Marrit Ingman

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For 253 reviews, this critic has graded:
  • 35% higher than the average critic
  • 1% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 8.7 points lower than other critics. (0-100 point scale)

Marrit Ingman's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 89 March of the Penguins
Lowest review score: 0 The Condemned
Score distribution:
  1. Negative: 43 out of 253
253 movie reviews
    • 70 Metascore
    • 67 Marrit Ingman
    Made by teachers for teachers, this local indie – which now sports the imprimatur of executive producer Morgan Spurlock – offers no easy answers to its statistic that 50% of teachers quit within their first three years on the job.
    • 65 Metascore
    • 67 Marrit Ingman
    Even at its most contrived, the filmmakers believe in this project so passionately that its atmosphere seems absolutely real.
    • 81 Metascore
    • 67 Marrit Ingman
    There’s much to enjoy, even if the funny bits don’t add up to Spinal Tap greatness. And the titular anthem, performed in a star-studded closing jamboree, has a wickedly funny payoff.
    • 71 Metascore
    • 78 Marrit Ingman
    Ill-suited to casual viewing. But its challenges are worthwhile, and the gifted Gleize is one to watch.
    • 57 Metascore
    • 67 Marrit Ingman
    Hallström's latest is fine but unambitious, content with what it is – an arthouse trifle for the masses.
    • 68 Metascore
    • 50 Marrit Ingman
    A suitably rigorous sports movie. On the other hand, at no time does it break out of the "sports movie" mold.
    • 67 Metascore
    • 78 Marrit Ingman
    The film is set in post-WWII Scotland, but its tone and its telling are so stark, so Medieval, that it seems anachronistic when one of its characters picks up a telephone or plays a bebop jazz record.
    • 71 Metascore
    • 78 Marrit Ingman
    The action set-pieces, double crosses, and narrow escapes are handsomely mounted and suspenseful as a Saturday matinee.
    • 73 Metascore
    • 67 Marrit Ingman
    A paradox, balancing the contradictions and ambiguities of its characters and setting with a careful hand that rarely falters, even though the film seems dramatically thin at times.
    • 52 Metascore
    • 40 Marrit Ingman
    I can tell you in two words why to see this movie, which is otherwise an unspecial Cinderella farce...and those two words are: Queen Latifah.
    • 45 Metascore
    • 50 Marrit Ingman
    Everybody’s sleepwalking here. Vincent D'Onofrio is fantastic with Vaughn in a small part as his brother, but it's as if he’s running in during a break from "Law & Order: Criminal Intent."
    • 44 Metascore
    • 40 Marrit Ingman
    Schepisi underscores each emotional note by pulling the camera away from his actors and pointing it at family photographs, a saccharine conceit that becomes more irritating each time it appears.
    • 29 Metascore
    • 40 Marrit Ingman
    Mainly it's messy, and I don't just mean the gouged-out eyeball in a puddle.
    • 73 Metascore
    • 78 Marrit Ingman
    This is not a conventional love story but a philosophical one.
    • 69 Metascore
    • 89 Marrit Ingman
    Acted with such venomous restraint that it hurts to watch.
    • 45 Metascore
    • 50 Marrit Ingman
    It is really gory, for the record -– though it's too silly and insufficiently twisted to slake the appetite of the hardcore gorehound, it's not something to take a kid to.
    • 65 Metascore
    • 78 Marrit Ingman
    In casting an all-American Jersey girl and surrounding her with Manolo Blahniks and the Strokes, Coppola draws a connection between her audience (domestically, at least) and the doomed dauphine, who is likewise insulated and distracted from her country's pointless involvement in a disastrous foreign war that is bankrupting its government and starving its people – and all the while she spends, spends, spends.
    • 31 Metascore
    • 20 Marrit Ingman
    It’s a shame when a movie brings together so many underutilized thespians of color – even Ajay Naidu of "Office Space" is in here someplace – and gives them absolutely nothing to do.
    • 37 Metascore
    • 40 Marrit Ingman
    The elements of the film don’t quite mesh: The villains are cartoony, but Du Chau aims for soggy family drama in his father-son story.
    • 79 Metascore
    • 67 Marrit Ingman
    A pleasant and often surprising ensemble dramedy set almost entirely within the walls of a busy, fashionable Tribeca trattoria on a spectacularly busy Tuesday night.
    • 51 Metascore
    • 50 Marrit Ingman
    A slick, sexy little package with fast cars, big explosions, dazzling locations in the south of France, a trip-hop score, and about as much plot to fill a thimble.
    • 74 Metascore
    • 78 Marrit Ingman
    Monster is, at its best, simply a chronicle of people trying to get along, which makes it compelling viewing indeed.
    • 65 Metascore
    • 50 Marrit Ingman
    It feels mechanical, more conceptual than realized, like a senior project by a particularly ambitious student who's recently read "West of Everything" – and who's lucked into working with a world-class actor.
    • 53 Metascore
    • 40 Marrit Ingman
    It's a soggy drama said to be inspired by actual events – too serious to be trashy, too trashy to be serious.
    • 72 Metascore
    • 89 Marrit Ingman
    Though the story is thinly conceived, Antal throws a fantastic curveball in the second act. Kontroll is a hot ticket.
    • 64 Metascore
    • 40 Marrit Ingman
    It’s too didactic to be a spaghetti Western but lacks the moral compass required of a more evolved philosophical statement.
    • 48 Metascore
    • 40 Marrit Ingman
    Sweet enough while it lasts.
    • 35 Metascore
    • 0 Marrit Ingman
    Fans of "The Graduate" should skip this strange comedy.
    • 59 Metascore
    • 50 Marrit Ingman
    Parents might appreciate a lighter hand with the barnyard whimsy and food fights, but overall the movie doesn't condescend about heavy matters (grief, healing, and blended families) and is pleasantly diverting.
    • 82 Metascore
    • 89 Marrit Ingman
    Substantive and imaginatively filmed but is not an off-putting art movie; rather, it's the kind of solid but accessible filmmaking that prevailed in Hollywood's golden age.

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