For 36 reviews, this critic has graded:
  • 88% higher than the average critic
  • 8% same as the average critic
  • 4% lower than the average critic
On average, this critic grades 9.4 points higher than other critics. (0-100 point scale)

Mary Houlihan's Scores

  • Movies
Average review score: 69
Highest review score: 88 Frances Ha
Lowest review score: 50 Getaway
Score distribution:
  1. Positive: 32 out of 36
  2. Negative: 0 out of 36
36 movie reviews
    • 82 Metascore
    • 88 Mary Houlihan
    Filled with witty dialogue and natural performances, Frances Ha marks a return to form for Baumbach.
    • 76 Metascore
    • 88 Mary Houlihan
    Vinterberg has created a modern horror story about a man’s descent into a Kafkaesque nightmare.
    • 83 Metascore
    • 88 Mary Houlihan
    It is to Lelio’s credit that he steers clear of stereotypes and lets the story unfold organically without judgment or sentimentality. There is an unflinching honesty and intelligence here.
    • 76 Metascore
    • 88 Mary Houlihan
    The Lunchbox,” Indian director Ritesh Batra’s debut, is a witty and perceptive film that reveals the hopes, sorrows and regrets of ordinary people.
    • 75 Metascore
    • 88 Mary Houlihan
    It’s a big puzzle that the filmmakers piece together in an intriguing and engrossing way.
    • 49 Metascore
    • 75 Mary Houlihan
    Scott keeps the story from becoming cloying and sentimental. He is aided by smart, low-key work from his cast, especially Huard, who easily embodies the persona of an adult slacker, instilling him with a warm charm.
    • 43 Metascore
    • 75 Mary Houlihan
    Violet & Daisy won’t be everyone’s cup of tea... But view this as a modern comic book/fairy tale, and it’s easier to accept this saga of girls with guns and the life lessons they eventually confront.
    • 71 Metascore
    • 75 Mary Houlihan
    This is not an in-your-face thriller but rather a measured film ripe with suspense that never lets up.
    • 74 Metascore
    • 75 Mary Houlihan
    Ain’t Them Bodies Saints is a tone poem that doesn’t quite live up to its luster. It is so shrewdly perfect and solemn that the strong emotions layered throughout Bob and Ruth and Patrick’s intertwined story become lost in the film’s one-note mood.
    • 57 Metascore
    • 75 Mary Houlihan
    Appealing performances and a not always predictable storyline help elevate Pulling Strings above the run-of-the-mill rom-com.
    • 60 Metascore
    • 75 Mary Houlihan
    Director Mike Newell and screenwriter David Nicholls focus on the major plot points of the well-known story. Their attempts mostly work but at times the film, despite its two-hour-plus length, feels rushed and truncated.
    • 48 Metascore
    • 75 Mary Houlihan
    Lemmons and her cast, aided by some great music, have created an interlude sure to lift the spirit during the holiday season.
    • 54 Metascore
    • 75 Mary Houlihan
    Tucci and Eve play well off each other, especially when they are slinging ugly revelations back and forth.
    • 75 Metascore
    • 75 Mary Houlihan
    A cast of mostly first-time actors shade the film with a touching realism. Bakri offers a masterful performance, portraying Omar as kind and easygoing while also tamping down those traits in an atmosphere of suspicion and betrayal.
    • 61 Metascore
    • 75 Mary Houlihan
    The young actors shine revealing lights on their characters.
    • 55 Metascore
    • 75 Mary Houlihan
    In its best moments it travels into the heart of darkness with “Richard III” and brings to life the unique, all-involving heartbeat of theater performed before a live audience.
    • 64 Metascore
    • 75 Mary Houlihan
    It goes down like a French pastry, offering no real value but looking good and satisfying a craving for something light and airy.
    • 56 Metascore
    • 63 Mary Houlihan
    There’s simply too much going on here — too many subplots, too many symbols, too many expendable characters — and certain interesting threads aren’t able to develop fully.
    • 42 Metascore
    • 63 Mary Houlihan
    It’s a romantic comedy with all sorts of possibilities that instead relies on heavy-handed sight gags and over-the-top performances.
    • 44 Metascore
    • 63 Mary Houlihan
    There’s nothing offensive in the relentlessly upbeat Tio Papi. It’s just all so polite and saccharine. Life lessons are learned every few minutes, and the ending is telegraphed from the beginning.
    • 41 Metascore
    • 63 Mary Houlihan
    Despite the filmmakers’ best attempts, the latest screen adaptation of Shakespeare’s tragic love story Romeo & Juliet lands with a dull thud.
    • 23 Metascore
    • 63 Mary Houlihan
    The dialogue in places leans toward the banal, but a couple of plot twists help hold interest.
    • 33 Metascore
    • 63 Mary Houlihan
    Despite some fine production values, lovely photography and smart casting of a range of British stage and screen actors, The Christmas Candle can’t quite move beyond the weary metaphors. It has the feel of a slick television movie.
    • 38 Metascore
    • 63 Mary Houlihan
    The positive messages involving characters searching for love and purpose in life are well thought out, but presented in a way that is just too genial and even-handed. No one ever gets really angry or passionate, and the result is a film that sometimes feels stilted.
    • 60 Metascore
    • 63 Mary Houlihan
    At Middleton is an innocuous romantic comedy.
    • 47 Metascore
    • 63 Mary Houlihan
    There is nothing really wrong with In Secret, yet in the end one feels dissatisfied. It’s as if you’ve just sat through a dry academic lecture dissecting the novel.
    • 51 Metascore
    • 63 Mary Houlihan
    The stars hold the film together.
    • 48 Metascore
    • 63 Mary Houlihan
    No God, No Master has an authentic period feel. But Green is focused on so many historical figures and potential storylines that the film feels rushed and, at times, confusing.
    • 51 Metascore
    • 63 Mary Houlihan
    The film is well acted all around and the excellent art direction brings the ’60s to colorful life. But Bandele struggles to balance an epic story of civil war and death against the equally epic story of sisters whose lives are forever changed by circumstances they can’t control.
    • 36 Metascore
    • 63 Mary Houlihan
    Sex Tape feels like the halves of two different movies. There is a fun, believable comedy about family life... that is upended by the overly broad, barely funny attempts at reclaiming the sex tape.
    • 33 Metascore
    • 50 Mary Houlihan
    Language of a Broken Heart has the Lifetime Network written all over it. It’s a fitting entry for that venue but as a theatrical feature, it’s simply not up to the task.
    • 23 Metascore
    • 50 Mary Houlihan
    The racing is spectacular, especially when you consider director Courtney Solomon’s claim that no CGI was used in the crash scenes... Solomon wanted to put the audience in the middle of events and inside the car; he certainly does pull that off. Believe me, your head will spin. After a while it all becomes mind-numbing.
    • 29 Metascore
    • 50 Mary Houlihan
    There’s a glint of a clever idea here, but writer-director Ramin Niami’s reliance on tired rom-com tropes only serve to drag down the film, which plays out like a Harlequin romance.
    • 64 Metascore
    • 50 Mary Houlihan
    The Rover does have a central nervous system that crackles and pops with suspense, but in the end it’s not enough to jump-start the lack of narrative. Too much story is missing, and that is simply distracting.