Manohla Dargis

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For 1,718 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 0.2 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Amour
Lowest review score: 0 Rock the Kasbah
Score distribution:
1718 movie reviews
    • 78 Metascore
    • 90 Manohla Dargis
    This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
    • 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.
    • 78 Metascore
    • 80 Manohla Dargis
    Private Property embraces the banal and the monstrous, and affords Ms. Huppert opportunity to astonish rather than overwhelm.
    • 78 Metascore
    • 80 Manohla Dargis
    Despite the tears, the blood and the booze, Head-On is a hopeful film.
    • 78 Metascore
    • 100 Manohla Dargis
    Mr. Loznitsa doesn’t lighten the mood with any familiar filmmaking tricks: there are, for instance, no musical cues to guide you over the troubling or ambiguous passages. Like the characters, you work through each surprising turn.
    • 78 Metascore
    • 80 Manohla Dargis
    The film has the feel of a gift. Particularly noteworthy are Mr. Haroun's eloquent silences, visual and aural.
    • 78 Metascore
    • 90 Manohla Dargis
    The world of My Joy is grim, though the experience of watching it and piecing together its fragmented story strands is anything but. It's suspenseful, mysterious, at times bitterly funny, consistently moving and filled with images of a Russia haunted both by ghosts and the living dead.
    • 78 Metascore
    • 100 Manohla Dargis
    [Allen's] most sustained, satisfying and resonant film since “Match Point.”
    • 78 Metascore
    • 70 Manohla Dargis
    Few American filmmakers create female characters as realistically funny, attractively imperfect and flat-out annoying as does Ms. Holofcener, whose features include “Friends With Money” and “Lovely & Amazing.”
    • 78 Metascore
    • 90 Manohla Dargis
    Im recounts the painter's life in bold strokes rather than with the literalist's painstaking detail, and in the process tells us more about the mysteries of genius than a bushel full of quotidian fact.
    • 78 Metascore
    • 60 Manohla Dargis
    Malick dangles his maddeningly innocent ideas about life and death and man's gift for self-destruction.
    • 78 Metascore
    • 90 Manohla Dargis
    A seamless model of form and content. (My only quibble is the poor quality of the digital video, which doesn't do justice to Johnson's work.)
    • 78 Metascore
    • 70 Manohla Dargis
    Uplifting, disheartening, inspiring, enraging -- the mind reels while watching the documentary Pray the Devil Back to Hell, even as the eyes water, the temples pound and the body trembles.
    • 78 Metascore
    • 80 Manohla Dargis
    Its one-week theatrical run will make it eligible for Academy Award consideration, though given that organization's often pitiful record when it comes to nonfiction film, it seems unlikely that a movie this subtly intelligent would make its short list.
    • 78 Metascore
    • 70 Manohla Dargis
    A fine and, on a scene-by-scene basis, often better than fine, if effectively unadventurous work.
    • 78 Metascore
    • 80 Manohla Dargis
    Believable and preposterous, effective as a closing chapter and somewhat of a letdown if only because Mr. Nolan, who continues to refine his cinematic technique, hasn't surmounted "The Dark Knight" or coaxed forth another performance as mesmerizingly vital as Heath Ledger's Joker in that film.
    • 78 Metascore
    • 80 Manohla Dargis
    A central work in the new, boldly politicized Iranian cinema.
    • 78 Metascore
    • 80 Manohla Dargis
    Makes for gripping, merciless drama.
    • 78 Metascore
    • 70 Manohla Dargis
    There's a story, in case you're looking for one, though it's almost an afterthought, just the thin glue holding everything together, including the fine cast, the sense of broody place and the fatalism that seems to come with it. Mostly there's Mr. McDonagh's playful, sometimes overly cute language, which serves the actors and also threatens to upstage them.
    • 78 Metascore
    • 90 Manohla Dargis
    If you let it, No Home Movie invites you in first with its intimacy and then its deep feeling.
    • 78 Metascore
    • 90 Manohla Dargis
    Unguided by obvious story signposts, you slip from image to image, pulled along by their beauty (the digital cinematography is by Chris Dapkins) and by the dreamy, leisurely rhythms of the editing (by Seth Bomse).
    • 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
    • 60 Manohla Dargis
    Much like its young hero, played by Daniel Radcliffe, the film has begun to show signs of stress around the edges, a bit of fatigue, or maybe that’s just my gnawing impatience.
    • 78 Metascore
    • 70 Manohla Dargis
    Guest begins -- but doesn't end -- with caricatures, then peels away at our preconceptions until we see the heart and soul beneath.
    • 78 Metascore
    • 70 Manohla Dargis
    Too short by half, Lost Boys of Sudan affords frustratingly little by way of real analysis and history. But it does introduce us to two extraordinary young men whose faith in this country is almost as unbearably sad as their stories.
    • 78 Metascore
    • 80 Manohla Dargis
    The line between cinematic art and exploitation has rarely seemed finer and nervier, at least in recent memory, than in the French film Innocence.
    • 78 Metascore
    • 90 Manohla Dargis
    What’s explicit here is ravenous passion and the depiction of desire as a creating, destroying force that invades the very flesh. It's terribly French.
    • 78 Metascore
    • 90 Manohla Dargis
    It's all terribly tortured, often laugh-out-loud, absurdly funny and, as with all of Maddin's movies, conveyed through images that are as lush and beautifully over the top as the story's emotions.
    • 78 Metascore
    • 60 Manohla Dargis
    As it turns out, nothing else in Tracks matches the dramatic pow of a camel being relieved of his testes. Despite the otherworldly scenery and some predictable tragedy — Robyn can be maddeningly careless about the welfare of her animals — this proves to be a rather logy amble.
    • 78 Metascore
    • 70 Manohla Dargis
    The French director Bertrand Tavernier deploys some smart ideas in this film, a period story about wars on the battlefield and those closer to home, but there's something a bit goatish in his attention to some female charms.

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