For 98 reviews, this critic has graded:
  • 56% higher than the average critic
  • 9% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Sam Adams' Scores

  • Movies
  • TV
Average review score: 64
Lowest review score: 16 The Magic of Belle Isle
Score distribution:
  1. Positive: 55 out of 98
  2. Negative: 6 out of 98
98 movie reviews
    • 86 Metascore
    • 100 Sam Adams
    Petzold handles personal, formal, and political concerns in such perfect balance, it's difficult, and not especially desirable, to separate one from the next. The movie is dense but never feels it, assembled with easy mastery and engrossing throughout.
    • 71 Metascore
    • 91 Sam Adams
    Viewers may not realize how far they've been pulled in until the movie ends, and they might feel a sense of loss that it can't keep going just a little while longer.
    • 74 Metascore
    • 91 Sam Adams
    The heart of any concert movie is the concert itself, and in the case of Neil Young Journeys, it's a great one.
    • 79 Metascore
    • 91 Sam Adams
    Keep The Lights On feels less like a memoir than a collage made from diary scraps, evocative but not prescriptive.
    • 75 Metascore
    • 91 Sam Adams
    The power of Middle Of Nowhere is cumulative, conveyed in sustained tone and deepening character rather than bravura sequences or explosive confrontations.
    • 66 Metascore
    • 83 Sam Adams
    If anyone's likely to have trouble with Carancho, it's fans of Trapero's previous films, who won't be able to help noticing the sizeable step he's taken toward conventionality.
    • 69 Metascore
    • 83 Sam Adams
    It's to the film's credit that its inescapable conclusion seems in doubt until the very end.
    • 72 Metascore
    • 83 Sam Adams
    While the back-and-forth between various parties grows tiresome through repetition, Rapt rallies with a lengthy epilogue in which the aftermath of Attal's ordeal proves more draining than the physical privation that preceded it.
    • 68 Metascore
    • 83 Sam Adams
    Perhaps it's a tribute to the breadth of Goodman's life that even after 90 minutes, it feels as if we've just scratched the surface.
    • 71 Metascore
    • 83 Sam Adams
    The fact that Last Days Here cares more about Liebling's personal redemption than his professional triumph is ultimately a saving grace, a telling demonstration of the film's well-ordered priorities.
    • 72 Metascore
    • 83 Sam Adams
    Headhunters' title rapidly turns literal, and what seemed like a lightweight heist thriller careens into a bloody-minded game of cat and mouse.
    • 66 Metascore
    • 83 Sam Adams
    While it's fascinating to observe the workings of the mammoth apparatus grafted onto an intensely personal decision, the movie's heart is the moments that take place in private (meaning, in this case, in front of only one camera).
    • 67 Metascore
    • 83 Sam Adams
    Yaron Zilberman's first feature has a solid structure, but as with a piece of music, the way it's played makes all the difference. His principal actors aren't great at faking their instrumental prowess, but they're perfectly in tune with each other, playing artists who've postponed life's decisions in the name of pursuing their craft.
    • 73 Metascore
    • 83 Sam Adams
    Newcomer Følsgaard is the wild card, but he manages to make the king both villain and victim, sometimes a vindictive schemer, at others far-eyed and helpless, a puppet for the forces behind him.
    • 56 Metascore
    • 83 Sam Adams
    Shot with tiny digital cameras to minimize the sense of intrusion, The End Of Love sometimes feels like a home movie, but that’s also the source of its strength.
    • 63 Metascore
    • 83 Sam Adams
    Gavilán’s performance bears out Parra’s advice to “hate mathematics and embrace chaos,” and falls between private and public, assurance and self-doubt.
    • 67 Metascore
    • 83 Sam Adams
    It’s hard to imagine a more potent symbol of good intentions gone to seed than the decrepit Buenos Aires building that gives White Elephant its title.
    • 73 Metascore
    • 83 Sam Adams
    In spite of its attention-grabbing opening and provocative title, Free Angela And All Political Prisoners is less a work of agitprop than straightforward history, intriguing but never unsettling.
    • 83 Metascore
    • 83 Sam Adams
    Twenty Feet From Stardom touches on fascinating issues, but too often it does no more than that.
    • 71 Metascore
    • 83 Sam Adams
    It’s a brief wisp of a movie, but one that’s not easy to shake.
    • 65 Metascore
    • 75 Sam Adams
    For Washington, the wounds of the past are just beneath the surface, as close as the bullet holes under her kitchen wallpaper.
    • 68 Metascore
    • 75 Sam Adams
    Zandvliet's direction lacks Steen's gradations. The handheld, rubbed-raw style wears thin after a while, growing monotonous and wearying.
    • 70 Metascore
    • 75 Sam Adams
    Bal
    Bal mingles the bitter and the sweet, but it gets mired in its own stickiness.
    • 76 Metascore
    • 75 Sam Adams
    Perhaps Brannaman's art is too subtle and instinctive to be captured on camera, but it's a shame Meehl doesn't do a better job of capturing exactly what makes him, by all accounts, a miraculously successful trainer.
    • 54 Metascore
    • 75 Sam Adams
    The improvised dialogue takes hairpin turns, some less fruitful than others, holding onto just enough traces of structure to sustain the film's brief length.
    • 63 Metascore
    • 75 Sam Adams
    The movie fumbles badly when it's time to turn those actions toward resolution, forcing an ending that seems both arbitrary and cruel. At under 80 minutes, the movie is terse enough that it could do without trumped-up events.
    • 70 Metascore
    • 75 Sam Adams
    Portrait Of Wally tells a gripping story, but the filmmakers should have been more forthright about their own part in it.
    • 71 Metascore
    • 75 Sam Adams
    Moving fluidly between gory sight gags and implied, insinuating terror, The Road is a movie made to be seen after midnight, preferably in a mildly dilapidated theater with a full house.
    • 72 Metascore
    • 75 Sam Adams
    It's a tribute to Plaza and Duplass that they're able to make such slight material resonate at all, let alone with the poignancy they occasionally find.