Manohla Dargis
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For 1,532 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 0.4 points higher than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Synecdoche, New York
Lowest review score: 0 The Replacement Killers
Score distribution:
1,532 movie reviews
    • 83 Metascore
    • 100 Manohla Dargis
    Glorious and goofy and blissfully deranged.
    • 97 Metascore
    • 100 Manohla Dargis
    It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement.
    • 71 Metascore
    • 100 Manohla Dargis
    With Where the Wild Things Are Jonze has made a work of art that stands up to its source and, in some instances, surpasses it.
    • 94 Metascore
    • 100 Manohla Dargis
    The result is an American masterpiece, independent to the bone.
    • 86 Metascore
    • 100 Manohla Dargis
    The latest masterwork from Hayao Miyazaki, places emphasis on the natural world, its tumults and fragility.
    • 92 Metascore
    • 100 Manohla Dargis
    The film is above all a consummate work of art, one that transcends the historically fraught context of its making, and its pleasures are unapologetically aesthetic. It reveals, excites, disturbs, provokes, but the window it opens is to human consciousness itself.
    • 67 Metascore
    • 100 Manohla Dargis
    To say that Charlie Kaufman's Synecdoche, New York is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now.
    • 84 Metascore
    • 100 Manohla Dargis
    Children of Men may be something of a bummer, but it’s the kind of glorious bummer that lifts you to the rafters, transporting you with the greatness of its filmmaking.
    • 91 Metascore
    • 100 Manohla Dargis
    A sublimely nimble evisceration of that cult of celebrity known as the British royal family.
    • 85 Metascore
    • 100 Manohla Dargis
    Mr. Greengrass knows how to do his job, and there’s no one in Hollywood right now who does action better, who keeps the pace going so relentlessly, without mercy or letup, scene after hard-rocking scene.
    • 81 Metascore
    • 100 Manohla Dargis
    A masterpiece of indirection and pure visceral thrills, David Cronenberg's latest mindblower, A History of Violence, is the feel-good, feel-bad movie of the year.
    • 71 Metascore
    • 100 Manohla Dargis
    One of the enormous pleasures of genre filmmaking is watching great directors push against form and predictability, as Mr. Romero does brilliantly in Land of the Dead. One thing is for sure: You won't go home hungry.
    • 75 Metascore
    • 100 Manohla Dargis
    Audiard's superb remake improves on the original significantly, investing it with aesthetic grandeur and emotional depth.
    • 67 Metascore
    • 100 Manohla Dargis
    One of this year's indisputably great films.
    • 78 Metascore
    • 100 Manohla Dargis
    Like Hitchcock, Mr. Wong is at once a voyeur and fetishist par excellence.
    • 87 Metascore
    • 100 Manohla Dargis
    Mr. Herzog is also no ordinary filmmaker. It is the rare documentary like Grizzly Man, which has beauty and passion often lacking in any type of film, that makes you want to grab its maker and head off to the nearest bar to discuss man's domination of nature and how Disney's cute critters reflect our profound alienation from the natural order.
    • 99 Metascore
    • 100 Manohla Dargis
    This film, which was never released in America and will now be making its way across the country in limited release, has been immaculately restored and features new subtitles. You can get lost in the blackness of its heart and its shadows. You might never come back.
    • 79 Metascore
    • 100 Manohla Dargis
    Together with his extraordinary performers, Mr. Chéreau breathes life into characters who long ago set a course for death.
    • 84 Metascore
    • 100 Manohla Dargis
    A triumph of modesty and of seriousness that also happens to be one of the finest American films of the year.
    • 83 Metascore
    • 100 Manohla Dargis
    A haunting, voluptuously beautiful portrait of a teenage boy who, after being suddenly caught in midflight, falls to earth.
    • 85 Metascore
    • 100 Manohla Dargis
    A film of startling originality and beauty -- feels like a communiqué from another time, another place, anywhere but here.
    • 90 Metascore
    • 100 Manohla Dargis
    One of those rare films in which the moral stakes are as insistent and thought through as the aesthetic choices.
    • 85 Metascore
    • 100 Manohla Dargis
    This isn't a profound film, or even an important one, but then it isn't trying to be. It's so diverting and so full of small satisfying pleasures, you don't realize how good it is until it's over.
    • 83 Metascore
    • 100 Manohla Dargis
    An effortlessly complex portrayal that relishes the contradictions and complexities of someone capable of both exalted and debased behavior, a shape-shifter it is possible to be fascinated, repelled and compelled by, all at the same time.
    • 82 Metascore
    • 100 Manohla Dargis
    In one of the sweetest ironies of the entire film year, Sam Raimi has made an A-movie with the soul of a B-movie classic.
    • 90 Metascore
    • 100 Manohla Dargis
    To look at Apocalypse Now is to realize that most of us are fast forgetting what a movie looks like -- a real movie, the last movie, an American masterpiece.
    • 91 Metascore
    • 100 Manohla Dargis
    A dazzling epic of love, guns, gangsters and cigarettes.
    • 84 Metascore
    • 100 Manohla Dargis
    The film's three leads are extraordinary, but what Moore does with her role is so beyond the parameters of what we call great acting that it nearly defies categorization.
    • 100 Metascore
    • 100 Manohla Dargis
    If in Bresson's films nothing ever seems out of place or superfluous it's because he strove to find the essential truth of the image. Not an image or sound is wasted -- or offered up in self-glorification -- and from such seeming simplicity there arises a world of feeling.
    • 85 Metascore
    • 100 Manohla Dargis
    A comedy poised on the knife's edge of tragedy, the film is a gutsy, truthful, deeply rooted vision of contemporary American life, scaled to the size of an ordinary man. It's a humanist triumph strip-mined of bathos and confirmation that, after directing just three features, Payne has become the most gifted comic social satirist to hit our movies since Preston Sturges.