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 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Lowest review score: 0 Mr. Deeds
Score distribution:
1,484 movie reviews
    • 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.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Satire without teeth is sort of a mewling entity that brings little into sharp focus. Nevertheless, the performances here are all stellar, and narrative movies that take the making of art seriously are a rare breed indeed.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Neither a true concert film nor a strict behind-the-scenes documentary, This Is It is, like Jackson himself, a real hybrid.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Benjamin Bratt ably depicts both sides of this character and creates a memorable portrait in the process.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Borte may have lost his way on this film, but there is one thing he has done for America: He has demonstrated the correct way of spelling the plural of the surname Jones. Grammarians, if few others, will be satisfied.
    • 33 Metascore
    • 50 Marjorie Baumgarten
    Coprophiliacs looking for a movie that really rings their chimes will be positively tintinnabulating from this arthouse horror number.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Yet even though Forever After is not as fresh-seeming as its predecessors, it provides passable entertainment, especially for the kids who won’t be familiar with the George Bailey storyline retread – or midlife crises, for that matter.
    • 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.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    The film feels like a collection of sketches instead of a mad, three-day, drug-and-sex-infused whirl.
    • 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.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    Opens strongly and front-loads its best gags into the first third of the film. After that, the jokes begin to repeat themselves, and the plot becomes mired in unintelligible details of the white-collar crime.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    A strong first film, and with a better-honed script, Williams should prove to be a director to watch.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    For American children, Nanny McPhee Returns may seem something like a foreign film, but the movie has enough spoonfuls of sugar to make the Britishisms go down.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    Lottery Ticket is ultimately no "Friday," but that 15-year-old film's communal vibe is clearly the model Lottery Ticket is chasing.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    Aided by a strong soundtrack by Corbijn's friend Herbert Grönemeyer, The American nevertheless seems more like a concept in search of a movie.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    The film is never less than absorbing to watch. However, in the end, I think Catfish lives up to its namesake's reputation as a bottom-feeder.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Has little of the wit, surprise, or memorable characterizations of the original.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Hereafter is a consistently identifiable Clint Eastwood movie only in the sense that the prolific filmmaker shows that he still has the ability to confound our expectations of him.
    • 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.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    Though he has stepped up his game, Perry's plainspoken, unsubtle aesthetic is an uncomfortable match for the fragility of Shonge's speeches, and scenes abruptly switch between the language of Perry's scripted continuity sequences and sudden poetic soliloquies.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Made in Dagenham does a good job of capturing the period. But too often it's simply put in service to the obvious, as heard in those uplifting choruses of "You Can Get It If You Really Want."
    • 55 Metascore
    • 50 Marjorie Baumgarten
    A mildly engaging and roughly historical action picture.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    It's definitely not hard to understand what the little girls see in Bieber, and this film delivers the goods. This one's for the fans, not the movie buffs.
    • 44 Metascore
    • 50 Marjorie Baumgarten
    It makes you wonder, ultimately, how the carbon footprint created by the film will stand up to the test of time.
    • 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 true wonder of this low-budget movie, however, is its acquisition of the rights to so much of the previously mentioned music. It's almost exclusively Dylan and the Dead, but damned if you won't be stopping for some Cherry Garcia ice cream on the way home.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    The film has little flash of life and energy.
    • 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.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a mystery box that lacks a treasure at its core.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Cars 2 makes for a decent play date but is not an especially good movie.

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