For 1,408 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 2.3 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
Average review score: 57
Highest review score: 100 Before Midnight
Lowest review score: 0 Twelve
Score distribution:
1,408 movie reviews
    • 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.
    • 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.
    • 60 Metascore
    • 78 Marjorie Baumgarten
    It's impossible to take in all the information in one sitting and at times threatens to spin off in too many directions, but I guarantee this movie will provide plenty to mull over and inspire consumers to demand greater accountability from their media purveyors.
    • 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.
    • 49 Metascore
    • 78 Marjorie Baumgarten
    All the players deliver performances that kill.
    • 78 Metascore
    • 78 Marjorie Baumgarten
    The entire cast is marvelous and capable of conveying continents of emotion with a furtive smile or arched brow.
    • 52 Metascore
    • 78 Marjorie Baumgarten
    Invades theatres with its fangs bared for action. It's bloody hell and we love every minute.
    • 92 Metascore
    • 78 Marjorie Baumgarten
    Capturing the nuances of quotidian life may not be everyone's cup of tea.
    • 52 Metascore
    • 78 Marjorie Baumgarten
    David Lynch doesn't tell stories as much as he shows hallucinations. Wierd, wild, excessive, obsessive, idiosyncratic visions.
    • 73 Metascore
    • 78 Marjorie Baumgarten
    If this is Scorsese's bid for the commercial big time, then let the cash registers ring.
    • 72 Metascore
    • 78 Marjorie Baumgarten
    The best Scorsese we've seen in a decade.
    • 68 Metascore
    • 78 Marjorie Baumgarten
    It's hard to always know what Primer is saying or where it's heading, but it looks fantastic while it unfolds and you won't be able to forget what you've witnessed.
    • 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.
    • 83 Metascore
    • 78 Marjorie Baumgarten
    In an era in which too many of us automatically accept women's right to choose, Vera Drake reminds us that the time for complacency is not now.
    • 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.
    • 60 Metascore
    • 78 Marjorie Baumgarten
    It grabs you by the viscera in the opening prologue and for the next two hours rarely lets go.
    • 74 Metascore
    • 78 Marjorie Baumgarten
    In the Line of Fire is a terrific action movie with good performances and a smart script that occasionally falters for trying too hard but, on the whole, takes us on psychological journeys that few of us have had opportunities to experience.
    • 66 Metascore
    • 78 Marjorie Baumgarten
    Bridges is another example of Eastwood's remarkable economy of style as both a director and an actor. It is neither his best work nor his worst, though it is a fascinating exploration.
    • 66 Metascore
    • 78 Marjorie Baumgarten
    American Me is crafted with heart and conviction and intelligence. It demands no less of its audience. It insists that there are no quick fixes, but that solutions are of the utmost urgency. It demonstrates how the capacity for change resides within each individual.
    • 80 Metascore
    • 78 Marjorie Baumgarten
    On the whole, A Bronx Tale is an impressive work and it's easy to see why De Niro connected with Palminteri's story.
    • 75 Metascore
    • 78 Marjorie Baumgarten
    Though The Flower of My Secret is not as crazed as "Women on the Verge," the movie marks the return of Almodóvar's delicious humor and a departure from the nastier streak that this Spanish director has been on recently.
    • 67 Metascore
    • 78 Marjorie Baumgarten
    Ultimately, Naked Lunch is more about the act of writing, while the original is concerned with the phenomenon of addiction. Each does what it does well… but differently.
    • 65 Metascore
    • 78 Marjorie Baumgarten
    Crooklyn is a winning work whose charms far outweigh any pitfalls.
    • 68 Metascore
    • 78 Marjorie Baumgarten
    With Henry Fool, however, Hartley has made his most dynamic and accomplished film to date.
    • 74 Metascore
    • 78 Marjorie Baumgarten
    Berserk from the outset, Natural Born Killers lunges for our collective viscera in its opening sequence (surely one of the most brilliant establishing sequences of all time) and never lets go for the next two hours.
    • 57 Metascore
    • 78 Marjorie Baumgarten
    Molly Ringwald is radiant here as the eternal teen looking for love.
    • 76 Metascore
    • 78 Marjorie Baumgarten
    Hepburn brings Truman Capote's Holly Golightly to vivid life. [Review of re-release]
    • 72 Metascore
    • 78 Marjorie Baumgarten
    JFK
    Stone makes it virtually impossible to leave the theatre convinced, beyond all shadow of doubt, of the lone gunman theory.
    • 87 Metascore
    • 78 Marjorie Baumgarten
    Armstrong presents a warm, funny, and believable rendering of the March family.
    • 80 Metascore
    • 78 Marjorie Baumgarten
    A challenging concept conveyed here most impressively onscreen.