Manohla Dargis

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For 1,766 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 0.8 points lower 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 Don't Tell
Score distribution:
1766 movie reviews
    • 61 Metascore
    • 50 Manohla Dargis
    Everything in Matchstick Men moves and looks right, from John Mathieson's cinematography to Tom Foden's production design, so it's puzzling that the film fizzles rather than fizzes.
    • 62 Metascore
    • 50 Manohla Dargis
    Alas, Mr. Fabian, directing his first feature-length fiction film, uses a club whenever a feather would do. He also mishandles the actors, in particular Mr. Neill and Ms. Okonedo, both of whom have been incomparably better elsewhere.
    • 63 Metascore
    • 50 Manohla Dargis
    As the genre machinery chugs along, the bang-bang begins to overwhelm the movie, and the underlying critique gives way to a what-me-worry shrug.
    • 47 Metascore
    • 50 Manohla Dargis
    As the movie lurches along by fits and starts, toggling between the little Nantucket room and the great watery world, it becomes apparent that the filmmakers have no idea how to reconcile not just two parallel stories but also the past and our contemporary age.
    • 68 Metascore
    • 50 Manohla Dargis
    Mr. Pitt is himself a supernova luminary, of course, and part of the attraction of this film is how his celebrity feeds into that of his character, adding shadings to what is, finally, an overconceptualized if under-intellectualized endeavor.
    • 59 Metascore
    • 50 Manohla Dargis
    The 3-D is necessary to the film only in so far as it keeps your eyes engaged when your mind starts to wander. Stripped of much of the original poem’s language, its cadences, deep history and context, this film version of Beowulf doesn’t offer much beyond 3-D oohs and ahs, sword clanging and a nicely conceived dragon, which probably explains why Mr. Zemeckis and his collaborators have tried to sex it up with Ms. Jolie, among other comic-book flourishes.
    • 68 Metascore
    • 50 Manohla Dargis
    Mainstream moviemaking, with its commercial directives and slavish attachment to narrative codes isn't particularly hospitable to ambiguity...which may help explain why Mr. Shanley's film feels caught between two mediums and why Ms. Streep appears to be in a Gothic horror thriller while everyone else looks and sounds closer to life or at least dramatic realism.
    • 42 Metascore
    • 50 Manohla Dargis
    Neither here nor there, the film is “Elf” without the goofy jokes, Will Ferrell or heart, “Bad Santa” without the smut, Billy Bob Thornton or spleen.
    • 47 Metascore
    • 50 Manohla Dargis
    Ms. Olsen and the more persuasive Mr. Isaac may generate heat, but their performances and the filmmaking lack the frenzy that might explain how these two crazy kids turned into murderous fiends.
    • 60 Metascore
    • 50 Manohla Dargis
    Nasty, brutish and as cuddly as a crusty old sock fished out of a sewer, the beaver or the beav, as I like to think of him, owns the film.
    • 56 Metascore
    • 50 Manohla Dargis
    If Mr. Cruise doesn't work in Valkyrie, it's partly because he's too modern, too American and way too Tom Cruise to make sense in the role, but also because what passes for movie realism keeps changing, sometimes faster than even a star can change his brand.
    • 71 Metascore
    • 50 Manohla Dargis
    Largely a conventional, wan affair, despite its art-cinema flourishes.
    • 59 Metascore
    • 50 Manohla Dargis
    Despite Mr. Shannon and Mr. Spacey, who appear to be having a fine time working off each other, the meeting is anticlimactic.
    • 52 Metascore
    • 50 Manohla Dargis
    It's a soulless and dull bit of showmanship, but it sure sounds profound.
    • 75 Metascore
    • 50 Manohla Dargis
    A lot here is genially entertaining, but it doesn't make for interesting or vital filmmaking, because while Levinson might honestly prefer rye, he makes movies the way Wonder Bread bakes.
    • 50 Metascore
    • 50 Manohla Dargis
    The shaky comedy My Super Ex-Girlfriend must have been a dream to pitch: "Fatal Attraction" meets "Wonder Woman," but funny.
    • 63 Metascore
    • 50 Manohla Dargis
    Mr. Svankmajer’s provocations skew toward the intellectual and the shivery rather than the pop and the visceral, and at his best, he doesn’t just get under your skin, but also deep in your head, too. Here, unfortunately, he does neither, despite some marvelous stop-motion animated sequences involving a literal moveable feast of severed animal tongues, loose eyeballs and errant brains.
    • 67 Metascore
    • 50 Manohla Dargis
    A handsome-looking film about the writer and his unripe inspirations, the actor Johnny Depp neither soars nor crashes, but moseys forward with vague purpose and actorly restraint.
    • 61 Metascore
    • 50 Manohla Dargis
    (Hayek's) performance is far from a disgrace, but it lacks gravitas and soul, a sense of passionate purpose, a hint of obsession. The best Hayek can do with her lovely face is cloud it with worry, but the face of Frida Kahlo demands anguish.
    • 62 Metascore
    • 50 Manohla Dargis
    It’s a film that wants to play as if it were ripped from today’s headlines, but has been shredded into near incoherence.
    • 56 Metascore
    • 50 Manohla Dargis
    A deeply conventional story about truculent or orphaned boys and the gentle soul who finds himself by shaping the tots into a chorus.
    • 37 Metascore
    • 50 Manohla Dargis
    Sporadically funny, casually sexist, blithely racist and about as visually sophisticated as a parking-garage surveillance video.
    • 54 Metascore
    • 50 Manohla Dargis
    What at first came across as a tale of dawning conscience increasingly starts to feel rigged.
    • 48 Metascore
    • 50 Manohla Dargis
    It's disconcerting to watch Sweetness, tiny and light-skinned, assaulting Latonya, large and dark-skinned, partly because it bluntly if inconclusively underscores a crucial color divide that runs through this film like a throbbing vein.
    • 49 Metascore
    • 50 Manohla Dargis
    The sweetheart leads, Josh Zuckerman and Amanda Crew, are easy to spend time with, and Seth Green as an Amish hipster and Clark Duke as an unlikely lady-killer hit every sweet-and-sardonic note with panache.
    • 49 Metascore
    • 50 Manohla Dargis
    Its mood is so muffled and point so submerged, it's difficult to see why Mr. Reeves and the rest of the cast pooled their talents to make a movie about a nowhere man going no place in particular in Buffalo.
    • 61 Metascore
    • 50 Manohla Dargis
    For much of the movie, Junn is a one-dimensional grump who pulls this schematic if unfocused movie down with each frown and harrumph.
    • 42 Metascore
    • 50 Manohla Dargis
    In the new film, it's personal tragedy that provokes the journey, not social upheaval or even scientific curiosity -- which, predictably, makes for a story that's at once more familiar and less interesting.
    • 63 Metascore
    • 50 Manohla Dargis
    Scott's ravishing visual style, characterized by a fetishistic attention to surface detail and unrelenting beauty, can work wonders with big subjects, but this is also a director who needs actors powerful enough to shoulder narrative and emotional extremes.
    • 51 Metascore
    • 50 Manohla Dargis
    That Mr. Posin and Mr. McDuffie have stacked the deck against Nikki would be more irritating if Ms. Bening didn’t immediately make this woman come so satisfyingly alive, breathing believable vitality and at times contradictory emotions into what might have otherwise registered as a blur or cliché.

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