For 233 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 6.1 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 Would You Rather
Score distribution:
  1. Positive: 94 out of 233
  2. Negative: 55 out of 233
233 movie reviews
    • 77 Metascore
    • 100 Sara Stewart
    Take note, Lars von Trier: This is how you do a truly funny, subversive movie about a woman’s obsession with the human body and sex.
    • 71 Metascore
    • 100 Sara Stewart
    This Belgian drama is the real deal, an alternately wrenching and ecstatic viewing experience, adapted from a play by lead actor Johan Heldenbergh.
    • 84 Metascore
    • 100 Sara Stewart
    It’s his home movies with Love and baby — some playful, others drugged and drooling — that fans will find the most emotional viewing. As the credits roll, it’s hard not to just root for the sensitive, progressive, fiercely creative Cobain and wish that he’d lived long enough to find a little peace of mind.
    • 83 Metascore
    • 100 Sara Stewart
    Many of the images — and Salgado’s accounts of taking them — are as soul-shattering as they are breathtaking.
    • 86 Metascore
    • 88 Sara Stewart
    The film’s slightly confusing ending doesn’t spell anything out, but that’s all right: We’re left sitting in the dark shivering, reassured there are still some directors who can leave us well and truly creeped out.
    • 86 Metascore
    • 88 Sara Stewart
    How to Survive a Plague, while a shaggier-structured documentary than many, is a heart-wrenching portrait of one of the saddest, most heroic chapters in American history.
    • 73 Metascore
    • 88 Sara Stewart
    Not since “American Movie” has there been such an entertainingly clumsy, warts-and-all documentary about making a movie, this time courtesy of Cincinnati filmmaker Tom Berninger.
    • 80 Metascore
    • 88 Sara Stewart
    This is a compelling and comprehensive guide to one of the most Kafkaesque crime stories in American history.
    • 61 Metascore
    • 88 Sara Stewart
    I’d like to see a sequel about her freshman year at college, please. There were still a few items on that list left unchecked.
    • 69 Metascore
    • 75 Sara Stewart
    The result is a thoughtful, dreamlike (at times, nightmarish) tour through the day-to-day lives of several suburban California teens.
    • 55 Metascore
    • 75 Sara Stewart
    Marie’s Story will feel familiar, which is mostly a tribute to the enduring power of Helen Keller’s biography.
    • 57 Metascore
    • 75 Sara Stewart
    Fogel’s focus is female friendship, and the challenges presented by growing older and pairing up. It all makes for a rocky road, regardless of the romantic rival’s gender.
    • 64 Metascore
    • 75 Sara Stewart
    In one of Hugh Hefner’s least creepy moments ever, he describes how they became friends later in life; with his help, she finally obtained the legal rights to her rampantly used image.
    • 46 Metascore
    • 75 Sara Stewart
    This indie, female-centric riff on “Deliverance” is spare, smartly written and shot through with moments of twig-snapping tension.
    • 78 Metascore
    • 75 Sara Stewart
    Director Catherine Gund most successfully depicts the visceral impact of Streb’s work with her footage of the 2012 Olympics.
    • 74 Metascore
    • 75 Sara Stewart
    Finally, a post-“Bridesmaids” film that lets Kristen Wiig shine — and brilliantly taps into co-star Bill Hader’s vulnerable side, too.
    • 48 Metascore
    • 75 Sara Stewart
    It’s not quite “Once,” but Song One, featuring original music by Jenny Lewis and Johnathan Rice, captures a similar, unselfconscious beauty in the way music can make sense of big, ungainly emotions — as James puts it, “for three to five whole minutes.”
    • 71 Metascore
    • 75 Sara Stewart
    In a move sure to infuriate “nanny state” critics, director Stephanie Soechtig names the US government and food corporations responsible for a campaign to get Americans addicted to junk food — particularly, and most dangerously, sugar — as early as possible.
    • 79 Metascore
    • 75 Sara Stewart
    My own voice-over would go something like this: “This summer. One woman. Will see this movie. Again.”
    • 85 Metascore
    • 75 Sara Stewart
    Girlhood veers between being a celebration of sisterhood (albeit an occasionally violent sort) and a chronicle of the cycle of poverty.
    • 46 Metascore
    • 75 Sara Stewart
    The film never pretends to be other than what it really is: soft-core porn for the ladies, diluted with an “R” rating.
    • 81 Metascore
    • 75 Sara Stewart
    The star gives us a generous and hilarious portrait of life as an aging legend.
    • 58 Metascore
    • 75 Sara Stewart
    Ryan Reynolds is chillingly perfect as a nice-guy factory worker struggling with schizophrenia and murderous impulses in this tonally wild indie, which is nearly too horrifying to be funny — but not quite.
    • 58 Metascore
    • 75 Sara Stewart
    Sure, it’s got its horror aspects. But for my money, this movie belongs alongside “Secretary,” “Ginger Snaps” and “Thirteen” in the family of deliciously dark female coming-of-age stories.
    • 72 Metascore
    • 75 Sara Stewart
    On the whole, though, you couldn’t do much better than Monkey Kingdom to get kids invested in learning about, and protecting, the natural world.
    • 71 Metascore
    • 75 Sara Stewart
    In some ways, it feels like an indie meditation on the eternal “When Harry Met Sally” question: Can men and women be just friends? Here, though, the focus is on the small, often unsaid moments that define a friendship — and a murky attraction.
    • 71 Metascore
    • 75 Sara Stewart
    Daunting though it may be for the aspiring pick-up entrant, this is a fun and worthwhile ode to one of New York’s greatest summer pastimes.
    • 61 Metascore
    • 75 Sara Stewart
    Khaou’s film features masterful performances from Whishaw and Cheng, whose dialogue is somehow intensified, rather than diluted, through the third-party voice of the translator. But some emotions, the film suggests, are impossible to adequately articulate in any language.
    • 60 Metascore
    • 75 Sara Stewart
    Schechter’s soul-scored film is impeccably styled for the time period, and its easy pacing reminds me of the gold standard for Leonard adaptations, “Out of Sight.” It’s not that good, but it’s within striking distance.
    • 70 Metascore
    • 75 Sara Stewart
    What the film lacks in plot twists it makes up for in sheer amazement.

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