Marjorie Baumgarten

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For 1,521 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 3.1 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Godfather
Lowest review score: 0 Alvin and the Chipmunks: Chipwrecked
Score distribution:
1521 movie reviews
    • 58 Metascore
    • 50 Marjorie Baumgarten
    A climactic speech on the lessons Western democracy might learn from Middle Eastern despotism offers a few moments of pure brilliance. I'd say that speech is worth the price of admission if it didn't also illustrate exactly what the film is missing: barbs that aim for the comedic bull's-eye.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Stunning camera shots by ace Michael Ballhaus are lovely to look at, and the performances are all excellent.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Deli Man needs more meat on its rye.
    • 73 Metascore
    • 50 Marjorie Baumgarten
    On a certain level, Notes on a Scandal can be fun viewing, but, odds are, you'll find you won't respect yourself in the morning.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    This new movie is a trifle, a listless excursion into the luxurious problems of rich, white people.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    This movie has precious little satirical edge. What is needs is more emphasis on the "vanity" and less on the "fair."
    • 66 Metascore
    • 50 Marjorie Baumgarten
    The first 15-20 minutes of this documentary are solid gold.
    • 43 Metascore
    • 50 Marjorie Baumgarten
    An article of faith for girls who just wanna have fun; only problem is that the movie doesn't go all the way.
    • 40 Metascore
    • 50 Marjorie Baumgarten
    Garner hasn't come across as amusing as she is here in quite some time. Despite many funny bits, Butter also, at times, seems to excoriate the blinkered Midwesterners in the flyover states.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Though remaining sweet and tasty, Efron, in his first non-singing and dancing feature film proves he has an agreeable and kinetic screen presence, although his ability to convince us he's truly a 37-year-old encased in a 17-year-old's body is dramatically dubious.
    • 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.
    • 36 Metascore
    • 50 Marjorie Baumgarten
    Even this sequel, released 20 years after the original, had to up the number of poop jokes from the first film’s doozies in order to keep up with public taste.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film seems overlong and drawn out, with variations on the same joke occurring throughout. Although the performances are good, the nostalgia for the past seems quaint in the new "have it your way" Burger King world.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    It’s a frequently riveting gambit, and the actors give it their all. However, the mood and the stylized camerawork make the proceedings too arch to completely succeed.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a creepy tale.
    • 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
    If the jingoism that permeates the latter half of The Kingdom does not sufficiently sour the experience of watching it, then the film's closing sentiments about the eternality of vengeance will surely do the trick.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    There's an amiability that permeates the movie and carries it through most of the rough patches and split ends.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    What Sayles gives us is a jumble of ideas and stunning performances that never coalesce into a satisfying movie.
    • 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.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    You have a horror movie with two strong female leads – no small thing. The movie, however, has little else going for it.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Sequences like the silly montage of Charlie on Ritalin (which just looks like the precious doodles of a former editor), grievously underdeveloped characters, and heavy heapings of sap instead of snark keep Charlie Bartlett from making the dean’s list.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Ultimately one of those sprawling epics best suited for a rainy day.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    Bogs down during several fuzzily romantic interludes.
    • 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.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The movie is a strange amalgam of compelling visuals and fascinating vocational details forged with deep moral ambivalence and often hollow didacticism.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    By the end, there's nothing to admire except Range's technical virtuosity.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    The script is all too often downright clunky though it's saved by vigorous direction (especially in the dance sequences) and performances.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    The movie's third act goes astray as the storyline shifts to Dorian's dating problems, which seem an overextended tangent to his coming-out story. Still, the film has a lot of playful dialogue and pixillated montages.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    Ultimately offers some ironic amusement but wallows too long in the sins of its father.

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