Richard James Havis
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For 36 reviews, this critic has graded:
  • 44% higher than the average critic
  • 8% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Richard James Havis' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 90 Mother of Tears
Lowest review score: 0 Dirty Love
Score distribution:
  1. Positive: 18 out of 36
  2. Negative: 4 out of 36
36 movie reviews
    • 52 Metascore
    • 90 Richard James Havis
    Witty to the point of hilarity, blood-soaked and thoroughly politically incorrect, Mother of Tears: The Third Mother follows 1970s cult classics "Suspiria" and "Inferno" to complete Argento's "Mother" trilogy.
    • 66 Metascore
    • 80 Richard James Havis
    It's a roller-coaster action film that thunders along with top-notch set pieces and studiously researched period settings. The only letdown is that the focus on action drowns out any character development.
    • 73 Metascore
    • 80 Richard James Havis
    It's a typically poetic film, rich in powerful imagery, which sees a bitter personal tragedy unfold against the major events of 20th century Greece. Although the director doesn't mine any new ground here, either in terms of style or content, it's still a pleasure to sit through nearly three hours of perfectly controlled, visually evocative filmmaking.
    • 77 Metascore
    • 80 Richard James Havis
    It is a grimly exciting film that is picturesque and brutal by turns.
    • 70 Metascore
    • 80 Richard James Havis
    Entertaining and piquant. The film does possess some of the bittersweet qualities that usually mark Hallstrom's films, but it's generally a tougher, more incisive work that ranks as one of his best.
    • 71 Metascore
    • 80 Richard James Havis
    The result is infectiously enjoyable.
    • 80 Metascore
    • 80 Richard James Havis
    This everything-but-the-kitchen-sink approach not only makes for pacey entertainment, it also allows director Christopher Bell to delve deep into the matter at hand.
    • 85 Metascore
    • 80 Richard James Havis
    This precision-controlled film once again highlights Alexander Sokurov's mastery of the medium. The third entry in his Men in Power series employs refined performances, a controlled script, excellent sound and fluid camerawork.
    • 68 Metascore
    • 80 Richard James Havis
    Although the story takes place during a tumultuous period, historical events never obscure the gaming genius' story. Rather it's a scrupulous examination of a somewhat naive intellectual.
    • 80 Metascore
    • 70 Richard James Havis
    Consequently, though it's difficult to work out what's going on, it's never boring.
    • 63 Metascore
    • 70 Richard James Havis
    Certainly should appeal to viewers with an interest in current affairs.
    • 74 Metascore
    • 70 Richard James Havis
    Stalwart Iranian actor Ali Nasirian plays Nemat with a thoughtful hubris, uniting the various plot strands by force of character.
    • 81 Metascore
    • 70 Richard James Havis
    It is an intelligently written piece that only falters during the finale.
    • 44 Metascore
    • 70 Richard James Havis
    The result is a pleasingly discursive film that depicts Klimt and the ideals and locales of fin de siecle Vienna.
    • tbd Metascore
    • 70 Richard James Havis
    Has thoughtful and funny characters, something that should give this droll drama appeal beyond a niche gay audience.
    • 74 Metascore
    • 70 Richard James Havis
    This Spanish supernatural thriller begins interestingly and finishes intriguingly. But what lies between drags because the film lacks a driving story line.
    • 67 Metascore
    • 70 Richard James Havis
    XXY
    The story of a young hermaphrodite who's not sure if she's emotionally a boy or a girl manages to be both raw-edged and moving.
    • 52 Metascore
    • 70 Richard James Havis
    Those expecting a reflective Buddhist piece will be surprised. First-time director Neten Chokling's film actually is a powerful revenge drama.
    • 70 Metascore
    • 60 Richard James Havis
    Exists as a freaked-out drama rather than a parody.
    • 68 Metascore
    • 60 Richard James Havis
    This quirky documentary about a group of American hairdressers who establish exactly that shows that the power of hair salons should never be underestimated.
    • 80 Metascore
    • 60 Richard James Havis
    Three Times offers a careful examination of the changing ways people have reacted to each other during the past 100 years. As such, it's an interesting essay but certainly a minor work from a master.
    • 70 Metascore
    • 60 Richard James Havis
    A neatly observed take on Manila street life. Pegged to a gay theme, it works best as a character-driven slice of social realism.
    • 57 Metascore
    • 60 Richard James Havis
    As the characters' lives fall apart, Ledger fails to bring the necessary gravitas to the role, and he looks a bit too healthy throughout.
    • 55 Metascore
    • 60 Richard James Havis
    A committed piece of agit-prop, which benefits from the passion of its protagonists. Followers of the band will need no introduction to the subject matter, which is referenced in their musical repertoire. The film also should play well with those interested in liberal causes.
    • 69 Metascore
    • 60 Richard James Havis
    The film successfully replicates the mellow charm of Brit hits "About A Boy" and "Love Actually."
    • 52 Metascore
    • 60 Richard James Havis
    Tigers shares a penchant for rigorous self-analysis with such relatively recent films as "Chumscrubber," "Mysterious Skin" and "Tarnation."
    • 65 Metascore
    • 60 Richard James Havis
    Although a little too open-ended to be wholly satisfying, Water Lilies is still an excellent directorial debut.
    • 60 Metascore
    • 60 Richard James Havis
    The story is certainly predictable, but it contains just enough conflict and drama to engage the viewer.
    • 72 Metascore
    • 60 Richard James Havis
    The film lacks Hong's usual insight and narrative innovation. It occasionally even feels self-indulgent.
    • 57 Metascore
    • 50 Richard James Havis
    Results in a film that's more exploitative than sympathetic. Compared to the works of fellow Francophone directors Catherine Briellat and Clare Denis, Doueiri's depiction of female sexuality in Lila Says is both wooden and pat.