Patrick Gamble
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For 15 reviews, this critic has graded:
  • 40% higher than the average critic
  • 0% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 13.4 points higher than other critics. (0-100 point scale)

Patrick Gamble's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Girlhood
Lowest review score: 40 Touchy Feely
Score distribution:
  1. Positive: 7 out of 15
  2. Negative: 0 out of 15
15 movie reviews
    • 84 Metascore
    • 100 Patrick Gamble
    Snowpiercer evolves steadily, growing richer with every step and slowly feeding us morsels of information - enriching this ludicrous premise with enough magic and wonder to suspend our disbelief entirely.
    • 84 Metascore
    • 100 Patrick Gamble
    Tsai's Stray Dogs is a masterpiece of social-realism, a distinctive and beguiling study of society's displaced and marginalised that plays to the beat of its own drum and refuses to conform to cinema's own commodification.
    • 94 Metascore
    • 100 Patrick Gamble
    Girlhood's non-patronising and credible representation of class, race and gender is a rare and perceptive illustration of the intricacies of social inequality.
    • 80 Metascore
    • 100 Patrick Gamble
    An exercise in assigning valuable historical context to scenes of brutality, Concerning Violence is a lesson in understanding a continuing colonial condition, the roots and complexities of which are often concealed and simplified by news coverage of poverty and conflict.
    • 77 Metascore
    • 80 Patrick Gamble
    A nefarious misadventure that's technical prowess and heartbreaking lead performance belies its economical pedigree, Saulnier's farcical tale is punctuated with irregular scenes of dark, bumbling humour whilst a wanton disregard for the bellicose testosterone of similar tales successfully constructs a tense and naturally opaque mood that broods with the clammy tension of an impending storm.
    • 85 Metascore
    • 80 Patrick Gamble
    It's Coogler's confrontational depiction of police brutality and his attempts to represent the society he aims to inspire and inform that makes Fruitvale Station such essential viewing.
    • 83 Metascore
    • 80 Patrick Gamble
    While the film's mischievous narrative manipulation will inevitably irk some viewers, this beautifully rendered opportunity to view the world through the eyes of those who can no longer see is a smart and moving portrayal of living with an ocular condition.
    • 45 Metascore
    • 60 Patrick Gamble
    A rollercoaster ride of tongue-in-cheek cliché, there's plenty of fun to be had with this cheekily reverential horror; yet, a dependence on the sexualisation of the female form anchors the film firmly within 'knowing' horror misogyny.
    • 77 Metascore
    • 60 Patrick Gamble
    By interchanging bawdy gaiety and a ponderous attitude to emphasise the film's spiritual message, Calvary feels extremely disjointed, struggling to balance its dualistic tone on top of its oversized ensemble cast.
    • 64 Metascore
    • 60 Patrick Gamble
    Cheap Thrills is a commendably flawed experiment in imbuing social anxiety with genre shocks.
    • 73 Metascore
    • 60 Patrick Gamble
    An otherwise intelligent piece that favours deftness of touch over bombastic thrills, A Most Wanted Man is an efficient espionage drama that, whilst in no way revelatory, is attuned to its source material's non-heroic and morally ambiguous approach to a well-worn genre.
    • 60 Metascore
    • 60 Patrick Gamble
    Schechter's latest marks its arrival with a fanfare of style and sass, but lacks the necessary bite to leave a lasting impression.
    • 64 Metascore
    • 60 Patrick Gamble
    Collins' revolutionary-lite rhetoric has become unravelled by the commercially driven decision to split the final novel into two films - ultimately lessening the satirical bite and reverting to the very gender archetypes it originally sought to challenge.
    • 61 Metascore
    • 60 Patrick Gamble
    Choosing to focus more time on the uncoordinated instinctual trends of the subconscious rather than the moralising role of the cognisant, Enemy lacks the humanity to relate to on an emotional level, ultimately tempering the brooding anxiety and distilling our intrigue into mild curiosity towards the oblique narrative rather than fostering the original menace into something more substantial.
    • 53 Metascore
    • 40 Patrick Gamble
    The film feels like yet another product of the recent studio appropriation of mumblecore as a commodity, ultimately removing any semblance of individualism and feeling like just another product off the factory conveyor belt.

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