Manohla Dargis
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For 1,548 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 0.5 points higher than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Poetry
Lowest review score: 0 How to Lose Friends & Alienate People
Score distribution:
1,548 movie reviews
    • 84 Metascore
    • 90 Manohla Dargis
    Moonrise Kingdom breezes along with a beautifully coordinated admixture of droll humor, deadpan and slapstick. Like all of Mr. Anderson's films, though, there's a deep, pervasive melancholia here too.
    • 67 Metascore
    • 90 Manohla Dargis
    Benoît Jacquot's tense, absorbing, pleasurably original look at three days in the life and lies of a doomed monarch.
    • 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.
    • 72 Metascore
    • 90 Manohla Dargis
    Far more than Norman's adventure, which takes him from home to a cemetery and deep into his town's history, what pulls you in, quickening your pulse and widening your eyes, are the myriad visual enchantments - from the rich, nubby tactility of his clothes to the skull-and-bones adorning his bedroom wallpaper.
    • 66 Metascore
    • 90 Manohla Dargis
    Stuffed with zingers and zippy stunts, it comes with pretty young things of all hues and hair types - few prettier than its lead, Joseph Gordon-Levitt - and start-to-finish clever special effects, none more clever or special than Michael Shannon.
    • 75 Metascore
    • 90 Manohla Dargis
    Ms. DuVernay, from start to finish in this very fine movie, works to make sure that Ruby is a woman to remember.
    • 84 Metascore
    • 90 Manohla Dargis
    It's a gift for moviegoers to have this much freedom, and exhilarating. In Holy Motors you never know where Mr. Carax will take you and you never know what, exactly, you're to do once you're there.
    • 76 Metascore
    • 90 Manohla Dargis
    Flight is freakishly real; it's one of those big-screen nightmares that will inspire fear-of-flying moviegoers to run home and Google car rental deals and Greyhound schedules.
    • 74 Metascore
    • 90 Manohla Dargis
    The bright sun that blasts through Starlet, a thrillingly, unexpectedly good American movie about love and a moral awakening, bathes everything in a radiant light, even the small houses with thirsty lawns and dusty cars.
    • 81 Metascore
    • 90 Manohla Dargis
    No
    Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.
    • 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).
    • 51 Metascore
    • 90 Manohla Dargis
    An effectively creepy thriller about a 911 operator and a young miss in peril, The Call is a model of low-budget filmmaking.
    • 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.
    • 66 Metascore
    • 90 Manohla Dargis
    Again and again, as the story shifts between women, times and moods, Mr. Jordan adds a punctuating flourish...that exquisitely illustrates the once-upon-a-time mood.
    • 68 Metascore
    • 90 Manohla Dargis
    The dread gathers and surges while the blood scarcely trickles in The Conjuring, a fantastically effective haunted-house movie.
    • 79 Metascore
    • 90 Manohla Dargis
    Much like the Dardennes, Mr. Joachim holds to the truth that the personal is political, which is why this isn’t simply a movie about a woman and an unspeakable crime, but also an exploration of the power and cruelty that brought her to that very dark place.
    • 75 Metascore
    • 90 Manohla Dargis
    Mr. Howard doesn’t just want you to crawl inside a Formula One racecar, he also wants you to crawl inside its driver’s head.
    • 69 Metascore
    • 90 Manohla Dargis
    The story grips you entirely even if Ms. Denis’s worldview here finally feels like a tomb: terrifying, pitiless, inevitable.
    • 70 Metascore
    • 90 Manohla Dargis
    A potent, persuasive and quietly furious documentary.
    • 86 Metascore
    • 90 Manohla Dargis
    Mostly, Ernest & Celestine is an ode to the happiness that comes from being with those different from us.
    • 69 Metascore
    • 90 Manohla Dargis
    What tethers the movie and especially April and Teddy is how Ms. Coppola captures that exquisitely tender, moving moment between fragile, self-interested youth and tentatively more outwardly aware adulthood, a coming into consciousness that she expresses through their broken sentences, diverted glances and abrupt turns.
    • 72 Metascore
    • 90 Manohla Dargis
    [A] handsome, intelligently absorbing and stirring biographical portrait.
    • 76 Metascore
    • 90 Manohla Dargis
    Mr. Stevens’s watchful restraint gives the early scenes a slow burn and a sinister glaze.
    • 72 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.
    • 69 Metascore
    • 80 Manohla Dargis
    Although much has and will be made of the film's sexual explicitness -- and, yes, it is a bit -- this less-than-perfect but deeply felt film is finally most daring for its hard-core insistence on our need for connection.
    • 65 Metascore
    • 80 Manohla Dargis
    Indeed, one of the nicest things about this jewel of a film is that there isn't much of a story at all -- just a handful of delicately drawn characters moving through life that is at once familiar and yet slightly elevated by a director who loves the good in people more than the bad.
    • 65 Metascore
    • 80 Manohla Dargis
    The film is at once breathtaking and ridiculous, and it's the tension between these two extremes, as well as Carax's own intoxicating style, that makes it essential viewing.
    • 78 Metascore
    • 80 Manohla Dargis
    A central work in the new, boldly politicized Iranian cinema.
    • 79 Metascore
    • 80 Manohla Dargis
    A surprisingly affecting mood piece.
    • 74 Metascore
    • 80 Manohla Dargis
    Curiously, one of the film's stranger effects is that it's more convincing as a meditation on desire and Hollywood than as a biographical exploration.