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 0.8 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Her
Lowest review score: 0 Slackers
Score distribution:
1773 movie reviews
    • 84 Metascore
    • 90 Manohla Dargis
    Mr. Leigh has never been an artist for whom happy (word or idea) has been an easy fit. Life is sweet, as the title of another of his films puts it with a heart-swelling yes, but it’s also an eternal fight against doom and gloom, the soul-crushing no.
    • 95 Metascore
    • 90 Manohla Dargis
    When Mr. Eisenberg makes Mark's face go blank, the character seems scarily emptied out: it's a subtly great, at times unsettling, performance.
    • 84 Metascore
    • 90 Manohla Dargis
    A stirring, unexpectedly moving story of love and blood.
    • 69 Metascore
    • 90 Manohla Dargis
    With beauty, mild and sharp jolts, and mesmerizing camerawork, he (Gaspar Noe) tries to open the doors of perception.
    • 84 Metascore
    • 90 Manohla Dargis
    Shot with a sure hand and a cast of unknowns, the film doesn't so much tell a story as develop a tone and root around a place that, despite the intimate camerawork, remains shrouded in ambiguity.
    • 76 Metascore
    • 90 Manohla Dargis
    A tale of cinema, a story about the agonies of trying to work outside the cinematic mainstream (even in France!). Yet what makes the movie so affecting is that it’s also a love story about a family.
    • 55 Metascore
    • 90 Manohla Dargis
    The film is a snort-out-loud-funny master class of controlled chaos.
    • 81 Metascore
    • 90 Manohla Dargis
    The fluidity and convenience of digital moviemaking tools explain some of its freshness, as does Ms. Klayman's history as a budding documentarian. It's clear from watching both the feature and its earlier iterations that, while she was learning about Mr. Ai, she was also learning how to tell a visual story. It's easy to think that hanging around Mr. Ai, a brilliant Conceptual artist and an equally great mass-media interpolater, played a part in her education.
    • 80 Metascore
    • 90 Manohla Dargis
    An attractive, messy drama riddled with violence and edged with comedy that comes with a hint of Grand Guignol, a suggestion of politics and three resonant, deeply appealing performances.
    • 55 Metascore
    • 90 Manohla Dargis
    Dark Shadows isn't among Mr. Burton's most richly realized works, but it's very enjoyable, visually sumptuous and, despite its lugubrious source material and a sporadic tremor of violence, surprisingly effervescent.
    • 72 Metascore
    • 90 Manohla Dargis
    Mr. Eastwood is also an adept director of his own performances and, perhaps more important, a canny manipulator of his own iconographic presence.
    • 73 Metascore
    • 90 Manohla Dargis
    Mr. Amalric, who directed this dark, delectable, shivery tale, adapting it from the Georges Simenon novel, sets its uneasy, dank mood with energetic economy.
    • 86 Metascore
    • 90 Manohla Dargis
    A modest, near-flawless gem, This Is England is the fifth feature by the young British director Shane Meadows, doing his best work since he first hit the festival scene in the mid-1990s with his hilarious, raw-hewn shorts “Small Time.”
    • 85 Metascore
    • 90 Manohla Dargis
    A sustained, alternatingly exhausting and aesthetically exhilarating howl of a film.
    • 55 Metascore
    • 90 Manohla Dargis
    The film’s title, needless to say, has an ironic bite. One of the pleasures of The Merry Gentleman is Mr. Keaton's commitment to that bite, which never registers as cruel or gratuitous, just honest, weary, sad.
    • 80 Metascore
    • 90 Manohla Dargis
    What is clear is that while there are several stories folded into Iris — a marriage tale, an ode to multiculturalism and a fashion spectacular — it is also about the insistent rejection of monocultural conformity.
    • 85 Metascore
    • 90 Manohla Dargis
    Amy
    With Amy, Mr. Kapadia isn’t simply revisiting Ms. Winehouse’s life and death, but also — by pulling you in close to her, first pleasantly and then unpleasantly — telling the story of contemporary celebrity and, crucially, fandom’s cost.
    • 74 Metascore
    • 90 Manohla Dargis
    Inside this small canvas - almost the entire film unfolds in the one apartment - Mr. Eimbcke turns each character into an epic.
    • 92 Metascore
    • 90 Manohla Dargis
    Here Mr. Cantet -- whose earlier features include "Human Resources" and "Time Out," two other dramas about systems of power -- has done that rarest of things in movies about children: He has allowed them to talk.
    • 76 Metascore
    • 90 Manohla Dargis
    Reality is a story about one man’s desire to make it big on the small screen, and something of a familiar exploration of the blurring between reality and its simulations. More elliptically and more interestingly, it is also a look at an Italy engrossed with rituals and spectacle, in watching and being watched.
    • 64 Metascore
    • 90 Manohla Dargis
    Mr. Moretti finds broad comedy in the antics of some clerics, who can seem as sweet as children, but in Melville there is pathos and there is tragedy, and not his alone.
    • 76 Metascore
    • 90 Manohla Dargis
    Some filmmakers give us dreams and false worlds in which we can find refuge. For others, though, like the young Mexican filmmaker Carlos Reygadas, the movies aren't an escape from the world but a way more deeply into it.
    • 74 Metascore
    • 90 Manohla Dargis
    The movie is economical and solid, and generally low-key when it’s not freaking you out. That it unnerves you as much as it does may seem surprising, given that going in, we know how this story ends. But Mr. Eastwood is also very good at his job, a talent that gives the movie its tension along with an autobiographical sheen.
    • 85 Metascore
    • 90 Manohla Dargis
    Tamara Jenkins’s The Savages, is a beautifully nuanced tragicomedy about two floundering souls.
    • 87 Metascore
    • 90 Manohla Dargis
    In many respects Ceausescu turns out to be as much the author of this brilliant documentary as the director, Andrei Ujica, who waded through more than 1,000 hours of filmed state propaganda, official news reports and home movies to create a cinematic tour de force that tracks the rise, reign and grim fall of its subject.
    • 72 Metascore
    • 90 Manohla Dargis
    One of the few films I've seen this year that deserves to be called art. Dark as pitch, as noir, as hate, by turns beautiful and ugly, funny and horrifying, the film is also as cracked as Mad magazine, though generally more difficult to parse.
    • 73 Metascore
    • 90 Manohla Dargis
    Bill Pope's swooping, noir-inflected cinematography is wonderfully complemented by Owen Paterson's inventive production design, a great soundtrack and the best fight choreography this side of Hong Kong. And even if this isn't "Blade Runner," it is very cool shit.
    • 79 Metascore
    • 90 Manohla Dargis
    Often soaringly beautiful melodrama.
    • 81 Metascore
    • 90 Manohla Dargis
    Over time, as the movie returns to specific spaces, touching on human rights and gentrification along the way, it develops into a deeply stirring ode to the immigrant experience and American identity.
    • 78 Metascore
    • 90 Manohla Dargis
    Brutal, urgent, devastating -- the documentary The Devil Came on Horseback demands to be seen as soon as possible and by as many viewers as possible.

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