Marjorie Baumgarten

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For 1,484 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 3 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Fighter
Lowest review score: 0 Jack
Score distribution:
1,484 movie reviews
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Fascinating, partly because of its originality.
    • 40 Metascore
    • 50 Marjorie Baumgarten
    Something haunting is going on here, but it's as difficult for the viewers as it is for the characters to sink their teeth into anything truly satisfying.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    The pleasure of watching two alpha males -– Al Pacino and Colin Farrell -– circling each other mano a mano substantially beefs up this otherwise routine spy thriller.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    It would be easy to pigeonhole this as "Norma Rae" en L.A., and Padilla is at least as ingratiating and as much of a guy magnet as Sally Field was in that movie.
    • 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.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    A pleasant frolic, but fairly inconsequential in terms of the overall Allen output.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    If it weren't so rivetingly realistic, it would be an easy film to dismiss. And if it weren't so easily dismissible, it would be an easy film to defend.
    • 46 Metascore
    • 50 Marjorie Baumgarten
    Sympathetic to the core but not to be believed.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    Like its title implies, Chocolat tastes good in the moment but leaves behind little nutritional substance.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    The performances are all terrific, but Together never jells as a compelling narrative.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    But 'neath its candy-coated shell lies several solid grains of truth -- not to mention some fab choreography, a solid-gold title, and a couple of pristine examples (in Swayze and Grey) of what is meant by the term "career-making performance."
    • 75 Metascore
    • 50 Marjorie Baumgarten
    Loses something in its transposition to America where the two leads are not nearly as widely known as they are in their home country of France.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    The Spanish Prisoner seems an almost purely theoretical exercise, with Mamet as the con man whose sole goal is to make us believe anything he wants.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    The movie's simplistic storyline does not match its stunning visual accomplishments: Pleasantville's story is drawn from a palette that's strictly limited to black-and-white.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    Some fine comedy performances bolster this thinly plotted film.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    At two hours, the movie goes on too long and resolves too little -- even though it provides some interesting moments along the way.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The movie offers glimmers of truth about the aging process, but there is always the sense that Moss only wades knee-high into this river.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    What Sayles gives us is a jumble of ideas and stunning performances that never coalesce into a satisfying movie.
    • 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.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    There are some wonderful performances and lovely unadorned moments in The Flower of Evil when the movie is not drowning its viewers in its doomed fragrance.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    As a biopic, the movie has several shortcomings, but as a background story Madame Satã is full of atmosphere.
    • 46 Metascore
    • 50 Marjorie Baumgarten
    Ultimately never slices things as sharply as it attempts, but it’s definitely a cut above.
    • 73 Metascore
    • 50 Marjorie Baumgarten
    Uses a wraparound story to provide a hint of Glass’ deep-seated pathology, but allows no details about how it came into being.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    In filming this movie with such artistic precision, the movie ironically winds up objectifying Griet just as much as any appreciator of the original painting.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    AKA
    An interesting though not extremely successful experiment, but it definitely makes you want to see what Duncan Roy does next.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Funny and expands our background knowledge of these likable characters, but the story gets bogged down.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    Not a sequel, not a prequel, but a "reimagining" as the producers say. And they're basically correct, although I wouldn't put any real emphasis on the "imagination" aspect of that term.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film seems overlong and drawn out, with variations on the same joke occurring throughout. Although the performances are good, the nostalgia for the past seems quaint in the new "have it your way" Burger King world.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    There's something about that extra layer of distancing that a book can offer and the screen can't, which in this case might account for why film viewers feel vaguely discomforted by an icky fifth-wheel sensation.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Ultimately, Hidalgo won't win any movie races, but I'd definitely bet on the movie to show.

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