    • 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."
    • 53 Metascore
    • 30 Manohla Dargis
    I wish Ms. Parker had let that bee in her bonnet go silent, because the movie that she and Mr. King have come up with is the pits, a vulgar, shrill, deeply shallow -- and, at 2 hours and 22 turgid minutes, overlong -- addendum to a show that had, over the years, evolved and expanded in surprising ways.
    • 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.
    • 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.
    • 22 Metascore
    • 30 Manohla Dargis
    Even when Mr. Coogan can't make his scenes work, his prickly presence keeps you watching, as does the eerie scenes of winter that Mr. Glatzer captures with the camera.

Top Trailers