For 226 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Mary Pols' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Inside Out
Lowest review score: 0 Jack and Jill
Score distribution:
  1. Negative: 20 out of 226
226 movie reviews
    • 51 Metascore
    • 50 Mary Pols
    The technology is undeniably there to make a credible beanstalk fly into the heavens, and giants that are utterly grotesque and vividly threatening. But how about something we can take our kids too? Doesn’t anyone want them to be there?
    • 55 Metascore
    • 50 Mary Pols
    While Hathaway and Gyllenhaal have good chemistry, and director Edward Zwick moves the narrative along nicely, the film is too self-satisfied to be genuinely touching.
    • 54 Metascore
    • 50 Mary Pols
    Other than Baldwin, Allen and Eisenberg - who is delightful - few of the performances are memorable. Page is miscast as a femme fatale, but adroit with Allen's lines, but the other women, Cruz, Pill and Gerwig hardly register.
    • 74 Metascore
    • 50 Mary Pols
    It is a tremendous downer when the second half of the movie shirks logic, defies its own established principles and raises more questions than it answers.
    • 53 Metascore
    • 50 Mary Pols
    It's no wonder the movie is no walk in the park, even with a pretty soundtrack by Badly Drawn Boy (again, like About a Boy). It never feels inspirational - it's too gritty and dark - and there isn't a single easy solution in sight for either Nick or Jonathan.
    • 45 Metascore
    • 50 Mary Pols
    Unfortunately, Girl in Progress doesn't upend anything; it just makes us weary of its wisecracking, oblivious teen and her ditzy mom.
    • 59 Metascore
    • 50 Mary Pols
    As the movie goes on, the laughs are fewer and farther between, and for the last 30 minutes, not only did I not laugh, I wanted it to end so I could get back to my own boring but less precious life.
    • 59 Metascore
    • 50 Mary Pols
    Twice as funny as I thought it would be but not half as funny as it could have been.
    • 69 Metascore
    • 50 Mary Pols
    Ginger & Rosa never matches the freshness of its young star.
    • 49 Metascore
    • 50 Mary Pols
    It is the movie's uneven writing-half funny and daring, half punishing and senseless-that proves to be Lola's biggest opponent.
    • 50 Metascore
    • 50 Mary Pols
    Emmerich has turned his attention to the past. He and screenwriter John Orloff have embraced a kitchen sink's worth of 20th-century conspiracy theories about the provenance of Shakespeare's plays, each wilder than the last. Oliver Stone's "JFK" looks reasonable compared to this.
    • 48 Metascore
    • 50 Mary Pols
    Even in the skillful hands of director Lone Scherfig, the effect is disjointed. The characters that Nicholls brought so cunningly to life in the book feel rushed through a timeline, tied to an agenda.
    • 31 Metascore
    • 50 Mary Pols
    I did laugh. The movie is so disgusting it is worthy of the Farrelly brothers.
    • 39 Metascore
    • 50 Mary Pols
    As a person who removes a woman's clothing in the half light of a Southern afternoon, Efron acquits himself reasonably well.
    • 41 Metascore
    • 50 Mary Pols
    It has a gentle if unenlightening message, namely that we should all take time off to reconnect - the soundtrack tends to the Bonnie Raitt but the movie seems to subliminally hum "slow down, you move too fast" - and Keaton and Kline have decent chemistry.
    • 34 Metascore
    • 50 Mary Pols
    The man (Sparks) is a cultural magpie, capable of borrowing from a 1991 Julia Roberts flick and M. Night Shyamalan in one fell swoop. He’ll never get an award for originality, but when it comes to rehashing formula and pleasing his audience, the man is a master.
    • 55 Metascore
    • 50 Mary Pols
    In its lesser moments, of which there are more, Liberal Arts calls to mind more the spirit of an alumni magazine, so bathed in nostalgia for academia that you expect autumn leaves to flutter down to the theater floor.
    • 61 Metascore
    • 50 Mary Pols
    The dreariest thriller of the year.
    • 65 Metascore
    • 50 Mary Pols
    Director Rodrigo Cortes intends us to feel trapped, twitchy and unhappy and at the same time, wildly grateful we're not actually in the box like Paul. I could do without that kind of guilt trip from a film.
    • 38 Metascore
    • 50 Mary Pols
    It's not that I Don't Know How She Does It tells actual lies about working motherhood - many of its observations and jokes are on point - it's just that it omits the edge, the desperation of a woman on the verge.
    • 49 Metascore
    • 50 Mary Pols
    Tron: Legacy is not good, but it is amiable. While it seems less like a parody than the original, it is also silly in a not unpleasing way.
    • 56 Metascore
    • 50 Mary Pols
    The story remains sadly mired in botdom, which leads to some boredom. It's hard to look away from the ever-dazzling Jackman, but the sight of him hunched over the controls of something akin to a live action video game is not, in the end, much more exciting than the sight of your average teenager hunched over the controls of a Game Boy.
    • 53 Metascore
    • 50 Mary Pols
    Apparently Bachelorette has been divisive, with audiences either falling hard for it or walking away disgusted. I'd have fallen harder for it if I'd walked away more disgusted.
    • 71 Metascore
    • 50 Mary Pols
    Warrior's three principle characterizations are compelling - Nolte in particular gives a tempered performance as the shambling, sad-eyed wreck of a dad - but not enough to mask the film's lesser elements.
    • 58 Metascore
    • 50 Mary Pols
    It's only when it takes an unfortunate wrong turn from playful wit into the dramatic and sentimental - Hallström's speciality - that the movie starts to unravel.
    • 75 Metascore
    • 50 Mary Pols
    Instead of exploring something bigger, like the origins of Bernie's need for the company of elderly ladies (which Hollandsworth touched on in Texas Monthly; Tiede lost his mother at age 3 and his father at 15), Linklater limits the story and mood to black comedy.
    • 39 Metascore
    • 50 Mary Pols
    The Change-Up tries so hard to be scandalous that it's a shame it doesn't do more to change up the formula.
    • 62 Metascore
    • 50 Mary Pols
    Suspense isn't Burns' thing though, and it may be foolish to even ask for it this far into his career. Burns has made it crystal clear what his style is: lots of chatty, mostly amiable folks, working out their not so troubling differences in the greater New York metropolitan area.
    • 47 Metascore
    • 50 Mary Pols
    Bad Teacher revels in being distasteful. But it can't just let a bad woman be bad; she also has to be burdened with physical insecurity, even if it makes no sense. Can you imagine if Billy Bob Thornton's character had become Bad Santa so he could steal to fund his penis implant?
    • 61 Metascore
    • 50 Mary Pols
    This cutesy film is overwhelmed by a sense of forced farce.

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