For 158 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 9.5 points lower than other critics. (0-100 point scale)

Mark Olsen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Assassin
Lowest review score: 0 21 and Over
Score distribution:
  1. Positive: 54 out of 158
  2. Negative: 37 out of 158
158 movie reviews
    • 41 Metascore
    • 50 Mark Olsen
    Kick-Ass 2 is a lesser version of what it appears to be, an uncertain jumble rather than a true exploration of outrage, violence and identity.
    • tbd Metascore
    • 70 Mark Olsen
    Anyone who longs for the old, weird films of John Waters or the psychotronic freak-outs of New York's Cinema of Transgression school should be able to get their fix from Pig Death Machine.
    • 44 Metascore
    • 30 Mark Olsen
    Blood feels perfunctory, needing something besides fussy plotting to jolt it to life.
    • 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.
    • 34 Metascore
    • 50 Mark Olsen
    Just as with the 2011 film "The Smurfs," the new The Smurfs 2 is a passable mediocrity.
    • 82 Metascore
    • 80 Mark Olsen
    Drumming is able to swing from lighter comedic moments to dramatic insights while making it seem effortless.
    • 25 Metascore
    • 30 Mark Olsen
    The entire film has an oddly underdone quality to it, as if aiming not for greatness but to simply be passable.
    • 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.
    • 19 Metascore
    • 20 Mark Olsen
    Grown Ups 2 looks like it was a lot of fun to make. And the last laugh is on us.
    • tbd Metascore
    • 80 Mark Olsen
    With continued arguments and legislation over fracking, this follow-up seems inevitable and necessary.
    • 56 Metascore
    • 30 Mark Olsen
    The movie feels like a flakey, off-the-cuff blog post that somehow transmogrified itself into a feature-length documentary.
    • 34 Metascore
    • 20 Mark Olsen
    Painfully lugubrious, any sting Copperhead might contain for its contrarian's view of history is undone by its wayward sense of storytelling.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 70 Mark Olsen
    The Story of Luke is not a saga of epic proportions, but with a huge assist from Pucci's layered performance, takes a premise that could easily be movie-of-the-week sappy and finds a humanizing lightness.
    • 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.
    • 26 Metascore
    • 20 Mark Olsen
    Perry's ongoing disinterest in improving as a filmmaker is now seemingly part of his unshakable belief in himself, his insistence on doing his thing his way.
    • 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.
    • 58 Metascore
    • 40 Mark Olsen
    "Rubber" felt inventive and complex, but here Dupieux's absurdism is simply muddled, masking the fact he doesn't really have much to say.
    • 35 Metascore
    • 50 Mark Olsen
    Family Weekend is no worse than many of the dysfunctional family comedies that populate the Sundance Film Festival — "Little Miss Sunshine" is name-checked within the movie itself — but isn't any better either.
    • tbd Metascore
    • 40 Mark Olsen
    With good intentions and a warm heart but undone by uneven performances and shaky storytelling, Bob's New Suit never quite finds the right fit.
    • 39 Metascore
    • 50 Mark Olsen
    Though the film at times works scene by scene, Webley can't quite tie it all together. A disjointed jumble, The Kill Hole can't dig itself out.
    • 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.
    • 53 Metascore
    • 70 Mark Olsen
    The film leans a little too heavily on Pineda's wide-eyed disbelief at his sudden turn of fortune, leaving a feeling that it could dig deeper into the history and dynamics of the band. Yet Pineda's ebullience is infectious, and Don't Stop Believin': Everyman's Journey is a pleasant story of dreams coming true.
    • 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.

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