Marjorie Baumgarten

Select another critic »
For 1,800 reviews, this critic has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Fighter
Lowest review score: 0 Mortal Kombat: Annihilation
Score distribution:
1800 movie reviews
    • 78 Metascore
    • 50 Marjorie Baumgarten
    Instead of aiming for biographical overview, this film strives to capture a sense of what makes Sakamoto’s music tick. (Hint: It’s not a metronome, but rather, the sounds of nature.)
    • 62 Metascore
    • 67 Marjorie Baumgarten
    Never Goin’ Back and its overworked tropes should, by all rights, be a trifle of a film, but what Frizzell and her two leads deliver is more fun than a floating party boat.
    • 72 Metascore
    • 67 Marjorie Baumgarten
    The film’s basic problem is that it jumps around too much, with an array of speakers from Montana to Washington, D.C. to California.
    • 88 Metascore
    • 89 Marjorie Baumgarten
    Although the dramatic scale of Leave No Trace is small as well, that trait should not be mistaken for insignificance. This film raises more questions than it answers, which can prove a turnoff to some viewers, but others will soak in its ambiguities long after the closing credits.
    • 75 Metascore
    • 67 Marjorie Baumgarten
    For those who only remember Houston as the train-wreck spectacle she devolved into during her latter years, this documentary will do a good job of providing the basic outline of her life.
    • 61 Metascore
    • 67 Marjorie Baumgarten
    The film’s overarching story is solidly scripted, although it lags somewhat in the second act, and the government figure played by Catherine Keener is woefully undeveloped (an especially sore point since Emily Blunt in the original film portrayed such a formidable female lead).
    • 49 Metascore
    • 50 Marjorie Baumgarten
    As a filmed drama, Mary Shelley is sorely in need of a jolt of electricity similar to the one that reanimated Frankenstein’s monster in the author’s novel.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    Antwan "Big Boi" Patton appears in an entertaining role as Atlanta’s weaselly mayor. Atlanta may have dibs on Youngblood Priest this time, but even though the character is still fly in this reboot, it would be a stretch to regard him as truly superfly.
    • 81 Metascore
    • 78 Marjorie Baumgarten
    Summer 1993 reveals itself to us as if it were a scrapbook of memories tumbling forth. Some are clearer than others, yet the movie retains a subjective, childlike point of view.
    • 58 Metascore
    • 89 Marjorie Baumgarten
    This is one of the major delights of Hotel Artemis: a plot that posits a damaged, Medicare-aged woman as its central figure. And that the role is executed by a two-time Oscar-winning actress delivering her best work in many years makes this a rare treat.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Like the peanut butter that serves as a primary source of sustenance in the film, Adrift can be devoured in smooth and/or crunchy modes: high-seas romance or cataclysmic adventure. There are commendable aspects to recommend each approach, yet the final result is an uneasy blend.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Even though Mrs. Hyde loses the trees for the forest, any movie starring Huppert (Elle, The Ceremony) is radiant, and it should be evident that tossing in a special effect or a message will be superfluous.
    • 63 Metascore
    • 50 Marjorie Baumgarten
    He seems to be everything anyone might want from a pope, and this commissioned film seems to be part of the PR campaign to spread that particular gospel to the world.
    • 60 Metascore
    • 67 Marjorie Baumgarten
    McNeil’s first-time film direction is capable but his screenplay suffers from a few too many cliches.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    It’s mildly entertaining while also masking criminal deceptions as romantic foreplay. Yet this remake has little of the real-life sizzle that Hawn and Russell added to the story.
    • 34 Metascore
    • 40 Marjorie Baumgarten
    Kings is a confusing and far-fetched story in which good intentions outweigh good storytelling.
    • 92 Metascore
    • 89 Marjorie Baumgarten
    The Rider is a stunning piece of fiction played close to the bone.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    The familiar narrative gambits of Finding Your Feet aren’t the problem here as much as their heavy-handed execution.
    • 87 Metascore
    • 78 Marjorie Baumgarten
    Despite its reliance on some overworked symbolism, the screenplay by David Tranter and Steven McGregor is smart. However, the intercut flash-forwards and flashbacks do little to aid our understanding or appreciation of the story, and seem like artistic frippery.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    The seductive scenery in this French film will sink its hooks into any hungering soul, and the window into the winemaking process it offers will stimulate the juices of any armchair oenophile. But the dramatic core of Cédric Klapisch’s Back to Burgundy is pure boilerplate.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    There’s a naivete about the film that only a teen at heart could love.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    There is no character development or psychology manifested in any aspect of The Strangers.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    The new Death Wish is unlikely to spark similar controversy, simply because the filmmaking is not as compelling as in the original film.
    • 73 Metascore
    • 78 Marjorie Baumgarten
    The peerless crew of actors playing the party guests present stinging dialogue and reactions with the precision of expert marksmen.
    • 76 Metascore
    • 67 Marjorie Baumgarten
    24 Frames is a classically Kiarostami work, indicative of his life’s curiosities and trademark inquiries, but far short of a culminating utterance.
    • 72 Metascore
    • 67 Marjorie Baumgarten
    The Insult shows how personal resolutions may be the only recourse and pathway to personal peace.
    • 84 Metascore
    • 78 Marjorie Baumgarten
    The film is historical yet its characters are fictional. Well-captured is the controlled chaos of some of the political actions.
    • 83 Metascore
    • 78 Marjorie Baumgarten
    Some have remarked that The Post is the story of Kay transforming into Katharine Graham, which is pretty on the mark.
    • 84 Metascore
    • 78 Marjorie Baumgarten
    Dry, ironic humor is also one of the primary ingredients of The Other Side of Hope, and one of Kaurismäki’s signature elements.
    • 63 Metascore
    • 67 Marjorie Baumgarten
    Dense with captivating ideas and visual feats, Downsizing is a packed offering whose oversized ambitions may outstrip its accomplishments.

Top Trailers