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 13.2 points lower than other critics. (0-100 point scale)

Mark Holcomb's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 The Turandot Project
Lowest review score: 0 Rollerball
Score distribution:
  1. Positive: 29 out of 116
  2. Negative: 35 out of 116
116 movie reviews
    • 56 Metascore
    • 50 Mark Holcomb
    Few clichés go unexercised, but there's also something quietly amazing going on here: For once, American Indians are portrayed not as spiritually attuned mystics or powerless patsies but as ordinary working stiffs, or at least the cinematic equivalent thereof.
    • tbd Metascore
    • 50 Mark Holcomb
    A wispy mix of boy-boy romance and noir-lite potboiler, the Shumanski brothers' (Wrecked) latest wastes a promising premise by loading up on tender whimsy and skimping on grit.
    • 47 Metascore
    • 50 Mark Holcomb
    There's a certain gutsy allure to the wildly improbable proceedings.
    • 43 Metascore
    • 50 Mark Holcomb
    An engagingly grim psychological thriller.
    • 52 Metascore
    • 40 Mark Holcomb
    Treading the same supernatural turf trampled by "Somewhere in Time" and "Frequency," director Alejandro Agresti's gooey, ostensibly spooky romance yarn The Lake House flounders less on its thudding familiarity than on its mood- killing dourness.
    • 59 Metascore
    • 40 Mark Holcomb
    Suffice it to say that if you've always wondered how a fish out of water and a band of resourceful yokels would behave in the Quebec hinterlands, this is your movie.
    • 50 Metascore
    • 40 Mark Holcomb
    These after-school specials are distinctly depoliticized and seem tailored for Western audiences, so the African settings feel oddly superfluous.
    • 33 Metascore
    • 40 Mark Holcomb
    Uneasy mélange of occult thriller and insane-asylum-as-social-microcosm parable.
    • 52 Metascore
    • 40 Mark Holcomb
    A diverting pulp time-waster.
    • 69 Metascore
    • 40 Mark Holcomb
    First-timer Wayne Kramer brings pathos to Bernie and Shelly's fraught relationship, but his film never amounts to more than a cute idea stretched to poker-chip thinness.
    • 50 Metascore
    • 40 Mark Holcomb
    There's nothing wrong with a little creative license, but the abundance of self-serving fabrication in City by the Sea not only diminishes LaMarca's experience and cheapens McAlary's work, it all but desecrates the memory of the real murder victim.
    • 48 Metascore
    • 40 Mark Holcomb
    As earnest and smart-alecky as an entire season of Designing Women, Ya-Ya is sure to score with its redemptive family melodramatics and stock eccentric characterizations.
    • 20 Metascore
    • 40 Mark Holcomb
    At its heart is a deep, unresolved ambivalence about child rearing.
    • 27 Metascore
    • 40 Mark Holcomb
    Levant and his screenwriting posse attempt to wring maximum hilarity from this setup, but it's just too schizoid.
    • 39 Metascore
    • 40 Mark Holcomb
    Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.
    • 40 Metascore
    • 40 Mark Holcomb
    No "Triplets of Belleville," this French animated feature was hatched as an idea for a video game, and it shows.
    • 43 Metascore
    • 40 Mark Holcomb
    The resolution is as surprise-free as it is improbably sunny.
    • 48 Metascore
    • 40 Mark Holcomb
    The Great Raid is ultimately scotched by History Channel–worthy nostalgia.
    • 36 Metascore
    • 40 Mark Holcomb
    Thematic muddle aside, the film's appeal lies in Burke's ranting charisma, Julie Christie's thankless turn as a sympathetic doctor, and Michael Spiller's radiant cinematography, which frequently captures the mythic grandeur that eludes Hartley's narrative grasp.
    • 52 Metascore
    • 40 Mark Holcomb
    Who is this movie's target audience, anyway? Preteens will be bored stupid, while adults are unlikely to want to revisit puppy love in such grueling detail. The lingering, soft-focus, slo-mo shots of Rosemary that punctuate the action suggest a constituency I'd rather not contemplate.
    • 45 Metascore
    • 40 Mark Holcomb
    Rosenfeld's film doesn't have much of a story to tell and tells it rather routinely.
    • 59 Metascore
    • 30 Mark Holcomb
    Stupefyingly benign.
    • 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.
    • 31 Metascore
    • 30 Mark Holcomb
    John Schultz's wan, unfunny The Honeymooners is unlikely to tickle devotees of Jackie Gleason's archetypal yuk-fest.
    • 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.
    • 52 Metascore
    • 30 Mark Holcomb
    Appallingly violent.
    • 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.
    • 59 Metascore
    • 30 Mark Holcomb
    Cynically accumulates plot twists while showing little regard for suspense or audience sophistication.
    • 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.
    • 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.

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