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 12.8 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 Dirty Love
Score distribution:
  1. Positive: 29 out of 116
  2. Negative: 35 out of 116
116 movie reviews
    • 65 Metascore
    • 90 Mark Holcomb
    A must-see for opera lovers and a snappy diversion for cinephiles.
    • 66 Metascore
    • 90 Mark Holcomb
    A quietly impassioned, genuinely stirring indie rarity.
    • 77 Metascore
    • 90 Mark Holcomb
    Charles Bukowski, the bard of post-war L.A.'s working-class underbelly, was no ordinary cult writer, and John Dullaghan's thorough, compelling doc Bukowski: Born Into This does a credible job of showing why.
    • 51 Metascore
    • 80 Mark Holcomb
    It may not be particularly innovative, but the film's crisp, unaffected style and air of gentle longing make it unexpectedly rewarding.
    • 63 Metascore
    • 80 Mark Holcomb
    Happily, beneath the film's nostalgic veneer and tooth-rattling visual and aural effects lies a mature ambiguity that's unusual for a holiday blockbuster -- and all but unheard of in a Tony Scott movie.
    • 65 Metascore
    • 80 Mark Holcomb
    The rapid-fire satirical sophistication (scatology notwithstanding) and lovingly rendered pulp surrealism of this sequence should delight adults, while kids will get a charge out of the heroines' grown-up-defying chutzpah.
    • 63 Metascore
    • 80 Mark Holcomb
    Largely sidesteps sentiment in favor of a tentative hopefulness.
    • 74 Metascore
    • 80 Mark Holcomb
    Continues Disney's trend of crafting animated movies as much for adult viewers as for their pre-adolescent progeny.
    • 71 Metascore
    • 80 Mark Holcomb
    Actually manages a fresh perspective. The director, camera in tow, had unimpeded access to the devastation for a full day before being shooed away by officials, and the footage he captured (sans commentary) is both gut-wrenchingly familiar and disconcertingly foreign.
    • 38 Metascore
    • 80 Mark Holcomb
    There's something refreshing about a pulp drama that turns on the notion that redemption is a sucker's fantasy. That knowledge may not have saved Goines, but it informs Dickerson's adaptation and results in stellar neo-noir.
    • 87 Metascore
    • 80 Mark Holcomb
    It's a remarkably assured and humane feature debut.
    • tbd Metascore
    • 80 Mark Holcomb
    What finally makes Town Bloody Hall so compelling -- and unsettling -- is the impression that such serious, spirited debate is a thing of the past.
    • 63 Metascore
    • 80 Mark Holcomb
    Eschewing the jock-like aversion to "artiness" inherent in most sports docs, John Hyams's contemplative snapshot of professional bull riding, Rank, ups the ante for the form.
    • 78 Metascore
    • 80 Mark Holcomb
    Porterfield intersperses these delicately underplayed scenes with doc-style question-and-answer exchanges that, while initially jarring, achieve maximum cumulative impact.
    • 60 Metascore
    • 70 Mark Holcomb
    Too brisk and plucky to dislike.
    • 67 Metascore
    • 70 Mark Holcomb
    The scenario recalls everything from "High Noon" to "Unforgiven," but Costner is less interested in grappling with the grim ambiguities underlying those films than in codifying them. There's still much to like, including the warm, thoughtful performances and cinematographer James Muro's fearless use of natural light.
    • 71 Metascore
    • 70 Mark Holcomb
    Unusually impassioned indie.
    • 56 Metascore
    • 70 Mark Holcomb
    Weird, frivolous, and impossible to dislike.
    • 55 Metascore
    • 70 Mark Holcomb
    By turns whimsical and painful.
    • 58 Metascore
    • 70 Mark Holcomb
    While far from perfect, Hitch is a rare studio product that earns the goodwill it smugly demands.
    • 55 Metascore
    • 70 Mark Holcomb
    In the end, Milk and Honey's contrived connections blossom into a disarmingly effective reckoning with loss and regret.
    • 87 Metascore
    • 70 Mark Holcomb
    What keeps Murderball from devolving into redemptive drivel is its insistence on treating the players it profiles as jocks first and disabled men second.
    • 64 Metascore
    • 70 Mark Holcomb
    A fresh and uncompromising account of emotional self-immolation and romantic flux. And it has a happy ending to boot.
    • 67 Metascore
    • 70 Mark Holcomb
    This earnest, well-observed weepy has more depth than its genteel trappings might imply.
    • 68 Metascore
    • 70 Mark Holcomb
    The result is a film as tenacious, peculiar, and likable as Burt Munro himself.
    • 64 Metascore
    • 70 Mark Holcomb
    Sanaa Hamri's brisk, refreshingly understated romantic comedy Something New is the rare movie that delivers on its title's promise.
    • 46 Metascore
    • 70 Mark Holcomb
    Stilted and gloomy as it sounds (and sometimes is), The Tenants gets by on its nimble approximation of Malamud's robust prose, subtle turns of deadpan humor and gut-tingling menace, and remarkable performances. McDermott does credible work here, but Snoop's casting is a stroke of genius.
    • 48 Metascore
    • 70 Mark Holcomb
    Unfortunately, Rae's film is split down the middle, and the appeal of its latter half depends on your tolerance for earnest politico-poetry set to wailing rock guitar and Native American chants and extraneously endorsed by celebrity talking heads. The backstory portion of the film, though, is riveting.
    • 62 Metascore
    • 70 Mark Holcomb
    Tender irony and dark humor abound in Israeli director Eran Riklis's latest account of bureaucracy colliding with burgeoning compassion.
    • 55 Metascore
    • 60 Mark Holcomb
    Thanks to an uninhibited screenplay and the easy, unforced chemistry of its ensemble cast, Punks is mostly good, snappy fun.

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