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 Once Upon a Time in the West (re-release)
Lowest review score: 0 Showgirls
Score distribution:
1,484 movie reviews
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Afternoon Delight has many small pleasures but falls far short of reaching the G spot.
    • tbd Metascore
    • 50 Marjorie Baumgarten
    A la Mala coasts on its style and charm, and that may be enough for this kind of romp. Mala’s roommates Kika (Aurora) and Pablo (Arrieta) provide enjoyable interludes as something of a Greek chorus to Mala’s dilemma. Nevertheless, a bit more originality in the script by Issa López and Ari Rosen would be a welcome diversion.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    In The Girl, writer/director David Riker returns to many of the same themes he pursued in his award-winning 1998 film "La Ciudad," which told the stories of four Hispanic immigrants living in New York City. Immigration is still very much on Riker’s mind, although he approaches it from a very different perspective this time.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Hedges has demonstrated his sensitivity to internecine family conflicts and the tenor of small-time life. However, The Odd Life of Timothy Green seems always to be straining for whimsy and wonder.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    Irving again delivers personal observations about curious creatures in a manner that’s part nature doc and part meditative exploration. The result is as mixed as the process.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Serves up a weak brew.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Civic Duty stands out amid the new wave of terrorism-paranoia thrillers. It's a taut drama set primarily within the confines of two apartments in the same urban building complex and keeps the viewer guessing until the end regarding the reliability of its two central protagonists.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It's a "what if" story that's hopeful but doesn't ring true.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Wolf Creek (much like the new Saw horror franchise) exists for no reason other than to inflict an acute sense of inescapable and inscrutable torture upon the story's victims – and, by extension, the audience. If that's what you're into, Wolf Creek should be a satisfying assault.
    • 46 Metascore
    • 50 Marjorie Baumgarten
    Sympathetic to the core but not to be believed.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Foster commendably stretches beyond her comfort zone with The Beaver, but in the end the film's high-concept premise is at war with its conventional direction.
    • 38 Metascore
    • 50 Marjorie Baumgarten
    The problem nipping at the designer heels of Confessions is not the state of the economy but, rather, the film's predictability.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Meyers has a good feel for contemporary comedy; it’s reality, however, that slips through her grasp.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Although the movie contains occasional moments of glimpsed accomplishment, Kansas City is for the most part a lame duck.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    By the film's climax, following the plot movements has become merely complex rather than suspenseful.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    It's a cuckoo's nest that's nicely feathered.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    The relationship advice is all fairly boilerplate, much like the film itself, but these actors have made this a bankable romcom.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Intelligent and well-meaning, Rendition is nevertheless an oversimplified and uneven attempt to arouse righteous indignation among its viewers.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    As Zamperini, Jack O’Connell is the film’s strongest asset. The actor holds our attention from beginning to end, making us care deeply about the man’s fate instead of becoming an empty icon of stoicism.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Stillman inserts chapter headings and written asides into the proceedings, but none of it helps explain what is before us. The authorial voice in Damsels in Distress lacks definition.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    As with his previous film "The Assassination of Jesse James by the Coward Robert Ford," Dominik's ideas get the better of his creative handiwork as he throws off his pacing to follow points he has already made.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    Every once in a while, a movie is more than a movie, but it’s surprising when that becomes the case with a punk-ass comedy, one that’s more puerile than pointed yet not without some good laughs.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Has little of the wit, surprise, or memorable characterizations of the original.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Each member of the well-chosen cast not only creates a distinct character with unique and memorable resonances but also meshes these separate personalities to form as satisfying an example of ensemble acting as we are likely to see for quite some time to come.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Seeing The Terminal is like experiencing an uneventful flight: The trip was pleasant but not delightful, and you’re happy to deplane at the other end.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    With all the hallmarks of a prestige picture, chief among them a great cast and creative crew and an "important" message, The Soloist plays its tune with a frequently heavy hand.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    More like watching a Polaroid picture develop without ever getting to see the finished picture.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Penis-obsessed, man-child film comedies can crown a new king: the Danish import Klown.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    No nectar of the gods this, but we can still be thankful that Bee Movie is a sweet morsel that's devoid of any jokes about bee farts and poop.
    • 42 Metascore
    • 50 Marjorie Baumgarten
    More honest than you might expect a promotional piece such as this to be, but less self-investigative than you might like, you come away thinking there are much greater depths for Snoop Lion to plumb.

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