Marjorie Baumgarten
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For 1,467 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 2.8 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Ghost World
Lowest review score: 0 Crossroads
Score distribution:
1,467 movie reviews
    • 69 Metascore
    • 50 Marjorie Baumgarten
    Not that anyone was asking for a reboot of the series that is perhaps best remembered as the launching pad for Johnny Depp's career, but here it comes anyway. The film will probably gain several points on the likability scale for its sheer unexpectedness and modest ambitions.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    In the end, Blackballed doesn't take home the winner's cup, but its genial stick-to-itiveness and reasonably well-aimed humor earn the film at least a good sportsmanship trophy.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Coppola’s rejuvenated sense of career is a welcome addition to the world of filmmaking, even if the two films he’s made in the new millennium (2007’s "Youth Without Youth" and now this) are not up to his own self-set high standards.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    As the camera moves through the tall grass of this new world, there comes the realization that we could be within any one of Terrence Malick's movies, any one of the previous three stunners he has made in his 35-year-long career.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    On the whole, Extraterrestrial is slight, filled with lots of bark but little bite.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Filled with some marvelous dialog and quips delivered by some of the best in the business. There are worse ways to while away the time.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    For all its unwieldy temporal scope and narrowness of perspective, Nixon is an amazingly graceful beast, flawed yet invigorating, packed with enough material that will fascinate and irk moviegoers of all stripes for quite a time to come.
    • 75 Metascore
    • 50 Marjorie Baumgarten
    The problem with The Beat That My Heart Skipped, as it was with "Fingers," is that the gravity of the character’s psychological divide is clear after the first half hour, and both films add little in the next hour to deepen our – or the characters’ – understanding or entanglement.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    More than a story about Iraq war veterans, The Lucky Ones is a movie about carefully considering one's options.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    Rises above its problems to deliver the essential goods.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    To sum it up, there is little that is unexpected in The Hobbit: An Unexpected Journey. Rather than an epic continuation of Jackson's Middle-earth obsession, the film seems more like the work of a man driving around a multilevel parking garage without being able to find the exit.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    Writer-director Duncan Tucker does little to develop his narrative setup beyond the basic and obvious, and his film begins to feel more like an exercise than a fully realized story.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Despite a title that makes this movie sound as though it might be the latest madcap offering from Pedro Almodóvar, In the Land of Women is a much more conventional affair – a tame yet appealing melodrama about finding one's self that is alternately formulaic and unique.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    In the end, the film doesn't add up to much of anything, but its individual parts are sometimes greater than its whole.
    • 75 Metascore
    • 50 Marjorie Baumgarten
    The problem with this American indie filmed in Korea is that, despite the captivating faces and sad predicament of these little girls, nothing much happens.
    • 74 Metascore
    • 50 Marjorie Baumgarten
    Mommy bursts with so much frenzied, turbulent energy that it really only makes sense when looked at as the fifth feature film by a 25-year-old moviemaker. Québécois Xavier Dolan is one of those enfants terribles of the cinema, making and sometimes acting in films that court attention.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    By letting her babble on and become a somewhat risible figure, the filmmakers display a somewhat mean-spirited attitude, despite all their fuss about finally appreciating this put-upon survivor.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Spielberg's typically emotive storytelling only comes to the fore in a few of the film's pivotal action scenes, a couple of which are truly spectacular and remind us only all too well of what this film might have been.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    It's a spooky movie without anything really scary in it, a ghost story without any spirits, a romance that displays scant affection, a reincarnation tale that never uses that particular word nor engages in anything terribly transcendental.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Buffy the Vampire Slayer is a fun movie; so much better than it has to be and so much better than you expect it to be. Buffy is to vampire movies what Valley Girl is to Romeo and Juliet stories: a fresh reworking of an old formula staged by up-to-the-second California teens.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    By trying too hard to stay on this side of hip and the other side of sentimental, Crowe winds up with a zoo that's neither fish nor fowl.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    See it for the performances – they are delights from the leads on down to the characters in the episodic vignettes. But the film’s vision of Gen-Y nesting is liable to leave you up a tree.
    • 46 Metascore
    • 50 Marjorie Baumgarten
    The movie features a very cool soundtrack and more hip lingo than two ears can absorb. But, like the air in Denver, this movie is spread awfully thin.
    • 75 Metascore
    • 50 Marjorie Baumgarten
    It's a wonderfully nuanced performance in an otherwise un-nuanced narrative.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    An intriguing, disquieting, but ultimately overdrawn nightmare.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    Morse and Caruso provide better reasons to see this film than do Ryan and Crowe.
    • 38 Metascore
    • 50 Marjorie Baumgarten
    The November Man is diligently executed, and Brosnan gives a fine performance as an action hero who can convey a character’s thought processes as well as deliver a punch.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    Viewers unfamiliar with Wharton's novel may have a hard time, especially at first, deciphering all the characters since Davies presents them at a steady clip while providing little background or explanatory material.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    As Norman Bates, Vince Vaughn makes us better appreciate how much Anthony Perkins brought to the original project. It's clear now that he owned the role and that he shares equally with Hitchcock the credit for making Psycho the memorable creep show it is -- and was.
    • 38 Metascore
    • 50 Marjorie Baumgarten
    A strange Hollywood film, but for a home movie it's one bang-up job.

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