For 128 reviews, this critic has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Mark Feeney's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 88 Last Days in Vietnam
Lowest review score: 12 The Inbetweeners Movie
Score distribution:
  1. Positive: 74 out of 128
  2. Negative: 24 out of 128
128 movie reviews
    • 87 Metascore
    • 88 Mark Feeney
    Artistically, though, you can’t help but trust him. Like any star turn, Holliday’s performance rings utterly true. It’s that indefinable but unmistakable reality-beyond-reality called art.
    • 69 Metascore
    • 88 Mark Feeney
    “The Fog of War” (2003), about McNamara, won Morris a best documentary feature Oscar. The Unknown Known takes its title from a favorite phrase of Rumsfeld. It also accurately describes its subject, whose smiling inscrutability makes him consistently fascinating and often maddening.
    • 85 Metascore
    • 88 Mark Feeney
    The miraculous thing about Let's Get Lost is that Weber has managed to create something that's both impossibly stylized and unmistakably moral (not judgmental, moral).
    • 86 Metascore
    • 88 Mark Feeney
    At once riveting and heartbreaking. This youngest daughter of Robert F. Kennedy has the good sense — far rarer among documentarians than you’d like to think — not to get in the way of her material.
    • 85 Metascore
    • 88 Mark Feeney
    What starts out as a beautifully depopulated filmic exercise - it's 14 minutes into the movie before Guzman introduces any people - becomes toward the end a nearly unbearable examination of good and bad in the human heart.
    • tbd Metascore
    • 88 Mark Feeney
    Is The Story of Film worth 15 hours of your viewing life? Well, that's between you and your kino conscience. The first part certainly is. Cousins is extremely good at laying out the emergence of a film grammar. More important, he communicates the sense of wonder and excitement that characterized the emergence of so astonishing a medium.
    • 78 Metascore
    • 88 Mark Feeney
    There is a great and perhaps unique French cinematic tradition of braiding together love and manners and the past. Think of "Children of Paradise," "Casque d'Or," "The Earrings of Madame de . . .," "Elena and Her Men." Now one can think of The Princess of Montpensier, too.
    • 74 Metascore
    • 88 Mark Feeney
    "This was the Rosa Parks moment,'' another participant says, "the time that gay people stood up and said, 'No.' ''
    • 80 Metascore
    • 88 Mark Feeney
    The Turin Horse is in a very gray black and white. It looks the same way it feels: bleak, pure, forbidding, transfixing. Watching it, frankly, can be a bit of an ordeal. There's hardly anything in The Turin Horse you would describe as entertaining, but there is a very great deal that's beautiful and absorbing.
    • 89 Metascore
    • 88 Mark Feeney
    In a sense, there can be nothing ordinary about such an extraordinary place. Furthermore, Wiseman’s special gift as a filmmaker has been to show how searching attention reveals that there really is no such thing as ordinariness.
    • 82 Metascore
    • 75 Mark Feeney
    Viola owes much of the pleasure it offers to the sorts of things one looks for in any good movie: an attractive cast, attractively photographed in an attractive location, and plotting that manages to feel relaxed without being lazy.
    • 71 Metascore
    • 75 Mark Feeney
    The documentary nicely mixes vintage news footage and photographs, talking-head interviews with journalists and Koch associates, and lots (and lots) of Koch.
    • 76 Metascore
    • 75 Mark Feeney
    It's superb filmmaking, uncluttered and utterly assured. Miike places us in the household of Li, offering up rich, deep colors, with an almost painterly exploration of fields of depth and volume.
    • 74 Metascore
    • 75 Mark Feeney
    “Happy” isn’t meant ironically. Herzog, who narrates, clearly loves, and envies, the trappers’ elemental existence and connection to nature.
    • 71 Metascore
    • 75 Mark Feeney
    The most interesting part of this lively, likable documentary is the journey.
    • 63 Metascore
    • 75 Mark Feeney
    The Eamery, as some called it, was highly successful as a business - and, more important, as an exercise in tastemaking. "We wanted to make the best for the most for the least,'' the Eameses like to say.
    • 71 Metascore
    • 75 Mark Feeney
    Rapt is smooth, cool, and efficient. It's a movie with very little wasted motion - or, for much of its length, wasted emotion.
    • tbd Metascore
    • 75 Mark Feeney
    Nearly all the interviews are with the professionals. That's fine, since these guys are almost as good at talking as they are at smiling.
    • 75 Metascore
    • 75 Mark Feeney
    In some ways Easy Money recalls Steven Soderbergh's "Traffic." They have drug dealing in common, of course, but also a sense of constant swirl and density of onscreen population.
    • 67 Metascore
    • 75 Mark Feeney
    Much of the film is pure romantic comedy and a good one. Yet the filmmakers want it to be more.
    • 66 Metascore
    • 75 Mark Feeney
    There’s a similar shared joy among the participants, a similar sense of discovery for the viewer, and, of course, a killer soundtrack.
    • 82 Metascore
    • 75 Mark Feeney
    Fetisov, who looks like a cross between Sam Neill and Klaus Kinski, is a compelling figure. He has an unmistakable gravitas. He’s just a hockey player in the way that Reagan was just an actor. In fact, Fetisov is a member of Russia’s parliament and previously served as minister of sport. If all that weren’t enough, he has a winningly dry sense of humor.
    • 91 Metascore
    • 75 Mark Feeney
    This is a world where people still put out wash to dry on fire escapes, watermelon has seeds, amusement park rides cost 9 cents. Joey is the little fugitive of the title, of course, but at the heart of the movie, as its makers could never have imagined 60 years ago, is a much bigger fugitive: time itself.
    • 70 Metascore
    • 75 Mark Feeney
    Vividly captures a period of movie history. It’s just that the period seems less vital -- sleepier, if you will -- than it once did.
    • 74 Metascore
    • 75 Mark Feeney
    Tom Bean and Luke Poling’s documentary shows that its subject’s true talent may have been for an occupation no less rarefied than the ones he failed at: movie star.
    • 59 Metascore
    • 75 Mark Feeney
    It's the movie "Yellow Submarine'' should have been but didn't know how to be.
    • 88 Metascore
    • 75 Mark Feeney
    For such a small place (officially a city, Sidney sure feels like a town), it's strikingly diverse.
    • 75 Metascore
    • 75 Mark Feeney
    Maybe the biggest problem with Muscle Shoals is that it doesn’t dig deeper into something even more miraculous than the music.
    • 60 Metascore
    • 75 Mark Feeney
    Much of the charm of this highly charming film is the window it affords on the offstage Beatles and their families.

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