For 122 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 8.4 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: 37 out of 122
  2. Negative: 33 out of 122
122 movie reviews
    • 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.
    • 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.
    • 44 Metascore
    • 70 Mark Olsen
    All the Boys Love Mandy Lane is not a missing masterpiece; rather it is a small, tightly coiled spellbinder.
    • 42 Metascore
    • 70 Mark Olsen
    The Marked Ones is refreshingly uncynical and straightforward in its desire to simply be a movie that makes the audience jump and be scared. It's a fun fright film and wants to be nothing more.
    • 52 Metascore
    • 70 Mark Olsen
    Winter in the Blood is a difficult film to get a handle on, not least because it often feels like it should be easier to dismiss. But then it locks onto a moment that is unexpectedly arresting and little jabs of poetic meaning or hard-earned truths reel a viewer back in.
    • 45 Metascore
    • 60 Mark Olsen
    Frankly, the story behind Manna From Heaven is a truckload more interesting than the movie itself.
    • 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.
    • 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.
    • 40 Metascore
    • 60 Mark Olsen
    Phantom is a relatively tight, gripping story told with efficiency that makes room for its fine roster of actors to explore old-fashioned ideas on honor and loyalty.
    • 35 Metascore
    • 60 Mark Olsen
    The Last Exorcism Part II is an effectively unnerving, slow-burn supernatural horror tale. The film is smartly different enough from the original to survive on its own, though it lacks some of the first film's sense of surprise.
    • 40 Metascore
    • 60 Mark Olsen
    At times, Lipsky's storytelling is too cutely self-aware, trying too hard, making Molly's Theory of Relativity something of an intriguing, if not entirely successful, exoticism.
    • 71 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.
    • 53 Metascore
    • 60 Mark Olsen
    Solidly done if somewhat unremarkable, there is nothing particularly wrong with "Broken," nothing that needs fixing exactly, and yet it never fully comes together.
    • 42 Metascore
    • 60 Mark Olsen
    Breaking the Girls isn't exactly a throwaway, but more an extended act of teasing foreplay, a movie that is fine for what it is but also never really shifts into something more.
    • 42 Metascore
    • 60 Mark Olsen
    A messy brew that is a bit too slack to get all the way to actually being good.
    • 25 Metascore
    • 60 Mark Olsen
    The effects may be cheap and unconvincing, the sets spare, the costumes from some unwanted back rack, but Argento still brings enough moments of kinky madness to his not-great "Dracula" to indicate there may yet be greatness lurking within him.
    • 35 Metascore
    • 60 Mark Olsen
    Grudge Match never settles on the movie it wants to be, wavering uncertainly between a jokey old-guys comedy and something more dramatic and heartfelt.
    • 52 Metascore
    • 60 Mark Olsen
    There is just enough in Comet to keep it from fizzling out entirely – largely in the performances of Long and Rossum – but its conceits also get in the way of its characters, making it feel fussy and convoluted when it aims for something more simple and elegant.
    • 51 Metascore
    • 50 Mark Olsen
    Roaming freely between comedy (which mostly works) and drama (which mostly doesn't) before settling on trite sentimentality, the film may not be an altogether unpleasant way to pass the time, but, ultimately, the innocuous Captain Pantoja doesn't earn its stripes.
    • tbd Metascore
    • 50 Mark Olsen
    The film essentially grinds along in second gear. A promising debut, Dirt Boy nevertheless fails to fully deliver.
    • 40 Metascore
    • 50 Mark Olsen
    Intermittently fun, but mostly just efficiently passable.
    • 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.
    • 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.
    • 67 Metascore
    • 50 Mark Olsen
    During the all-important underwater sequences, the three-dimensional effects are surprisingly muted.
    • 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.
    • 36 Metascore
    • 50 Mark Olsen
    The plot frequently resets/realigns itself in the fashion of "Lost" or "Alias," as good guys become bad guys, friends become enemies, and combatants become lovers. To portray confusion and uncertainty is one thing; to make a film this unsure of itself, wracked by its own faulty footing and reticence, is quite another.
    • 45 Metascore
    • 50 Mark Olsen
    With its chatty, overstuffed patter, Hoodwinked strains at the seams to look with it, like one of those dressed-alike Beverly Hills mother-daughter combos. Having said all that, the songs (yes, there are songs, too), mostly written by Todd Edwards, provide an unexpected bright spot.
    • tbd Metascore
    • 50 Mark Olsen
    Watching Americano is like hearing a long story about someone else's holiday, and while it seems everyone had a nice time, it's too bad they didn't shoot a better film while they were there.
    • 21 Metascore
    • 50 Mark Olsen
    It'll give fans exactly what they expect while passing unseen by anyone else.
    • 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.

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