Marjorie Baumgarten
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For 1,460 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 2.7 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Boyhood
Lowest review score: 0 Kazaam
Score distribution:
1,460 movie reviews
    • 79 Metascore
    • 78 Marjorie Baumgarten
    Moments of great suspense are sometimes invested with intrinsic humor, moments of trauma can yield great compassion. Often, these seemingly conflicting tones exist all at once, while the oblique mystery never clearly identifies the correct emotion.
    • 94 Metascore
    • 78 Marjorie Baumgarten
    A smart and delightful romantic comedy, yet in the course of creating his new charmer Alexander Payne has sheared off some of the rambunctious edges that made his previous films, About Schmidt, Election, and Citizen Ruth, such marvelous studies in social parody.
    • 63 Metascore
    • 78 Marjorie Baumgarten
    A formulaic family melodrama whose craftsmanship and sensitivity to its characters raises it to the level of sublime group portrait.
    • 63 Metascore
    • 78 Marjorie Baumgarten
    The story's parallels with the present are sometimes inescapable, as when Saladin's fireballs catapulted at Balian's castle strike an eerie resemblance to the "shock and awe" of the U.S.-led coalition's initial assault on Iraq.
    • 75 Metascore
    • 78 Marjorie Baumgarten
    You never really see any of it coming, which is what makes the film such a marvel – and so difficult to discuss.
    • 74 Metascore
    • 78 Marjorie Baumgarten
    It’s a query with no answers, a period piece about the present. It’s idiosyncratic, actively noncommercial, and doesn’t follow the rules – like playing a game of chess on a board with no squares.
    • 76 Metascore
    • 78 Marjorie Baumgarten
    Although it is achingly sad, Rabbit Hole is not maudlin or depressing.
    • 85 Metascore
    • 78 Marjorie Baumgarten
    Take Shelter is a deeply unsettling movie. Writer/director Jeff Nichols (an Austin resident and director of the award-winning 2007 feature "Shotgun Stories") doles out information as strategically as a government official.
    • 70 Metascore
    • 78 Marjorie Baumgarten
    Boy
    Like his previous feature, "Eagle vs Shark," Taika Waititi's Boy tells a mere wisp of a story, yet both films are filled with compelling characters, situational color, knowing observations about youthful behavior, and quirky bits of oddball and fantastical humor.
    • 71 Metascore
    • 78 Marjorie Baumgarten
    Succeeds as a moody, evocative, and pleasing film, one that underscores its indie roots in sentiment as well as style
    • 66 Metascore
    • 78 Marjorie Baumgarten
    The movie's tone concurrently embraces melodramatics and wry humor, a twisted suburban Oedipal knot seen through a sardonic, yet deeply involved, eye.
    • 75 Metascore
    • 78 Marjorie Baumgarten
    You simply want the story to go on and on. Let's hope that Holofcener's movies do: Her peregrinations through the lives of contemporary women know few screen equals.
    • 69 Metascore
    • 78 Marjorie Baumgarten
    Though the history and the palace intrigue are not at all difficult for Westerners to grasp, a tighter running time would probably help this epic reach more eyes in America, where it has received the biggest release ever for a Bollywood
    • 73 Metascore
    • 78 Marjorie Baumgarten
    In many ways, Not One Less resembles the socialist-realist dramas of the early Communist regimes.
    • 73 Metascore
    • 78 Marjorie Baumgarten
    This Japanese film by that country’s preeminent surveyor of contemporary familial relationships explores humanity’s ambivalence regarding the matter.
    • 61 Metascore
    • 78 Marjorie Baumgarten
    Mixing faded rock glory with Nazi-hunting and American road-tripping creates an odd hybrid that is completely transfixing, although some viewers are likely to find this film an awkward mishmash. The drama, however, is consistently offset by comic underpinnings, which are well-played by the actors and seamlessly presented by Sorrentino.
    • 80 Metascore
    • 78 Marjorie Baumgarten
    The height of drollery, a cheeky ode to the liberating power of popular culture, and a fascinating look at an old dog learning some new tricks.
    • 65 Metascore
    • 78 Marjorie Baumgarten
    There is no surprise or justice or sense to the whole thing. Just sadness. And a sense of all the lonely people and where they all come from.
    • 78 Metascore
    • 78 Marjorie Baumgarten
    Gleeson is triumphant in this portrait of a complex man who is concurrently sensitive, boorish, brilliant, singular, and unforgettable.
    • 75 Metascore
    • 78 Marjorie Baumgarten
    Yet, like it or not, the MPAA ratings is a system in which we all participate – which makes this film important to see if anything is ever going to change.
    • 56 Metascore
    • 78 Marjorie Baumgarten
    Smith gives the appearance of wanting to provoke, but along with his smuttiness, he wears his heart on his sleeve.
    • 52 Metascore
    • 78 Marjorie Baumgarten
    Invades theatres with its fangs bared for action. It's bloody hell and we love every minute.
    • 79 Metascore
    • 78 Marjorie Baumgarten
    Look at Me marks the character's shift from being the object of attention to the subject of her own dreams.
    • 71 Metascore
    • 78 Marjorie Baumgarten
    You get the sense that this elegant, tough-guy jazz caper is a movie Clint Eastwood might have been proud to make.
    • 49 Metascore
    • 78 Marjorie Baumgarten
    All the players deliver performances that kill.
    • 75 Metascore
    • 78 Marjorie Baumgarten
    Although Eska’s story is fairly simple (and created prior to "12 Years a Slave"" and "Django Unchained," which made slavery-era films part of our contemporary dialogue), it’s an emotionally rich tale.
    • 59 Metascore
    • 78 Marjorie Baumgarten
    Filmed primarily in desaturated colors and oblique shadows, the look of J. Edgar is spot-on. The time frame jumps around, spanning decades in a single leap, but it doesn't strain the structure. Eastwood and DiCaprio have delivered a nuanced story about a man, a mythos, and an institution that relies on the facts rather than the legend.
    • 71 Metascore
    • 78 Marjorie Baumgarten
    Instead of entering the jungle to find the heart of darkness, Stiller (the director, co-star, and co-writer of Tropic Thunder) goes in to take aim at the Achilles heel of Hollywood: its utter pomposity and self-importance.
    • 49 Metascore
    • 78 Marjorie Baumgarten
    Its doomed portrait of guileless dreamers may be found lacking in plot activity and empathetic characters. But for anyone interested in a movie that wipes clean the grungy patina of self-delusionment, Jackpot hits solid pay dirt.
    • 85 Metascore
    • 78 Marjorie Baumgarten
    An emotional triumph.

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