For 125 reviews, this critic has graded:
  • 47% higher than the average critic
  • 5% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 8.5 points lower than other critics. (0-100 point scale)

Mark Olsen's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Calvary
Lowest review score: 0 21 and Over
Score distribution:
  1. Positive: 38 out of 125
  2. Negative: 33 out of 125
125 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 70 Mark Olsen
    Okuda creates that slightly surreal atmosphere of ghost-town emptiness that will be familiar to fans of Takeshi Miike, but he infuses it with a romantic's sense of deep yearning.
    • 72 Metascore
    • 70 Mark Olsen
    Even if you may not be putting a Pussy Riot song on your next playlist, there is something so of-the-moment and exciting about the group that Pussy Riot: A Punk Prayer feels important, if not fully complete.
    • tbd Metascore
    • 70 Mark Olsen
    If one were to parody Iranian cinema, packing into one film its common tropes and themes to the point of bursting, it would probably be a lot like Iraj Karimi’s Going By.
    • 57 Metascore
    • 70 Mark Olsen
    It's unlikely the movie will gain the same ardent following as Raimi's debut, but it offers enough good-time gore, goofiness, scares and screams to leave an audience feeling a certain elated exhaustion.
    • 63 Metascore
    • 70 Mark Olsen
    With a fun post-credits gag to round it off, 100 Bloody Acres is great summer counterprogramming for anyone who wants to unwind with a bit of bloody fun and goofball gore.
    • 44 Metascore
    • 70 Mark Olsen
    All the Boys Love Mandy Lane is not a missing masterpiece; rather it is a small, tightly coiled spellbinder.

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