Marjorie Baumgarten
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For 1,466 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 Easy Rider
Lowest review score: 0 BloodRayne
Score distribution:
1,466 movie reviews
    • 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.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    What the movie lacks is spark and sizzle. There's no palpable chemistry between Lopez and male lead Ralph Fiennes, plus the script by "Working Girl" scribe Kevin Wade is workmanlike in the extreme.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It gives the creeping sensation that this is going to be a talking-heads documentary, which Greenwald delivers in spades.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    At two hours, the movie goes on too long and resolves too little -- even though it provides some interesting moments along the way.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    In the end, however, Protocols of Zion illuminates manifestations of anti-Semitism without ever really elucidating or posing solutions to the problem.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Stays on its feet through all the rounds, but it never “floats like a butterfly.”
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Ruby Sparks doesn't. Spark, that is. Oh, the film is sprightly and wholehearted, sweetly in thrall to its bold central conceit, and endearing as a puppy with boundless energy. You want to like it. And you do. It's just that it never, you know, it never sparks.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    Never inspires more than an interested detachment.
    • 79 Metascore
    • 50 Marjorie Baumgarten
    Maybe we won't fully understand Eastwood's film until we see the second part of this project, "Letters From Iwo Jima," his companion film seen from the Japanese viewpoint expected in 2007. On its own, however, Flags of Our Fathers merely flags.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Visually arresting but dramatically rote, The Book of Life at least introduces American kids to the Mexican holiday of Día de los Muertos and should score points with families looking for kid-friendly movies that reflect aspects of their Mexican cultural heritage.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    The show delivers with its corps of dancers, backup singers, elaborate runways, and a couple tunes by boy group, the Jonas Brothers, who do their thing while the fictional Hannah makes the backstage transition into the flesh-and-blood Miley.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Last Chance Harvey is so much an "actors' film" that the hand of the director seems hidden until it bursts into view with something clunky.

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