For 186 reviews, this critic has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 7 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 The Broken Circle Breakdown
Lowest review score: 0 Would You Rather
Score distribution:
  1. Positive: 69 out of 186
  2. Negative: 47 out of 186
186 movie reviews
    • 33 Metascore
    • 50 Sara Stewart
    For parents of very young children looking for a weekend distraction, “Color City” is passable fare — and will at least inspire kiddies to finish what they start, coloring-wise.
    • 53 Metascore
    • 50 Sara Stewart
    Small Time has its heart in the right place, but its screenplay’s in serious need of a tuneup.
    • 56 Metascore
    • 50 Sara Stewart
    Well-intentioned, if ultimately underwhelming, ode to the ongoing fight for a cure.
    • 46 Metascore
    • 50 Sara Stewart
    Compared to another recent teen weepie, “The Fault in Our Stars,” this one comes up wanting. That film’s strong point was the delight its heroine took in detonating romantic clichés; If I Stay seems determined to keep them on life support.
    • 37 Metascore
    • 50 Sara Stewart
    The script’s by Robert Ben Garant, also behind last year’s scary-movie spoof “Hell Baby,” and this one teeters right on the edge of laughable, with its V.C. Andrews-like series of goth twists.
    • 51 Metascore
    • 50 Sara Stewart
    Gregg, who previously directed the very dark comedy “Choke,” never quite settles on a tone; from the opening scenes, in which Molly Shannon plays a neurotic stage mom and Allison Janney a chilly casting agent, it seems he’s going that way again, but a dramatic twist sends the film into less plausible territory.
    • 35 Metascore
    • 50 Sara Stewart
    Writer/director Andrew Levitas needlessly pads this captivating theme with over-used tropes.
    • 58 Metascore
    • 50 Sara Stewart
    On the whole, the film would probably be more at home on cable and at a reduced running time. I’d like to see a competition series of the same name, in which rival engineers compete to see who can endure having the hard-driving Cameron for a boss.
    • 66 Metascore
    • 50 Sara Stewart
    Perhaps faithful to the spirit of the man, but frustrating if you’re actually curious about the facts.
    • 30 Metascore
    • 50 Sara Stewart
    “Gatsby” meets “Gossip Girl” in this outsider-among-the-wealthy story set, like Fitzgerald’s novel, on Long Island.
    • 29 Metascore
    • 50 Sara Stewart
    Like the artificially sweetened junk food it is, this all goes down pretty easily.
    • 42 Metascore
    • 50 Sara Stewart
    Concert sequences are engaging, though I was disappointed not to see any animated flourishes.
    • 35 Metascore
    • 50 Sara Stewart
    Despite the dramatic dystopia, performances here are uniformly low-affect, which isn’t helpful given the exposition-heavy dialogue and unremarkable set (though Nick’s extraterrestrial visions have a pleasantly kitschy look). Also puzzling is the fact that the pivotal song is not actually performed by Morissette.
    • 40 Metascore
    • 50 Sara Stewart
    As apocalypse scenarios go, this one feels both retro and commendably topical: Nuclear bombs, remember those? (Also: Edward Furlong, remember him?)
    • 46 Metascore
    • 50 Sara Stewart
    As for the magical-realist horns, they make a nice bad-boy look for Radcliffe and a handy plot device, but are never really explained in a satisfactory way. They have the side effect of making anyone who sees them immediately forget them — which I suspect may be the case with this movie as well.
    • 50 Metascore
    • 50 Sara Stewart
    Lee may not want to let anyone in, but it’s hard to engage fully with a film that doesn’t seem to want to, either.
    • 64 Metascore
    • 50 Sara Stewart
    Kelly & Cal is at its best when focused on Lewis and Weston.
    • 34 Metascore
    • 50 Sara Stewart
    It’s well-executed but familiar territory, with a dearth of jarring moments. Those of us who aren’t friends and family of the crew could use a little wake-up shove here and there.
    • 31 Metascore
    • 50 Sara Stewart
    Heavy on quirk and light on wit, first-time director Gillian Greene’s comedy leans too heavily on the badly wigged Kranz.
    • 38 Metascore
    • 38 Sara Stewart
    A forgettable — and occasionally borderline offensive — animated tale of turkeys trying to take back Thanksgiving.
    • 50 Metascore
    • 38 Sara Stewart
    None of these seemingly plot-rich questions are explored; instead, we’re stuck with a greasy-haired Mark Ruffalo, as his detective character flounders along in their wake, muttering that he doesn’t have time for this magic crap.
    • 30 Metascore
    • 38 Sara Stewart
    Aside from these curious role reversals, though, Alex Cross is a mess. Drawing on every conceivable '80s B-movie action cliché and treating its beleaguered female characters like pieces of meat (literally, in one scene of butchery), director Rob Cohen squanders a surprisingly recognizable cast on a half-baked plot adapted from James Patterson's series of novels.
    • 49 Metascore
    • 38 Sara Stewart
    There are a lot of casualties in this stylish, unoriginal thriller, but James McAvoy’s knee was the only one that moved me.
    • 17 Metascore
    • 38 Sara Stewart
    This female revenge thriller starts out promisingly, but squanders its girl-power capital quicker than you can say "Rihanna."
    • 51 Metascore
    • 38 Sara Stewart
    I’ll say one thing for The Call: Its ending is actually a bit of a surprise. Just when you think it couldn’t get any stupider, pow! I’ll be damned, Hollywood, you still have the power to blindside.
    • 34 Metascore
    • 38 Sara Stewart
    You'd hope a political-insider indie reuniting "West Wing" stars Rob Lowe and Richard Schiff, and informed by the experiences of an actual former spin doctor, would be a small delight. You would be wrong.
    • 53 Metascore
    • 38 Sara Stewart
    Pineda is lovely, but I stopped believin’ in this documentary long before it was over.
    • 49 Metascore
    • 38 Sara Stewart
    With the exception of “Tape 49” — the Simon Barrett-directed segment about the PI — the films are ridiculously shaky, their camerawork so determinedly guerrilla-style that it’s difficult not to look away, sometimes at crucial moments. Found footage is all well and good, but if it’s unwatchable, it might as well have stayed lost.
    • 43 Metascore
    • 38 Sara Stewart
    Predicated almost entirely on the repeated juxtaposition of innocent girlishness and mindless violence, Violet & Daisy could still have been campy fun — instead, it wilts for lack of wit.
    • 48 Metascore
    • 38 Sara Stewart
    It often seems like an acting workshop: Behave as if you are the parent of a dead child.

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