Marjorie Baumgarten

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For 1,694 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Midnight Cowboy
Lowest review score: 0 BloodRayne
Score distribution:
1694 movie reviews
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Breaks down before it gets out of the driveway.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Hardly lives up to its name -- bedeviled is more like it.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Lacks the bite that can equal the Bruckheimer bark.
    • 30 Metascore
    • 30 Marjorie Baumgarten
    The Art of War must ultimately be chalked up as a strategic defeat.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    The comedy is often harsh and cruel.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    Spotlessly dull.
    • tbd Metascore
    • 30 Marjorie Baumgarten
    Christian filmmaking has entered a new phase in which its creators have discovered how to soft-pedal their message under wraps of a conventional story.
    • 69 Metascore
    • 30 Marjorie Baumgarten
    Not even the rich and nuanced performances of stage veterans Smith, Gambon, and Birkin can save this British period drama from languishing amid the story's unfocused longings and unrealistic musings.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Sex may, indeed, be all in the mind, but Romance fails to score in the mind's eye.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    The Monkey's Mask is filmed with an eye toward an arthouse sheen, although Lang's dramatic pacing is sluggish and dull.
    • 28 Metascore
    • 30 Marjorie Baumgarten
    A hackneyed police story, rife with clichés, implausibilities, and weak performances.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    When a human joke like Tony Robbins is the only one who comes away from your movie smelling like a rose, there's a real problem in Farrellyland.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    The kind of movie that gives "chick flicks" a bad reputation.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    A mildly diverting comedy but has little of real substance to recommend it.
    • 54 Metascore
    • 30 Marjorie Baumgarten
    If it's a good heist movie you're after, there are surely better ways to go than with this limp caper.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Ultimately sinks under the weight of its good intentions. It’s like watching Univision or Telemundo on the big screen.
    • 39 Metascore
    • 30 Marjorie Baumgarten
    Across-the-board, the kids are extremely adorable to watch (not an easy thing to pull off) and will appeal to the other kids in the audience who might identify with them and see the story from the kids’ point of view. But looking at this film from any other perspective, will give you brain rot.
    • 25 Metascore
    • 30 Marjorie Baumgarten
    Each of the characters is dull and boorish instead of witty and urbane.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    Even at 82 minutes in length, Superstar feels uncomfortably stretched.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.
    • 54 Metascore
    • 30 Marjorie Baumgarten
    Seems more like an amateur revue, perfectly all right for what it is, but not meant to be seen beyond an audience of friends and family.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Learn from the Evers family: The Haunted Mansion is not worth the detour.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Everyone learns a lesson by movie’s end: Don’t put work before family. Curiously, no one learns that all this could have been avoided with a good method of birth control.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    Retains and updates the basic plot points while losing much of the original's heart and soul.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Posey and Sheen appear to have a blast playing oversized characters so obnoxious that it's obvious they belong together.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    It seems nothing is left out, and the movie makes us begin to feel as though we've witnessed every swing the man ever swung.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    Not uninteresting, and it is very nicely performed, although you'll strain to learn from the movie the history on which it is based and struggle futilely to get inside the motivations of its characters.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    All this would be fine if the script by Forrest Smith had more wit and fewer clichés, or the direction by former makeup artist Abascal had more inventiveness.
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Duigan has the makings of a good yarn, but instead of trusting the story and his characters, he becomes fatally bogged down in trying to make statements.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    My favorite line from the movie: "The god---- truth won't fit in your brain." How's that for cheap gimmicks for getting out of having to make a movie make sense?
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Moog is an inventor's movie all the way.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    It's unclear what Brooks is trying to say about our melting-pot culture, if anything.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Much more "Splish" than "Splash."
    • 40 Metascore
    • 30 Marjorie Baumgarten
    Only the most indulgent would fail to notice that this movie can't hold a tune.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Lovitz is occasionally amusing, especially in his creative attempts to get through to his pupils, although his style of slow-take humor is a grave mismatch for this kind of frenzied comedy.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Cruelty, church redemption, miraculous healings of limbs and junkie relatives – all have their moments onscreen.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Without better material, Bullock’s talents will remain undercover.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    Images seem to be grafted into the film that have little to do with the actual story.
    • 71 Metascore
    • 30 Marjorie Baumgarten
    In contrast to its great title, Mad Hot Ballroom is anything but: Let’s just say I was not spellbound.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    The movie makes use of every avian pun possible, a pattern that becomes quickly monotonous and predictable, if not contagious.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    As cold and unseemly as that stiff found in the shower.
    • 41 Metascore
    • 30 Marjorie Baumgarten
    Phenomenon flails about in a search for direction: inspirational drama, romance, social study, government intrigue- nothing fits or is explored very deeply.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    The kind of film that will be suitable for all-ages entertainment once the family runs out of conversation after devouring all the turkey, but it's unlikely to expand its audience beyond these captives.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Manic energy is the term that comes most readily to mind when describing Ace Ventura.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Despite an A-list cast and director, it's astonishing how bad this movie is.
    • 28 Metascore
    • 30 Marjorie Baumgarten
    The interfacing of the two-dimensional and three-dimensional characters is so shabbily accomplished that it makes you start noticing all the other technical glitches in the work.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Bland jokes and lazy contrivances.
    • 21 Metascore
    • 30 Marjorie Baumgarten
    Bratz is way too long.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    An awful lot of good talent has been squandered in this by-the-numbers film.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    Coppola never manages to get his themes to coalesce into anything terribly coherent.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    Perry tosses everything at his disposal into his movie gumbo, even a completely gratuitous appearance by his signature, self-performed, alter-ego in drag Madea – most likely to set up the premise for his next film "Madea Goes to Jail."
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Perelman eases the transitions between the past and the present with echoing phrases and situations, but they all seem rather pat and contrived. Does he really think that repeated refrains from the Zombies oldie, "She's Not There," won't be a dead (so to speak) giveaway?
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Swing Vote may muster a few easy laughs, but the film is no contender.
    • 56 Metascore
    • 30 Marjorie Baumgarten
    Stuff the cork back in: This wine movie was sold before its time.
    • 26 Metascore
    • 30 Marjorie Baumgarten
    With Filth and Wisdom, the Material Girl has now spliced the title of film writer and director into her list of accomplishments, but the result is, well, immaterial.
    • 53 Metascore
    • 30 Marjorie Baumgarten
    The lesson learned from The Tale of Despereaux is that an overabundance of vocal talent does not a good cartoon make.
    • 41 Metascore
    • 30 Marjorie Baumgarten
    The revelation of Little Ashes turns out to be none of the leading men but rather Gatell, a riveting actress cast as the girlfriend who is mystified by Lorca’s lack of sexual interest in her.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    How the devastating story of the senseless murder of a 14-year-old could be stripped of emotion is a feat in itself, though one of dubious achievement.
    • 39 Metascore
    • 30 Marjorie Baumgarten
    Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.
    • 58 Metascore
    • 30 Marjorie Baumgarten
    Despite a title change from "The Boat That Rocked" to Pirate Radio, this British import exudes about as much outlaw swagger as Tom DeLay in a dance competition.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Everybody’s Fine – a movie about the lies grown children tell their parents – is, ironically, one of the most disingenuous movies to come out of Hollywood in a while.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    The title, The Last Song, may be wishful thinking for some, but the best they can probably hope for is the close of the era of Hannah Montana movies.
    • 43 Metascore
    • 30 Marjorie Baumgarten
    Could have used a touch of Madea’s down-home, self-reliant wisdom to spice up the marital doldrums of these four buppie couples.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    The problem lies with the unimaginative story premise and the quip/reverse quip dialogue that just may be better-suited to half-hour television shows than this nearly 2½-hour movie feature.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Pleasant but dull formula film.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    If there were any brooms in Disney's new Sorcerer's Apprentice they would have to be used to sweep this tired dreck to the curb.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Going the Distance has a tin ear and sullied eye: Nothing sounds or looks very good.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Burlesque bumps and grinds. And then it continues to grind and grind and grind.
    • 38 Metascore
    • 30 Marjorie Baumgarten
    Delivers sinister atmosphere but few shocks.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The kindest thing that might be said of this Eighties nostalgia trip is that its formulaic plot and overall mirthlessness are meant as mimetic tributes to that blasted decade.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Arthur overextends its welcome and relies too much on prop comedy.
    • 45 Metascore
    • 30 Marjorie Baumgarten
    Deathbed scenes and colonoscopy humor, Bible quotations and Maury Povich "Who Is the Real Baby Daddy" episodes: All cohabit with equal relevance in the world of Tyler Perry.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    There's an interesting story here, but Joffe never firmly wraps his arms around it.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Although I'm generally a fan of movies that choose to star girls (of any age) as their lead subjects, Judy Moody and the Not Bummer Summer simply strikes the same whiny chord over and over.
    • 64 Metascore
    • 30 Marjorie Baumgarten
    Unlike its multifaceted director, the film never stretches its boundaries.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The film squanders any potential it had to be a revealing look into female intimacy and instead uses broad-scale melodramatic strokes.
    • 25 Metascore
    • 30 Marjorie Baumgarten
    Molina and Weaver, who, most of the time, perform brilliantly, move through Abduction as if on autopilot.
    • 46 Metascore
    • 30 Marjorie Baumgarten
    Atkinson's fans are likely to rejoice as the comedian twists his face and body to and fro, but the rest of us will not be recruited.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film feels about as genuine and spontaneous as its evident lip-synching.
    • 65 Metascore
    • 30 Marjorie Baumgarten
    This Italian import may have greater resonance for the men of Casanova's native land than it does internationally, but it definitely hits on truths infrequently addressed in the movies.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    The primary problem with Blue Like Jazz is that there is no believable character development.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    Only Ruben Blades as President Calles and Bruce Greenwood as American Ambassador Dwight Morrow get out of this film with their acting dignity intact.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Creating plot from lyrics, in this case, leads to heavy-handed literalism and limited creativity. The wall of music is amusing for a while, but grows into a loud, wearying assault long before the movie's two hours are up.
    • 69 Metascore
    • 30 Marjorie Baumgarten
    Despite the filmmakers' efforts to humanize Wilson, however, Bill W. still dabbles in hagiography, valorizing the man while also painting him as a reluctant hero.
    • 42 Metascore
    • 30 Marjorie Baumgarten
    The rescuing of our public schools is a national necessity. I just don't know that we are aiding that cause by sending out oversimplified and dogmatic messages about not backing down.
    • 31 Metascore
    • 30 Marjorie Baumgarten
    Although the original Red Dawn was far-fetched, the remake offers little but vicarious thrills.
    • 49 Metascore
    • 30 Marjorie Baumgarten
    What begins as a cute idea grows annoyingly sentimental before it is through.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Long after Only God Forgives concludes, only its scuzziness remains. This artistic misfire will forever be knocking on heaven’s door.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Although there’s a strong likability quotient for everyone onscreen here, which ought to keep the movie minimally afloat among its target audience of black viewers starved for a new Tyler Perry offering, Baggage Claim should be left behind at the carousel.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    The film lacks any undercurrent of believability.
    • 31 Metascore
    • 30 Marjorie Baumgarten
    The laziness is what irks me most about Blended. Everything from the re-teaming of the two stars and their "Wedding Singer" director, Frank Coraci, reeks of moviemaking by checklist.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    The movie's suspense derives from figuring out how wide the evil net has been cast. But in terms of suspense, this Net is full of holes.
    • 35 Metascore
    • 30 Marjorie Baumgarten
    What the movie ultimately demonstrates is that the sum total is less than the individual parts when you add together Rocky, the Terminator, Indiana Jones, Mad Max, Blade, Zorro, Hercules, and the Transporter.
    • 29 Metascore
    • 30 Marjorie Baumgarten
    Not even this sprightly cast can buck the privileged sense of entitlement that bedevils this movie. Don’t count on the impish humor that Simon Pegg has unleashed so successfully in other movies to save the day.
    • tbd Metascore
    • 30 Marjorie Baumgarten
    Even if some of its history and buckles are askew, the film is still an original take on a Christian redemption story.
    • 34 Metascore
    • 30 Marjorie Baumgarten
    Aloft’s characters exude a certain impregnability, and the story’s structure only further distances us from them.
    • 33 Metascore
    • 30 Marjorie Baumgarten
    When this stereotype masquerades as a storyline, it needs to have a unique spin or radical narrative disruption for it to stand out from all the other self-made movies about white male artists with girl problems and self-worth issues. In Stereo is not the movie that stands out from the rest.
    • 27 Metascore
    • 30 Marjorie Baumgarten
    Even though it’s fair to say that Pixels is on steadier ground than most of Sandler’s recent comedies, the film is nevertheless flat-footed and grows tedious after the first hour.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    This is a bad movie, but one that awakens your senses every so often with flashes of originality and abundant self-belief.

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