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 3 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Volver
Lowest review score: 0 Thérèse: The Story of Saint Thérèse of Lisieux
Score distribution:
1,475 movie reviews
    • 49 Metascore
    • 50 Marjorie Baumgarten
    As filmmaking debuts go, Panos Cosmatos' Beyond the Black Rainbow is as striking as it is nuts.
    • 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."
    • 63 Metascore
    • 50 Marjorie Baumgarten
    The two fantastic performances by Allen and Costner that anchor The Upside of Anger are the reason to see this contemporary drama.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    The costume design, however, is the film's most enthralling aspect; replicas of actual Chanel designs were created for the film, and a fresh costume graces nearly every sequence. Alas, Coco Chanel & Igor Stravinsky unfolds on a screen instead of a catwalk.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Provocative though it is, Felt literally wears its ideas on its sleeves.
    • 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.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Even though the movie is made with an abundance of heart, it's sad to report that the final result has only a weak pulse.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Strong performances and Miller's equivocal stance toward her characters save the movie from its symbolic overload and melodramatic crash course, but in the end there may be less here than meets the eye.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    All goes according to course, and that's exactly the problem with Dan in Real Life.
    • 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.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Adams is absolutely winning in this role, which requires her to be a tough-as-nails attorney, grownup tomboy, and psychologically scarred adult. And she makes a good foil for Eastwood, though it's often uncomfortable to see the actor going through melodramatic paces.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    Enemy at the Gates is a disappointment primarily because it seems so rich with possibilities.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    The documentary hasn’t the depth of another study of high school ball, "Hoop Dreams,"' and tends toward repetition, but, in the end, its heartfelt saga scores.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    Although handsomely mounted, this latest star in the Marvel Universe is not a leading light. But it probably has enough juice to keep the galaxy spinning until something more original comes along and knocks it out of orbit.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Writer-director Byler, in his first feature film, also proves to be a noteworthy new voice, even if his cinematic sense outweighs his narrative sense in this initial outing.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    As a biopic, the movie has several shortcomings, but as a background story Madame Satã is full of atmosphere.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Tangled is a serviceable kids' picture and marks a milestone in the history of Disney animation, but it's splitting hairs to characterize it beyond that.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The window Hollywoodland offers into old-style workings of the company town is fascinating to behold, however the film doesn't always know where to direct our gaze.
    • 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.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    Painfully dunderheaded about the proclivities of the human heart.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    Danny Aiello and Robert Forster also turn up in tiny roles that further serve to distract attention from the real business at hand.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    It’s a perfectly nice period piece and biographical backgrounder, but the film feels as though it’s a meal of tasty side dishes that lacks a main course.
    • 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.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The film is wonderfully atmospheric and full of little frights, but its overall impact is only glancing.
    • 34 Metascore
    • 50 Marjorie Baumgarten
    Neither ditzy enough as comedy nor realistic enough as human drama to live a long life.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    Teetering between folly and genius, this Will Ferrell comedy masquerading as a Mexican soap opera-cum-horse opera unfortunately levels off somewhere near the undistinguished center.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    Never makes the leap from a little fantasy about sex with a stranger to a larger story about a woman settling down for life.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The story is so meandering and unbelievable that Westerners are still likely to roll their eyes. I have no idea what Indian audiences will make of Kites. The film is rousing, but it does not soar.
    • 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.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It’s too bad, then, that Justin Chadwick’s film does not offer a more substantial portrait of the man, whose passing is a fresh wound to mourners and curious onlookers worldwide.

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