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 0.5 points lower than other critics. (0-100 point scale)

Mary Pols' Scores

  • Movies
  • TV
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
    • 64 Metascore
    • 60 Mary Pols
    I wanted very much for West's new movie to evoke films like "The Others" or "The Orphanage," which made me, in the moment at least, a believer in ghosts. The Innkeeper's payoff lacked that kind of oomph, and weirdly, the pairing of Luke and Claire brought movies about work relationships, like "Clerks" and "Office Space," more to mind than ghost stories.
    • 69 Metascore
    • 60 Mary Pols
    Arthur Christmas is not ultimately a cynical movie – it comes together sweetly and rather movingly at the end – but it springs forth from a place of cynicism.
    • 33 Metascore
    • 60 Mary Pols
    A loose but fairly snappy remake of the 1969 charmer "Cactus Flower."
    • 62 Metascore
    • 60 Mary Pols
    42
    Boseman is not a hugely close physical match to Robinson, except for perhaps in the power he conveys, but he’s a great choice to play the ball player, unfamiliar enough, despite a decade of small credits here and there, to feel like an athlete, not a movie star playing one.
    • 50 Metascore
    • 60 Mary Pols
    The Guilt Trip works because we all know and like a Joyce Brewster (or dozens of them).
    • 62 Metascore
    • 60 Mary Pols
    For every obvious turn The Help takes, there is Davis, the ideal counterweight.
    • 54 Metascore
    • 60 Mary Pols
    Sparkle, while occasionally silly in a way that made a preview audience titter, is decent entertainment.
    • 53 Metascore
    • 60 Mary Pols
    Black fans may hardly recognize him, because for once he plays a person instead of a walking comedy mask atop a Buddha belly.
    • 42 Metascore
    • 50 Mary Pols
    The performances are compelling (although Jones is underused) but the thin narrative is less instructive of the strange way female friendships operate than of the way stories get recycled.
    • 40 Metascore
    • 50 Mary Pols
    If I had a daughter of impressionable age, I'd rather have her weeping over this mildly tasteless romance than the nonsense of "Twilight."
    • 65 Metascore
    • 50 Mary Pols
    It's a feast for the eyes, but we're still hungry.
    • 53 Metascore
    • 50 Mary Pols
    Wanderlust, a comedy that looks way better than it actually is set amidst the dreck of late winter releases.
    • 49 Metascore
    • 50 Mary Pols
    Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.
    • 30 Metascore
    • 50 Mary Pols
    Where Freeman was warm but enigmatic, Perry is warm but empty.
    • 58 Metascore
    • 50 Mary Pols
    The resulting adventure is once again lively and clever, although its creative underpinnings -- a sort of flea-market pastiche of antique fairy tales, vintage vaudeville and contemporary pop culture -- seem rather more shabby than chic.
    • 51 Metascore
    • 50 Mary Pols
    Bettany's Darwin always has a chill or a case of the sweats, tummy ache or trembling hands. He has our sympathy initially, but the movie bathes us in such general despair that the natural instinct soon becomes a desire to tell him to buck up. We do believe in survival of the fittest, after all.
    • 37 Metascore
    • 50 Mary Pols
    The pitch is enough to make you swoon, but the movie itself is curiously limp.
    • 59 Metascore
    • 50 Mary Pols
    Slick and senseless.
    • 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.

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