For 121 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 1.3 points lower than other critics. (0-100 point scale)

Mark Feeney's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 88 Nostalgia for the Light
Lowest review score: 12 The Inbetweeners Movie
Score distribution:
  1. Positive: 69 out of 121
  2. Negative: 24 out of 121
121 movie reviews
    • 74 Metascore
    • 88 Mark Feeney
    "This was the Rosa Parks moment,'' another participant says, "the time that gay people stood up and said, 'No.' ''
    • 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.
    • 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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 87 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.
    • 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.
    • 82 Metascore
    • 75 Mark Feeney
    There's a restraint to Mademoiselle Chambon that's more English than French. Emotions get repressed more often than expressed.
    • 65 Metascore
    • 75 Mark Feeney
    Alice Creed isn't as good as Tarantino's directorial debut, or another movie it calls to mind, "A Simple Plan.'' But the genetic resemblance to those two films indicates how good much of this extremely assured picture is.
    • 88 Metascore
    • 75 Mark Feeney
    For such a small place (officially a city, Sidney sure feels like a town), it's strikingly diverse.
    • 77 Metascore
    • 75 Mark Feeney
    This is a person you'd enjoy spending time with and learning from. That's certainly the case with Dorman's film.
    • 59 Metascore
    • 75 Mark Feeney
    It's the movie "Yellow Submarine'' should have been but didn't know how to be.
    • 72 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.
    • 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.
    • 64 Metascore
    • 75 Mark Feeney
    "I've seen the look on people's faces when I've brought them there," Whedon says of the convention. "It's the look I had on my face. 'My tribe, my tribe, I've found my tribe.' "
    • 77 Metascore
    • 75 Mark Feeney
    The man we meet is intelligent and good-humored. "They do what they want," he says with a shrug, indicating a set of just-completed canvases. "I planned something different."
    • 67 Metascore
    • 75 Mark Feeney
    Hipsters is also kind of amazing, thanks to headlong enthusiasm and an endearing obliviousness to just how ghastly the whole thing keeps threatening to become.
    • 83 Metascore
    • 75 Mark Feeney
    The verb in the title of The Day He Arrives doesn't refer so much to a traveler reaching a destination as to a man finding himself - or hoping to.
    • 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.
    • 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.
    • 70 Metascore
    • 75 Mark Feeney
    Chicken With Plums has Iran in common with "Persepolis," but little else. Largely, though not entirely, live action, it's a fairly traditional story about thwarted love - a kind of fairy tale for grown-ups.
    • 77 Metascore
    • 75 Mark Feeney
    The biggest complaint about Brooklyn Castle is that there's not enough of her. A presence as magnetic as Vicary's demands more screen time. How did she come to chess (a notoriously male-dominated game)? How did she come to 318?
    • 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.
    • 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.
    • 45 Metascore
    • 75 Mark Feeney
    Solanas’s daring takes the form of ambition. Upside Down has a visionary look that has affinities with everything from “Metropolis” to “Blade Runner” to “Children of Men.” Solanas has the temerity to split the screen horizontally in many shots. Usually, this works, though “Upside Down” is not recommended for anyone subject to visual dislocation.
    • 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.