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
    • 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.
    • 49 Metascore
    • 50 Mary Pols
    Even in a predictable horror film like Silent House, Olsen draws empathy like a magnet.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 50 Mary Pols
    I did laugh. The movie is so disgusting it is worthy of the Farrelly brothers.
    • 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.
    • 61 Metascore
    • 50 Mary Pols
    This cutesy film is overwhelmed by a sense of forced farce.
    • 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.
    • 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.
    • 30 Metascore
    • 50 Mary Pols
    Where Freeman was warm but enigmatic, Perry is warm but empty.
    • 57 Metascore
    • 50 Mary Pols
    Like most children's movies, Rise of the Guardians mimics the patterns of adult entertainment. Where is the magic in that?
    • 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.
    • 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.
    • 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.
    • 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?
    • 69 Metascore
    • 50 Mary Pols
    Ginger & Rosa never matches the freshness of its young star.
    • 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 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
    This pickpocket of a movie flashes open its coat to proudly display all its swiped goodies.
    • 34 Metascore
    • 40 Mary Pols
    The film skips along pleasantly, supremely confident in its own cuteness and utterly unapologetic about how shallow or contrived it might be.
    • 45 Metascore
    • 40 Mary Pols
    The Greatest often feels like a mash-up of Sarandon's greatest grief hits.
    • 27 Metascore
    • 40 Mary Pols
    A movie gaudy enough to make Dancing with the Stars seem dignified.
    • 51 Metascore
    • 40 Mary Pols
    This is the kind of movie you should never see twice, because so much of it is based in appall-me humor. Meaning you'll laugh the first time in the reflexive way you do when you can't believe how audacious the comedy is and how uncomfortable the situations are, whereas a second viewing would afford you an opportunity to feel kind of rotten about laughing the first time.
    • 57 Metascore
    • 40 Mary Pols
    A Pixar movie is always lively, and this might be the studio's liveliest (and loudest) yet - but its leanest in terms of warmth and heart.
    • 41 Metascore
    • 40 Mary Pols
    Edgeless, it takes a wistful, hopeful approach to heartbreak and job loss. That's sweet, but when it comes to unemployment-themed cinema, I'll take the greater realism of last year's "The Company Men" or this year's "Everything Must Go" over Hanks's too rosy vision of life after the pink slip.
    • 35 Metascore
    • 40 Mary Pols
    What's Your Number? is not much dumber than the average romantic comedy, but there is something sad and infuriating about it.

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