For 116 reviews, this critic has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 12.7 points lower than other critics. (0-100 point scale)

Mark Holcomb's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 Robot Stories
Lowest review score: 0 Rollerball
Score distribution:
  1. Positive: 29 out of 116
  2. Negative: 35 out of 116
116 movie reviews
    • 52 Metascore
    • 30 Mark Holcomb
    Appallingly violent.
    • 12 Metascore
    • 30 Mark Holcomb
    The most that can be said for Slackers -- aside from the unqualified pleasure of Schwartzman's unfaked, puppyish weirdness -- is that it doesn't abandon its putrid ideals for the sake of a neat finish.
    • 59 Metascore
    • 30 Mark Holcomb
    Cynically accumulates plot twists while showing little regard for suspense or audience sophistication.
    • 32 Metascore
    • 30 Mark Holcomb
    Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
    • 59 Metascore
    • 30 Mark Holcomb
    Stupefyingly benign.
    • 48 Metascore
    • 30 Mark Holcomb
    It has Adrien Brody in his last pre-"Pianist" role, leading one to assume that the film -- which veers torpidly from antic humor to mortifying sentimentality -- would have remained shelved were it not for his Oscar coup.
    • 59 Metascore
    • 30 Mark Holcomb
    To call this action gambit formulaic is to sell it short: The Rundown runs down more formulas than a month's worth of complimentary premium cable service.
    • 32 Metascore
    • 30 Mark Holcomb
    It all becomes little more than feel-good-about-feeling-bad window dressing, like an issue of "Utne Reader" in Dolby Surround Sound.
    • 27 Metascore
    • 30 Mark Holcomb
    Like the action movies of yore (you know, the 1980s), Catwoman is simultaneously overstuffed and undernourished.
    • 43 Metascore
    • 30 Mark Holcomb
    Laughably unscary.
    • 31 Metascore
    • 30 Mark Holcomb
    John Schultz's wan, unfunny The Honeymooners is unlikely to tickle devotees of Jackie Gleason's archetypal yuk-fest.
    • 51 Metascore
    • 30 Mark Holcomb
    Comes off as an overlong, overstuffed promo for an "industry" that hasn't needed promoting since the movie's target audience was in diapers.
    • 40 Metascore
    • 30 Mark Holcomb
    A clumsy graft of Chekhovian high dudgeon and harsh, Albee-esque psychological realism that probably worked better onstage.
    • 43 Metascore
    • 30 Mark Holcomb
    What's unexpected is how thoroughly The ABCs of Death's ample duds overshadow its treasures, and how uninspired it feels as a whole.
    • 65 Metascore
    • 20 Mark Holcomb
    Wanders all over the map thematically and stylistically, and borrows heavily from Lynch, Jeunet, and von Trier while failing to find a spark of its own.
    • 31 Metascore
    • 20 Mark Holcomb
    Cloaks a familiar anti-feminist equation (career - kids = misery) in tiresome romantic-comedy duds.
    • 37 Metascore
    • 20 Mark Holcomb
    About as threadbare as a favorite childhood plushy. What's more, trying to keep the story line of strained meta-sequel Freddy Vs. Jason straight requires too much of a cogitative investment.
    • 51 Metascore
    • 20 Mark Holcomb
    It's nauseating, unfunny stuff, unmitigated by the revelation that Griffin's mom physically abused him.
    • 57 Metascore
    • 20 Mark Holcomb
    Good intentions or not, ineptitude and cloying sentimentality don't do anybody any favors.
    • 28 Metascore
    • 20 Mark Holcomb
    Despite a couple of inventive CGI effects (one involving mass evisceration), the results are more predictable and less frightening than a Con Ed bill in mid August.
    • 36 Metascore
    • 20 Mark Holcomb
    Danny Provenzano's mafioso melodrama is the immoral vanity project to end immoral vanity projects.
    • 24 Metascore
    • 20 Mark Holcomb
    The pivotal plot twist isn't hard to predict, and Brit theater vet Hamm and screenwriter Mark Bomback rely on jolts that date back to the silent era.
    • 29 Metascore
    • 20 Mark Holcomb
    Burt Reynolds turns up as scruffy mountain man, sparking unfulfilled expectations of some primo Deliverance jokes.
    • 47 Metascore
    • 20 Mark Holcomb
    This Dick & Jane is precisely the kind of social-problem comedy you'd expect from well-intentioned millionaires unaccustomed to putting their money where their mouths are.
    • 41 Metascore
    • 20 Mark Holcomb
    Rote sequel that surely no one was waiting for: Like the serially thwarted Death (the only "character" to return from the first two Final Destination movies), audiences are required to endure banal exposition and junior-high-level foreshadowing before being treated to the nauseatingly detailed scenes of CGI slaughter.
    • 35 Metascore
    • 10 Mark Holcomb
    It's the summer's most disingenuous movie -- a real achievement in a waning season that included Tim Burton's "Banana Splits" remake.
    • 28 Metascore
    • 10 Mark Holcomb
    Griffin and Solvang's obliviousness, and the filmmakers' habit of mugging condescendingly while conducting interviews doesn't help either.
    • 47 Metascore
    • 10 Mark Holcomb
    A valueless kiddie paean to pro basketball underwritten by the NBA.
    • 32 Metascore
    • 10 Mark Holcomb
    Suited only for unwitting under-twelvers (though even they may not outlast the midpoint evaporation of Lawrence's shtick).
    • 23 Metascore
    • 10 Mark Holcomb
    With its lukewarm gender politicking and clumsy performances, Make a Wish achieves only one real distinction: It has to be the dullest lesbian campout movie ever made.