For 146 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 8.1 points lower than other critics. (0-100 point scale)

Mark Olsen's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 The Assassin
Lowest review score: 0 21 and Over
Score distribution:
  1. Positive: 46 out of 146
  2. Negative: 37 out of 146
146 movie reviews
    • 80 Metascore
    • 100 Mark Olsen
    Combining Hou's patient, observant style with a historical martial arts tale, the film is a fascinating hybrid of craft, genre and story. Beautiful to look at and with deeply felt emotions, the film has a meditative aura punctured by sharp bouts of fighting.
    • 77 Metascore
    • 100 Mark Olsen
    The film is then not so much a meditation but a reverie, a swirl of emotions and ideas, managing to be both calmly reflective and skittishly anxious at the same time. Calvary is a serious comedy, a funny drama, a ruminative film about life and a lively film about death.
    • 57 Metascore
    • 90 Mark Olsen
    The Lords of Salem is like some queasy-making machine, a chamber piece of possession and madness that exerts a strange, disturbing power.
    • 76 Metascore
    • 90 Mark Olsen
    Make no mistake, "We Steal Secrets" is a sprawling, ambitious, major work — a gripping exploration of power, personality, technology and the crushing weight that can come to bear on those who find themselves in its combined path.
    • 77 Metascore
    • 90 Mark Olsen
    McGarry has created something that feels personal, vital and revelatory, allowing the rest of us behind the curtain.
    • 81 Metascore
    • 90 Mark Olsen
    By turns thrilling, disorienting and draining, Sicario exists in a border zone seemingly of its own devising between the art film and the action movie.
    • 75 Metascore
    • 90 Mark Olsen
    Always looking forward, Godard remains remarkably capable of seeing the world and thinking about filmmaking with clear eyes and fresh ideas.
    • 50 Metascore
    • 80 Mark Olsen
    It's so playful, wicked and unseemly, by the time you realize that the actual plot of this brilliantly sordid satire hasn't started, the party is already over.
    • 63 Metascore
    • 80 Mark Olsen
    Anchored by two fine performances, this bittersweet comedy about second chances just might signal a new beginning for the director as well.
    • 64 Metascore
    • 80 Mark Olsen
    It provides, perhaps like the experiences of love and sex, a shifting variety of insights, emotions, unexpected lightness and moments of visceral shock.
    • 53 Metascore
    • 80 Mark Olsen
    Irrational Man never does make sense of the inscrutable Abe, just as most people, Allen included, remain mysteries to themselves and others. This finally reveals the film to be neither comedy nor drama, but an all too human horror story where the monster is within.
    • 58 Metascore
    • 80 Mark Olsen
    The film has a sarcastic tone, like that of a friend who you never can tell is kidding or not, which eventually breaks through into a place of unexpected sincerity. Meeting this odd, idiosyncratic "Somebody" is a rare delight.
    • 69 Metascore
    • 80 Mark Olsen
    With Palo Alto Coppola transforms weakness into strength, vulnerability into armor.
    • 72 Metascore
    • 80 Mark Olsen
    Recut and reassembled at just a little over two hours, the new version of the film is a staggering and bracing object, stylistically bold and hypnotically captivating.
    • 82 Metascore
    • 80 Mark Olsen
    Drumming is able to swing from lighter comedic moments to dramatic insights while making it seem effortless.
    • 72 Metascore
    • 80 Mark Olsen
    Snappy, fun and outrageously irreverent, Kiss Kiss Bang Bang is the work of someone with nothing to lose, which is only to the audience's gain.
    • 81 Metascore
    • 80 Mark Olsen
    Audacious and witty, The World's End is a strange brew.
    • 58 Metascore
    • 80 Mark Olsen
    May
    The inventive and unpredictable May is exactly the kind of unexpected delight one hopes for every time the lights go down.
    • 60 Metascore
    • 80 Mark Olsen
    Volume II builds on emotional foundations from Volume I, even recasting the first film's ironic humor with a darker pall.
    • 69 Metascore
    • 80 Mark Olsen
    The film works no matter which side of the racial divide you're on, because nothing unites an audience quite like making fun of everyone.
    • 59 Metascore
    • 80 Mark Olsen
    The story is bound together with gaming set pieces that are strange, inventive and mesmerizing.
    • tbd Metascore
    • 80 Mark Olsen
    With continued arguments and legislation over fracking, this follow-up seems inevitable and necessary.
    • 61 Metascore
    • 80 Mark Olsen
    Far from closing the case, The Jeffrey Dahmer Files opens up a whole new perspective, acknowledging the banal and the baffling.
    • 52 Metascore
    • 80 Mark Olsen
    An infectious, warm comedy of family and communication and a promising debut as writer-director for Chism. These Peeples are people one should be happy to meet.
    • 75 Metascore
    • 80 Mark Olsen
    Spy
    Spy may not be a great movie, but it is great fun. And at times it will have you wondering if there's that much of a difference.
    • 66 Metascore
    • 70 Mark Olsen
    Truth is a movie curiously in conflict with itself. There is a constant shift between granular detail and big-picture sweep that the movie never fully resolves.
    • 57 Metascore
    • 70 Mark Olsen
    Serving mostly as a strong calling card for star Jaime Camil, the film has an appealingly loose, slightly ramshackle charm.
    • tbd Metascore
    • 70 Mark Olsen
    Wilding's genuine curiosity about the monks' beliefs and daily routines, as well as her willingness to ask questions that sometimes make her look like a bit of a dip, gives the film a homespun honesty and sincerity that make it a surprisingly pleasant trip.
    • 74 Metascore
    • 70 Mark Olsen
    There’s not really a bogeyman in The Orphanage and not much blood; just insane intensity and a building sense of bad vibes.
    • 42 Metascore
    • 70 Mark Olsen
    In its best moments, it's a sly exposé of the frailties of the contemporary male self-image and in its lesser moments a simplistic slapstick. This being a Will Ferrell comedy, sometimes those moments are one and the same.

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