Marjorie Baumgarten
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For 1,461 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 2.7 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Army of Shadows
Lowest review score: 0 Letters to God
Score distribution:
1,461 movie reviews
    • 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).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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