Marjorie Baumgarten
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For 1,475 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 2.9 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Boyhood
Lowest review score: 0 Kazaam
Score distribution:
1,475 movie reviews
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film looks good (nod to cinematographer Roman Vasyanov). The images are sharp even when the film’s ideas are not.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    Despite successfully creating the illusion of forbidden glimpses, The Good Shepherd slogs through most of its lengthy running time.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Ultimately feels like a movie whose heart is in the right place, even though someone neglected to flip the 'On' switch.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    On the whole, the film feels detached and morose, just like its characters.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    After establishing this interesting premise, writer/director James DeMonaco only scratches the surface of its implications before devolving into a creepy roundelay of murders and deaths averted.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    This is really Reygadas' show all the way. And what he's delivered is a sad, tawdry picture in which all hope for salvation lies with God.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    This children's sci-fi movie should be palatable to the young and old alike, yet it's ultimately more a mild diversion than a magical adventure.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Smashed may be better at preaching to the choir and is likely to find its largest audience among struggling 12-steppers.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    Hotel for Dogs is a decent family film, sure to please animal-loving kids and their parents alike. Well-acted, the movie also looks good and is stocked with lots of goofy gadgetry.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    Maybe it's indicative of my end-of-the-year brain-fry, but this dopey comedy about two of the dumbest guys in the universe on a road trip to misadventure is a hoot.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    As a vehicle for Gina Gershon to strut her provocative stuff, Prey for Rock & Roll is a rock & roll fantasy come to life.
    • 44 Metascore
    • 50 Marjorie Baumgarten
    Like most dreams revisited with eyes wide open, this one's content dissolves into a transparent puddle of inchoate thoughts and predictable iconography.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    This biography, to our surprise, is extremely respectful and earnest and lacking Morris' usual transformational touch.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    The movie treats all its characters kindly -– especially in moments where it would be easy to go for the cheap shot -– but there’s either not enough froth or meat on its bones to sate the appetite.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    The storyline goes from bad to worse as one-dimensional characters gradually flatten out into pure stick figures, and the crime plot goes from hokey to implausible.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Rather than providing a foil for Bill Murray in "Lost in Translation" or embodying the mostly silent model for the painter Vermeer in "The Girl With One Pearl Earring," Johansson actually has to emote prodigiously here, and she is just not up to the task.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    An additional change in the film's adaptation from Scott Phillips' novel substitutes the author's original ending for a redemptive conclusion that seems indicative of The Ice Harvest's unwillingness to really plumb the real depths of the darkness it has set in motion.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    To my mind, movies about watching nomads walk rank alongside movies about writers writing: The action is dull and endlessly repetitive, and most of the interesting stuff occurs in the mind’s interior.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Bassett as Voletta is her usual captivating self.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    The film is at its best when painting the atmosphere and detail of 1953 Dublin.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    The how-it-was-made demonstration may have been the most captivating part of Mars Needs Moms.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    The performances are all terrific, but Together never jells as a compelling narrative.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    The setup is great, but Fading Gigolo’s follow-through lacks dynamism.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Bottle Rocket's minimalist pop has a refreshing flavor but insufficient bubbles for a long, cool drink. Maybe someone ought to think about culling this thing down into a sustainable short film.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Benjamin Bratt ably depicts both sides of this character and creates a memorable portrait in the process.
    • 33 Metascore
    • 50 Marjorie Baumgarten
    Coprophiliacs looking for a movie that really rings their chimes will be positively tintinnabulating from this arthouse horror number.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    There's no denying that Pacino's performance is superb. The rest of the movie plays like a bunch of inconsequentially strung together sequences.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    A mildly engaging and roughly historical action picture.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    The hit-or-miss nature of the gags makes NBT too uneven to recommend, but it's a great calling-card movie for guys who want to become professional comedy writers.
    • 63 Metascore
    • 50 Marjorie Baumgarten
    The obvious thing is to say that Keep the River on Your Right has unfortunately bitten off more than it can chew -- but not more than we can digest.

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