Marjorie Baumgarten
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For 1,430 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 2.5 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Lagaan: Once Upon a Time in India
Lowest review score: 0 Showgirls
Score distribution:
1,430 movie reviews
    • 59 Metascore
    • 78 Marjorie Baumgarten
    A triumph of style over logic. Although this is not necessarily a good thing, it works spectacularly in this instance.
    • 84 Metascore
    • 78 Marjorie Baumgarten
    Together's portrait of its social moment is right-on.
    • 63 Metascore
    • 78 Marjorie Baumgarten
    Lyne's excesses are usually the kind of thing I love to hate, but Unfaithful found me pretty much following along in step with his rhythms and dramatic choices.
    • 78 Metascore
    • 78 Marjorie Baumgarten
    Despite this film's narrative lapses, Malick has a unique way of distilling the poetry from the commonplace -- and for that precious gift we should say amen.
    • 79 Metascore
    • 78 Marjorie Baumgarten
    Most important, Blind Spot: Hitler’s Secretary makes us wonder, in a very human sense, about the various blinders we all adopt to make our peace with life.
    • 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
    • 71 Metascore
    • 78 Marjorie Baumgarten
    Even though the storyline of Real Women Have Curves is a somewhat familiar tale, the film's originality lies in the way in which it's told.
    • 50 Metascore
    • 78 Marjorie Baumgarten
    Too much is tossed into the ring and the last hour becomes a frantic swell of emotions and ideas, not all of which are exactly on point.
    • 68 Metascore
    • 78 Marjorie Baumgarten
    The storyline is something of a hodge-podge but what the narrative lacks in honing and straight-ahead storytelling it more than makes up for with well-aimed barbs and acutely focused observations...this funny, funny satire gets us where we live.
    • 77 Metascore
    • 78 Marjorie Baumgarten
    The rush subsides, however, the minute the movie ends, and leaves the viewer with the faint aftertaste of a processed sugar high.
    • 72 Metascore
    • 78 Marjorie Baumgarten
    The film's politically correct repudiation of the familiar black-and-white characterizations of the white and red man is ultimately undermined, however, when the pendulum swings too far in the other direction.
    • 70 Metascore
    • 78 Marjorie Baumgarten
    The situation is not too far removed from that of Jayson Blair and The New York Times. The corporate oversight in place to catch deceptions is lulled into becoming part of the deception. Mahowny wanders through this film as if waiting to get caught, forced into deeper gambling debt because no one applies any brakes.
    • 79 Metascore
    • 78 Marjorie Baumgarten
    A smart, funny, and youth-savvy relationship film.
    • 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.
    • 87 Metascore
    • 78 Marjorie Baumgarten
    If, at times, Shine's luster reveals more elbow grease than internal radiance, the movie is still a moving tribute to the human capacity to overcome all odds.
    • 82 Metascore
    • 78 Marjorie Baumgarten
    An amazing, bracing, funny, audacious, tender, and sobering piece of filmmaking. Few movies have ever dared to be this remorseless in their portraits of addiction.
    • 71 Metascore
    • 78 Marjorie Baumgarten
    Although Nicholas Nickleby occasionally evidences a simplicity that resembles a Junior Scholastic production, the movie's enthusiasm is contagious.
    • 80 Metascore
    • 78 Marjorie Baumgarten
    The story is much less about its resolution than the experience along the way. At its best, Central Station is a movie of small textures and fleeting moments, the intangibles that pass between people.
    • 78 Metascore
    • 78 Marjorie Baumgarten
    Nolan creates an effective thriller, although he keeps his stylistic pyrotechnics to a minimum.
    • 69 Metascore
    • 78 Marjorie Baumgarten
    A documentary whose content might possibly have further reach than the book.
    • 62 Metascore
    • 78 Marjorie Baumgarten
    Before lapsing into the land of the insipid,... John Hughes actually made a few movies that shined some light on the trials of modern adolescence. The Breakfast Club is one of them.
    • 58 Metascore
    • 78 Marjorie Baumgarten
    Me, I’ve now seen the movie three times and I’ve laughed and I’ve cried. It comes the closest to any movie experience I’ve had in re-creating the aftermath of unexplained suicide. Sometimes there just aren’t any answers.
    • 72 Metascore
    • 78 Marjorie Baumgarten
    The best Scorsese we've seen in a decade.
    • 76 Metascore
    • 78 Marjorie Baumgarten
    There’s more narrative happenstance loaded into the script of Blue Car than its running time should effectively allow, but the real keeper moments in Moncrieff’s movie are the small, quiet ones in which a simple glance speaks volumes.
    • 64 Metascore
    • 78 Marjorie Baumgarten
    Elf
    A movie that’s so profoundly ridiculous that it has to be admired, if for no other reason other than its sheer willingness to run with its premise and take it to the end of the line.
    • 55 Metascore
    • 78 Marjorie Baumgarten
    Ron Howard has delivered a movie that’s a big departure from his previous film, "The Grinch Who Stole Christmas." We may not remember him for "The Alamo," but we're glad he kept the Stetson.
    • 70 Metascore
    • 78 Marjorie Baumgarten
    Sharp-witted delight.
    • 91 Metascore
    • 78 Marjorie Baumgarten
    The story is bizarre, unique, and thoroughly unpredictable, while its images resemble some kind of bastard offspring of the linear realism of George Grosz and the fantastic foreboding of Edward Gorey.
    • 71 Metascore
    • 78 Marjorie Baumgarten
    It becomes unmistakably clear that Wuornos’ wretched childhood and young life is representative of a deep failure within American society to adequately protect our young and defenseless. This becomes part of the movie’s argument against capital punishment.
    • 66 Metascore
    • 78 Marjorie Baumgarten
    As a complete work, Robot Stories is a solid collection.

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