For 173 reviews, this critic has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 14.2 points lower than other critics. (0-100 point scale)

Paul Malcolm's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 Scream
Lowest review score: 0 Rollerball
Score distribution:
  1. Positive: 50 out of 173
  2. Negative: 53 out of 173
173 movie reviews
    • 52 Metascore
    • 60 Paul Malcolm
    What feels genuine in the film -- mother-son bonds, the wedding party -- is surrounded by overdetermined and formulaic scenes lifted from other films.
    • 63 Metascore
    • 60 Paul Malcolm
    It would all be too obviously feel-good if Ducastel and Martineau weren't also tuned in to the liberating drift of the open highway and a sharp native humor that adds needed flesh and blood to their walking metaphors.
    • 61 Metascore
    • 60 Paul Malcolm
    Director Chang builds some chilling suspense into the cop's grim investigative routine -- as well as generous helpings of blood: It runs, splashes and sprays as the amputations continue.
    • 53 Metascore
    • 60 Paul Malcolm
    A hyperreal, visually layered period style that finds film noir shadows creeping in at the edges of a blue-sky, get-along-to-go-along America.
    • 59 Metascore
    • 60 Paul Malcolm
    Fate plays both prankster and deliverer in Firode's never-too-clever scheme, buoyed, like his often-winsome images, by romantic fancy.
    • 73 Metascore
    • 60 Paul Malcolm
    Softley starts out a little awkwardly, as he tries to capture turn-of-the-century flux by opening several London scenes from disorienting, too-obvious camera positions.
    • 63 Metascore
    • 60 Paul Malcolm
    A conventional if appealing tear-jerker, The Way Home would like to grandmother us all.
    • 42 Metascore
    • 60 Paul Malcolm
    For the most part it delivers the goods.
    • 35 Metascore
    • 60 Paul Malcolm
    Between spy training and sensitivity training, the two (Murphy/Wilson) prove nicely matched comic foils.
    • 51 Metascore
    • 60 Paul Malcolm
    What I mean is that to watch The Phantom Menace as a lifelong "Star Wars" fan is to engage in constant, fragile negotiations between a cherished familiarity and the shock of the new.
    • 66 Metascore
    • 60 Paul Malcolm
    Shadow Magic is rich with detail.
    • 52 Metascore
    • 60 Paul Malcolm
    Kessler frames it all with an ironic eye (Stiller's misfit mogul holds court in cheap motels and burger joints) and with enough big-hearted tenderness to keep the humor from going sour.
    • 53 Metascore
    • 60 Paul Malcolm
    The film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises.
    • 53 Metascore
    • 60 Paul Malcolm
    Chop Suey really captivates with surfaces; look away for an instant, and the spell is broken.
    • 47 Metascore
    • 60 Paul Malcolm
    The rough, watercolor washes of its city backdrops mark the film with nostalgia while its story carries us along at an amiable, buoyant pace.
    • 51 Metascore
    • 60 Paul Malcolm
    Nemesis never feels true to itself, its energy never fully engaged. Even with Earth on the line in its climactic space battle, the film seems embarrassed that it couldn't have found a better way to work through its issues.
    • 69 Metascore
    • 60 Paul Malcolm
    While Slums of Beverly Hills may sound like a downer, Jenkins tempers the family's downbeat circumstances with sympathetic humor, a quirky camera style and lo-fi retro flavor.
    • 44 Metascore
    • 60 Paul Malcolm
    It's a refreshing change from the self-interest and paranoia that shape most American representations of Castro. At the same time, Bravo anticipates that such a view will drive some nuts.
    • 51 Metascore
    • 60 Paul Malcolm
    Manipulative filmmaking at its most gently persuasive.
    • tbd Metascore
    • 50 Paul Malcolm
    Jalil penetrates a carnivalesque subculture of self-reinvention and obsession, emotional need and materialist greed, with a camera that is, by turns, cruel, kind and incisive.
    • tbd Metascore
    • 50 Paul Malcolm
    Director Olli Saarela, who co-wrote the script with Antti Tuuri, offers up a trembling romanticism that gradually hardens -- like Eero's consciousness -- with exposure to the horrors of war.
    • 33 Metascore
    • 50 Paul Malcolm
    Ultimately, Jolie's efforts to establish a character are dashed against the film's increasingly inane dialogue.
    • 47 Metascore
    • 50 Paul Malcolm
    Shooting Fish wants to hang with the hip crowd--witness the vibrant colors, the flashy camera work and the stream of catchy pop songs--but its heart just isn't wild enough.
    • 68 Metascore
    • 50 Paul Malcolm
    Far too complex and provoking.
    • 74 Metascore
    • 50 Paul Malcolm
    A half-baked classic.
    • 48 Metascore
    • 50 Paul Malcolm
    xXx
    The film gives good action (amid more tired spy business) but comes riddled with contradictions.
    • 47 Metascore
    • 50 Paul Malcolm
    While the film throws a solid pop punch, you could still swear you've seen it all before.
    • 54 Metascore
    • 50 Paul Malcolm
    The movie's real charms lie in its surprisingly dark atmosphere and its almost subversive sense of humor.
    • 58 Metascore
    • 50 Paul Malcolm
    An overly mannered film drowning in the symptoms of dysfunction but unable to tap the root causes of this WASPish clan's pain except in the most oblique and cursory ways. This might be Freundlich's point, considering this family deals with its problems through avoidance.
    • 64 Metascore
    • 50 Paul Malcolm
    It's all part of a larger calculus that the filmmakers hope will translate into a thinking person's thriller. If only they themselves knew how to figure it.

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