Marjorie Baumgarten

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For 1,668 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 4.6 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Boys Don't Cry
Lowest review score: 0 Mr. Deeds
Score distribution:
1668 movie reviews
    • 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.
    • 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.
    • 44 Metascore
    • 30 Marjorie Baumgarten
    Retains and updates the basic plot points while losing much of the original's heart and soul.
    • 36 Metascore
    • 30 Marjorie Baumgarten
    Cruelty, church redemption, miraculous healings of limbs and junkie relatives – all have their moments onscreen.
    • 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.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    The primary problem with Blue Like Jazz is that there is no believable character development.
    • 37 Metascore
    • 30 Marjorie Baumgarten
    Manic energy is the term that comes most readily to mind when describing Ace Ventura.
    • 51 Metascore
    • 30 Marjorie Baumgarten
    Going the Distance has a tin ear and sullied eye: Nothing sounds or looks very good.
    • 48 Metascore
    • 30 Marjorie Baumgarten
    It's unclear what Brooks is trying to say about our melting-pot culture, if anything.
    • 47 Metascore
    • 30 Marjorie Baumgarten
    Swing Vote may muster a few easy laughs, but the film is no contender.
    • 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.
    • 51 Metascore
    • 20 Marjorie Baumgarten
    Aronofsky's reach far exceeds his grasp with this film, and the muddle he concocts makes one wonder if there was ever a solid foundation for The Fountain. Hope may spring eternal, but this fountain is a dry hole.
    • 15 Metascore
    • 20 Marjorie Baumgarten
    Nothing about the movie makes much sense.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Badland's only commercial potential lies in the possibility that people may confuse it for Terrence Malick's incomparable "Badlands."
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Silly and implausible.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    Muddled, sloppy, and obfuscating.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    None of it is handled with any emotional believability or grace. Well-worn phrases and plot developments are repeated here as though the world had never heard of "Cinderella."
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Redgrave still manages to inspire awe, yet a poetically prosaic moment like the one in which she goes chasing after a butterfly is enough to throw a net over the whole thing.
    • 27 Metascore
    • 20 Marjorie Baumgarten
    A forgettable and lackluster fish-out-of-water rom-com.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    A frustrating exercise in diverted expectations.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    As arduous to watch as your neighbor’s poorly focused vacation slides.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    The film, however, is short on genuine scares and ingenuity.
    • 23 Metascore
    • 20 Marjorie Baumgarten
    Furry Vengeance would be innocuous enough if only it didn't look as though no effort was made to expand the images past the storyboard phase.
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Adults may have a hard time swallowing this toothless tale of PG-rated bloodsuckers, but kids may relate better to its lessons.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    R.I.P.D. never creates a believable universe, interesting action sequences, or dynamic characters. It’s a paint-by-numbers approach in which the film’s comedy and drama both fall flat.
    • 51 Metascore
    • 20 Marjorie Baumgarten
    Despite a few scattered moments of visceral excitement, the only thing truly frightening about the oh-so-ominously titled Fear is how so many talented people came to be involved in so inane a project.
    • 49 Metascore
    • 20 Marjorie Baumgarten
    V/H/S/2 is for gore hounds exclusively.
    • 7 Metascore
    • 20 Marjorie Baumgarten
    Is That a Gun resorts to smutty humor and moralistic speeches to confront the issue of American gun violence in the wake of Newtown, Conn. This movie uses those murdered babies’ name in vain.
    • 38 Metascore
    • 20 Marjorie Baumgarten
    An exercise in pure sadism, The Collection moves at a clip that leaps over plot holes in its race to elicit fright.
    • 25 Metascore
    • 20 Marjorie Baumgarten
    The logic of it all will be Greek to anyone not predisposed to the movie's rude and crude humor.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    There is a certain sweetness to this teen romance and Gardner’s naive fascination in the newly discovered wonders of Earth. But there is so much that is dopey, on both a scientific and emotional level, that The Space Between Us strikes with the impact of a crash landing.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    The original was indeed ludicrous, but it exuded warmth, vitality, and belief in itself. The 2.0 update splashes up on shore DOA.
    • 39 Metascore
    • 20 Marjorie Baumgarten
    Paul Blart: Mall Cop deserves to be cited for loitering.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    There’s no pacing to the narrative, and the images are perfunctory. I’m Not Ashamed will draw the same audience that has turned Rachel’s journals into popular reading matter, but the film is not likely to lure any converts.
    • 46 Metascore
    • 20 Marjorie Baumgarten
    The Basketball Diaries is a stepped-on product that never scores.
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Looks and tastes an awful lot like a TV movie of the week.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    One well-staged sequence in a parking garage is the film's only memorable moment
    • 19 Metascore
    • 20 Marjorie Baumgarten
    Again. Via Red’s experiences as a young man and wildcatter, Jason learns that money cannot buy happiness. What the viewers learn is that money can’t buy a good movie either.
    • 24 Metascore
    • 20 Marjorie Baumgarten
    In an inspired bit of casting, Lyle Lovett plays the dad of the goofy-looking Diz/Gil. That these two could be related might be the only believable touch in this whole misfired thing.
    • 27 Metascore
    • 20 Marjorie Baumgarten
    Apart from the smutty giggles that derive from the mere mention of the Focker family surname, this third entry in the now 10-year-old comedy franchise falls flat.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Overstays its welcome by at least a half hour. But, assuming that cute Camaro stays in the picture, I expect we’ll all be back for the planned round three.
    • 41 Metascore
    • 20 Marjorie Baumgarten
    It's all probably too slippery for the youngest viewers to grasp and too sketchy for the nostalgia crowd (for whom this revival seems most geared).
    • 37 Metascore
    • 20 Marjorie Baumgarten
    Fist Fight is not a complete dud, but it does grasp at the lowest hanging fruit for its humor.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    Does not live up to its name. It's more like White Men Can't Box, Either.
    • 28 Metascore
    • 20 Marjorie Baumgarten
    Everything is a puzzle and it's as though Lynch lost track of his reasons for making this prequel and got hung up on filming the sordid details that TV won't allow: shots of peeled-back corpse fingernails; close-ups of oscillating uvulas; visions of strange-looking, backward-talking, gyrating weirdos; and uncensored whiffs of sex, cocaine, and families undone.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    No matter your standard of measurement, this production falls short.
    • 73 Metascore
    • 20 Marjorie Baumgarten
    For those unfamiliar with the notoriously camera-averse philosopher and his thoughts, Derrida will most probably prove to be an unenlightening bore.
    • 42 Metascore
    • 20 Marjorie Baumgarten
    The film is slapdash entertainment not meant to be further contemplated after leaving the theatre.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    As is, Welcome to Mooseport is clunkily earthbound as its characters and the situations plod forward while never getting anywhere.
    • 50 Metascore
    • 20 Marjorie Baumgarten
    A classic case of preaching to the choir, since it’s doubtful the film will reach many of the minds that need changing.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Even though everything about this project probably looked good on paper, upon completion The House comes up snake eyes.
    • 37 Metascore
    • 20 Marjorie Baumgarten
    And for all Lee's ballyhoo about racial stereotyping, one might expect him to adopt a less hackneyed approach to his portrayals of Italians and women.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    The horror that lies at the heart of the film is fairly obvious, and with no characters for whom we have a rooting interest, A Cure for Wellness is as difficult to swallow as castor oil.
    • 26 Metascore
    • 20 Marjorie Baumgarten
    Apart from its dramatic predictability, Temptation is a snooze because of its languid pacing and rudimentary camerawork.
    • 41 Metascore
    • 20 Marjorie Baumgarten
    Certainly there are filmgoers who enjoy this kind of noncommittal metaphysical quest. I am not one of them. It makes me think that the filmmaker is more interested in showing us his vacation slides instead of sharing any real insights.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    A dish of empty calories.
    • 62 Metascore
    • 20 Marjorie Baumgarten
    Usually, I am not so persnickety about such things, especially with first-timers, but the accumulation of mis-matched shots is so great that you have to wonder why some of the more experienced crew members weren't climbing the rafters to say “Whoa, Mel.”
    • 33 Metascore
    • 20 Marjorie Baumgarten
    Frankly, one's sympathy sides more with the class bitch who thinks she has the better voice and deserves the choral solo instead of Terri. In your heart you know she's right.
    • 52 Metascore
    • 20 Marjorie Baumgarten
    Unlikely to receive many curtain calls.
    • 46 Metascore
    • 20 Marjorie Baumgarten
    CJ7
    Chow's loyal fans are sure to be disappointed by CJ7, and the film faces one other significant problem in traveling to these shores: Any kid who is the right age to appreciate this pap is going to be too young to read subtitles.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    One of the unfunniest comedies it’s ever been my misfortune to see.
    • 56 Metascore
    • 20 Marjorie Baumgarten
    Across the Universe will have ardent defenders, but in the long run, it will do nothing to infuse life into the current mini-revival of movie musicals and is as soft-headed as the wishful refrain “All You Need Is Love.” Maybe that works in real life but not in the movies, sister.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    Everything about Agent Cody Banks 2 reeks of hurry-up and make this movie before its kid star Frankie Munoz loses his pubescent looks (it’s already borderline).
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Its narrative conceit will entertain for a while, but eventually you will long to disappear with the rest of the Mexicans.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    A top-notch cast was gathered and then wasted in this atmospheric but prosaic hoodoo spooker.
    • 26 Metascore
    • 20 Marjorie Baumgarten
    Ultimately, this is a movie that’s more about the Ottoman Lieutenant’s Woman than The Ottoman Lieutenant himself – another example of the film’s epic misdirection.
    • 16 Metascore
    • 20 Marjorie Baumgarten
    Would have been smart to fold before it let its hand go this far.
    • 28 Metascore
    • 20 Marjorie Baumgarten
    Taken as a whole, The Ugly Truth is much like its orgasms: phony and unsatisfying.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    An effective sound design enhances several of the film's sudden frights, and Sutherland, who appears in almost every scene, is a predictably solid presence.
    • 35 Metascore
    • 20 Marjorie Baumgarten
    Unbearable.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    G.I. Joe was not screened for critics, but that’s not because of its mindless action and nonsensical plot. It’s because G.I. Joe is the kind of movie that bludgeons the viewer into submission with its loud and constant barrage of sound and fury.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    The whole thing reeks of sequelitis, with an emphasis on the rude and crude.
    • 66 Metascore
    • 20 Marjorie Baumgarten
    At times it's almost like "Lord of the Flies," with the camera serving as the flypaper dipped in the honey of the promised land of celebrity.
    • 34 Metascore
    • 20 Marjorie Baumgarten
    It begins in a muddle and ends in confusion.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    Most unforgivable, however, is the film's coda in which real Georgian victims pose for the camera with pictures of their loved ones lost in the five days of war. Using real people to impart the emotions that the entire film was unable to evince is simply cheap exploitation.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    One might expect that with such low goals the film might have at least hit its target more often than it does. Schneider's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story's continuity and progression.
    • 38 Metascore
    • 20 Marjorie Baumgarten
    This kind of angel stuff is classic Hollywood fare, especially at Christmastime. Thus, it's all the more wonder that director Nora Ephron has missed and mishandled so many of her cues.
    • 21 Metascore
    • 20 Marjorie Baumgarten
    Only the underplaying Selleck gets out of this with any dignity, while O’Hara is totally wasted as Jen’s one-note tippling mom.
    • 53 Metascore
    • 20 Marjorie Baumgarten
    It's not really a matter of Nancy's retro look and grounding in the fundamentals of sleuthing that separates the women from the girls but, rather, this film's lack of gaiety and surprise that makes it dud for old and new generations of the books' fans.
    • 26 Metascore
    • 20 Marjorie Baumgarten
    Atlas won't be the only one to shrug off this tiresome load.
    • 47 Metascore
    • 20 Marjorie Baumgarten
    Like Mike is a slight and uninventive movie: Like the exalted Michael Jordan referred to in the title, many can aspire but none can equal. Even "Space Jam" was better than this.
    • 37 Metascore
    • 20 Marjorie Baumgarten
    Instead of building suspense and tension, Suspect Zero devotes its efforts to creating a weird and creepy milieu that will leave fans of police procedurals wanting and avant-garde enthusiasts scratching their heads.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    Tries hard but never makes the leap.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    This Red Riding Hood loses sight of the forest for the trees on its way to Grandma's house.
    • 33 Metascore
    • 20 Marjorie Baumgarten
    Another unthrilling Renny Harlin thriller.
    • 55 Metascore
    • 20 Marjorie Baumgarten
    The movie's bright touches belong primarily to Brooke Smith.
    • 43 Metascore
    • 20 Marjorie Baumgarten
    After his disastrous outing in 200X with "The Adventures of Pluto Nash," there was no direction for Murphy to head but up in terms of another space alien movie. Indeed, Meet Dave is a step up, but that's only in relation to Pluto Nash.
    • 42 Metascore
    • 20 Marjorie Baumgarten
    Misbegotten is the only way to describe this remake of the 1975 film based on Ira Levin's cultural-zeitgeist novel.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    Instead of putting the high in high school, this film is the kind of drug movie that gives pot smokers a bad name.
    • 36 Metascore
    • 20 Marjorie Baumgarten
    Nothing is very funny in this movie, and everything is predictable.
    • 31 Metascore
    • 20 Marjorie Baumgarten
    In the final analysis though, the only real thing being smuggled in National Security is unwitting patrons' admission fees.
    • 12 Metascore
    • 20 Marjorie Baumgarten
    In terms of execution this movie is careless and unfocused.
    • 21 Metascore
    • 20 Marjorie Baumgarten
    Told in a chaotic fashion, the movie jumps from scene to scene without a lot of continuity.
    • 29 Metascore
    • 20 Marjorie Baumgarten
    It's likely there's going to be some “viewer disturbance” going on after audiences catch a whiff of this routine and thrill-less suspenser.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    You watch and wait for this underachieving film to ignite, then grow more and more exasperated as you witness its many misfires.
    • 45 Metascore
    • 20 Marjorie Baumgarten
    Suffocates under its own good intentions and inexorable sense of doom.
    • 32 Metascore
    • 20 Marjorie Baumgarten
    October Baby earns points for the originality of its protagonist but it has no chance of preaching to anyone but the choir.
    • 30 Metascore
    • 20 Marjorie Baumgarten
    It comes off like so much poppycock -– to use the vernacular of the day.
    • 28 Metascore
    • 20 Marjorie Baumgarten
    Adults may respond with a laugh every once in a while, but they’re unlikely to find Fifty Shades of Black a nonstop titter fest.
    • 62 Metascore
    • 20 Marjorie Baumgarten
    Totally in the distance is the memory of "Swingers," whose hipster goof has been replaced by a stupid goof. This may be what is meant by the “dumbing down of America.”

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