For 221 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 0.2 points higher than other critics. (0-100 point scale)

Mary Pols' Scores

  • Movies
Average review score: 59
Highest review score: 100 Wreck-It Ralph
Lowest review score: 0 Jack and Jill
Score distribution:
  1. Negative: 19 out of 221
221 movie reviews
    • 50 Metascore
    • 40 Mary Pols
    Four minutes of Bush on SNL is just right, but 85-minutes of Cam Brady feels like a lot, even with a strong supporting cast that includes Jason Sudeikis as Cam's campaign manager and Katherine LaNasa as Cam's picture-perfect, but mean-as-nails wife.
    • 50 Metascore
    • 70 Mary Pols
    I'd take any woman in my life, ages 10 to 100, to Letters to Juliet and my guess is we'd both leave with a little Italian glow.
    • 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.
    • 49 Metascore
    • 60 Mary Pols
    The glossily photographed family drama People Like Us is not without appeal, but it has a major construction flaw. It's dramatic arc is predicated on the problem of accidental incestuous attraction. Egads.
    • 49 Metascore
    • 40 Mary Pols
    The frenetic pace masks an emptiness; this Ice Age is just a collection of slapstick moments and fisticuffs.
    • 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.
    • 49 Metascore
    • 50 Mary Pols
    Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.
    • 49 Metascore
    • 70 Mary Pols
    Quick, capable, thoroughly bloody action film.
    • 48 Metascore
    • 30 Mary Pols
    The Counsellor is neither an outright disaster nor misunderstood masterpiece: it’s just a very bad idea for a film, proficiently executed.
    • 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.
    • 48 Metascore
    • 40 Mary Pols
    While Admission remains the story of a woman who comes to question her past choices and jeopardize her career, the movie version is lighter, fluffier and dramatically inert.
    • 48 Metascore
    • 40 Mary Pols
    Whatever director Peter Hedges' intent, the movie itself, a sentimental blend of magical realism and saccharine emotions, is oddly false. It made me want to go on a sugar cleanse.
    • 47 Metascore
    • 70 Mary Pols
    This is a big, often quite scary action movie, with tons of creepy computer-generated imagery that's right up there with Voldemort in terms of physical nastiness, although less powerful emotionally.
    • 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?
    • 47 Metascore
    • 70 Mary Pols
    The results, while occasionally forced, are consistently amusing.
    • 47 Metascore
    • 40 Mary Pols
    Hotel Transylvania isn't a complete stinker. Sandler, speaking in a pitch close to his Opera Man routine from his days on Saturday Night Live, is less obnoxious than usual. The visuals are consistently enticing - the castle/hotel is artfully rendered...And there are some bright and funny lines.
    • 46 Metascore
    • 40 Mary Pols
    Alas, it was George Lucas who became captivated by the Tuskegee Airmen and has, after many years as devoted producer, managed to turn their story into a feature film that falls much closer to the goofy "Hogan's Heroes" in the spectrum of World War II-focused productions than "Saving Private Ryan."
    • 46 Metascore
    • 60 Mary Pols
    Light as a feather, the movie is at times a modest pleasure, but inconsequential.
    • 46 Metascore
    • 60 Mary Pols
    Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.
    • 46 Metascore
    • 70 Mary Pols
    Yet he just kept going and going, and the slick, proficient Knight and Day is proof that you should never count Cruise out.
    • 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.
    • 45 Metascore
    • 40 Mary Pols
    The Greatest often feels like a mash-up of Sarandon's greatest grief hits.
    • 45 Metascore
    • 40 Mary Pols
    This is Meyer's worst offense - her disturbingly Victorian attitudes about sex and love, which this particular movie falls modestly in lockstep with, even though it concludes years of cinematic foreplay.
    • 45 Metascore
    • 70 Mary Pols
    Chasing Mavericks may treat its characters with a little too much reverence, but it gives its titular subject its awe-inspiring due.
    • 44 Metascore
    • 70 Mary Pols
    So a tip of the hat to A Good Old Fashioned Orgy, a frequently very funny movie about planning and executing exactly what the title describes.
    • 44 Metascore
    • 80 Mary Pols
    The chemistry this trio has is special; the premise of the sequel seems worn, but the way they work against and with each other is what provides the pleasure.
    • 44 Metascore
    • 50 Mary Pols
    Kutcher, whose acting chops haven’t been tested in all those pretty-boy lead roles, was a welcome surprise. His movie-star glow distracts, but there is a strong physical resemblance. Moreover, he’s got many of Jobs’ mannerisms down cold, from that T Rex–like walk to the fingers that fan the air and the yoga-style postures left over from his bohemian youth. It’s a good impression, but Jobs itself is all too impressionistic.
    • 43 Metascore
    • 40 Mary Pols
    This sugary sweet chick flick is so rich in its ripeness and full in its foolishness that I look forward to groaning in happy horror when I inevitably see it again, whether while drinking or when laid low by the kind of flu whose symptoms include a desire to watch Meg Ryan rom coms on cable.
    • 43 Metascore
    • 40 Mary Pols
    This isn't a love story, it's a misery story that drags on, not to a dramatic conclusion but a tepid moment.
    • 42 Metascore
    • 40 Mary Pols
    If "Waiting for Superman" was intended to make audiences think, Won't Back Down is supposed to make them feel. It made me feel more annoyed than outraged.