For 118 reviews, this critic has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 9 points lower than other critics. (0-100 point scale)

Mark Olsen's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Calvary
Lowest review score: 0 21 and Over
Score distribution:
  1. Positive: 35 out of 118
  2. Negative: 33 out of 118
118 movie reviews
    • 83 Metascore
    • 60 Mark Olsen
    There is much clattering and clanking plus a couple of songs; some of the gothic-inspired, neo-Victorian visuals are quite arresting; and the corpse bride herself is, dare one say, surprisingly hot. But the whole thing just isn’t much fun.
    • 82 Metascore
    • 80 Mark Olsen
    Drumming is able to swing from lighter comedic moments to dramatic insights while making it seem effortless.
    • 81 Metascore
    • 80 Mark Olsen
    Audacious and witty, The World's End is a strange brew.
    • 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.
    • 77 Metascore
    • 90 Mark Olsen
    McGarry has created something that feels personal, vital and revelatory, allowing the rest of us behind the curtain.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Mark Olsen
    Director Erik Van Looy has filmmaking chops to spare, and while he has created a sharply shot and crisply paced film, he isn't able to make it all cohere.
    • 73 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.
    • 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.
    • 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.
    • 72 Metascore
    • 60 Mark Olsen
    My Brother the Devil is a promising debut that marks El Hosaini as a filmmaker to watch, but one still very much in the developmental stages.
    • 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.
    • 69 Metascore
    • 80 Mark Olsen
    With Palo Alto Coppola transforms weakness into strength, vulnerability into armor.
    • 69 Metascore
    • 60 Mark Olsen
    Among the film's other drawbacks are how conventional it feels in its structure and strategy, often misguidedly going for the epic high-key feel of classic NFL Films on a low-key, DV budget.
    • 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.
    • 67 Metascore
    • 50 Mark Olsen
    During the all-important underwater sequences, the three-dimensional effects are surprisingly muted.
    • 65 Metascore
    • 30 Mark Olsen
    The film is, perhaps, intended as a deadpan burlesque of race and class and beauty ideals...but it plays more as a boorish, overextended punch line.
    • 64 Metascore
    • 50 Mark Olsen
    Watt seems to want to say something about the role of fate and happenstance in creating connections between people, but she never quite brings the strands of her ideas together.
    • 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.
    • 63 Metascore
    • 30 Mark Olsen
    It's like a musical with no big numbers, or an action film withholding the explosions.
    • 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.
    • 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.
    • 62 Metascore
    • 70 Mark Olsen
    There's something refreshing about a film set in Los Angeles that gets its L.A.-ness right -- the difference in vibe between Silver Lake and the Hollywood Hills, or the types of people at CityWalk versus Saks. It is that sense of specificity, both geographic and emotional, that gives Shopgirl its pull.
    • 62 Metascore
    • 50 Mark Olsen
    The laugh always comes first, and Myers' puppy-dog tenacity to that cast-iron tenet of low comedy, disarming and even somewhat charming in the first film, now has an air of careerist desperation about it.
    • 62 Metascore
    • 40 Mark Olsen
    Has moments of real interest, but they require wading through a lot of dead air.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Mark Olsen
    Cholodenko's new film relies on easy caricature over true character such that the film fails to build emotional momentum or resonance.
    • 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.