Manohla Dargis
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For 1,556 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 Captain Phillips
Lowest review score: 0 The Replacement Killers
Score distribution:
1,556 movie reviews
    • 74 Metascore
    • 100 Manohla Dargis
    Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 100 Manohla Dargis
    The latest masterwork from Hayao Miyazaki, places emphasis on the natural world, its tumults and fragility.
    • 83 Metascore
    • 100 Manohla Dargis
    Glorious and goofy and blissfully deranged.
    • 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.
    • 79 Metascore
    • 100 Manohla Dargis
    Black Swan is visceral and real even while it's one delirious, phantasmagoric freakout.
    • 81 Metascore
    • 100 Manohla Dargis
    Ms. Denis has an extraordinary gift for finding the perfect image that expresses her ideas, the cinematic equivalent of what Flaubert called le mot juste.
    • The New York Times
    • 80 Metascore
    • 100 Manohla Dargis
    In some ways, much like Charles Laughton's "Night of the Hunter," which the Coens quote both musically and visually, True Grit is a parable about good and evil. Only here, the lines between the two are so blurred as to be indistinguishable, making this a true picture of how the West was won, or - depending on your view - lost.
    • 89 Metascore
    • 100 Manohla Dargis
    The importance of seeing, seeing the world deeply, is at the heart of this quietly devastating, humanistic work from the South Korean filmmaker Lee Chang-dong.
    • 86 Metascore
    • 100 Manohla Dargis
    The 3-D is sometimes less than transporting, and the chanting voices in the composer Ernst Reijseger's new-agey score tended to remind me of my last spa massage. Yet what a small price to pay for such time traveling!
    • 85 Metascore
    • 100 Manohla Dargis
    City of Life and Death isn't cathartic: it offers no uplifting moments, just the immodest balm of art. The horrors it represents can be almost too difficult to watch, yet you keep watching because Mr. Lu makes the case that you must.
    • 87 Metascore
    • 100 Manohla Dargis
    It's hard to imagine anyone but Mr. Pitt in the role. He's relaxed yet edgy and sometimes unsettling.
    • 80 Metascore
    • 100 Manohla Dargis
    A first-rate art-house thriller, Miss Bala tells the strange, seemingly impossible story of a Mexican beauty queen who becomes the accidental pawn of a drug cartel. It's an adventure story that could be called a contemporary picaresque if it weren't so deadly serious.
    • 87 Metascore
    • 100 Manohla Dargis
    A quietly rapturous film about love and redemption.
    • 86 Metascore
    • 100 Manohla Dargis
    It's a doozy of a story and so borderline ridiculous that it sounds - ta-da! - like something that could have been cooked up only by Hollywood.
    • 92 Metascore
    • 100 Manohla Dargis
    Seemingly banal in its conceit, wildly startling in its execution, it tracks a film crew that, like a detective squad, investigates what became of an ordinary man.
    • 81 Metascore
    • 100 Manohla Dargis
    For all its high-flying zaniness the movie has the sting of life, and its humor feels dredged up from the same dark, boggy place from which Samuel Beckett extracted his yuks.
    • 95 Metascore
    • 100 Manohla Dargis
    Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element.
    • 94 Metascore
    • 100 Manohla Dargis
    A masterpiece about life, death and everything in between.
    • 86 Metascore
    • 100 Manohla Dargis
    Barbara is a film about the old Germany from one of the best directors working in the new: Christian Petzold. For more than a decade Mr. Petzold has been making his mark on the international cinema scene with smart, tense films that resemble psychological thrillers, but are distinguished by their strange story turns, moral thorns, visual beauty and filmmaking intelligence.
    • 63 Metascore
    • 100 Manohla Dargis
    In Spring Breakers [Mr. Korine] bores into a contested, deeply American topic — the pursuit of happiness taken to nihilistic extremes — but turns his exploration into such a gonzo, outrageously funny party that it takes a while to appreciate that this is more of a horror film than a comedy.
    • 80 Metascore
    • 100 Manohla Dargis
    Like “The Shining” and its maze within a maze, Mr. Ascher’s movie is something of a labyrinth. Puzzling your way through its compilation of vaguely lucid and crackpot ideas is pleasurable though, for avid movie lovers, it may also feel like a warning.
    • 69 Metascore
    • 100 Manohla Dargis
    Life and death, nature and culture, sex and money, man and beast, God and the Devil — Post Tenebras Lux embraces the world even if it doesn’t open itself up to ready interpretation.
    • 91 Metascore
    • 100 Manohla Dargis
    Stories We Tell has a number of transparent virtues, including its humor and formal design, although its most admirable quality is the deep sense of personal ethics that frames Ms. Polley’s filmmaking choices.
    • 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.
    • 80 Metascore
    • 100 Manohla Dargis
    In Sweetgrass, a graceful and often moving meditation on a disappearing way of life, there is little here that is objective and much that is magnificent.
    • 78 Metascore
    • 100 Manohla Dargis
    [Allen's] most sustained, satisfying and resonant film since “Match Point.”

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