For 261 reviews, this critic has graded:
  • 49% higher than the average critic
  • 1% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Trainwreck
Lowest review score: 0 Would You Rather
Score distribution:
  1. Negative: 59 out of 261
261 movie reviews
    • 51 Metascore
    • 50 Sara Stewart
    For a company that purports to be all about sparking creativity, asking a kid to follow Ikea-evocative directions to assemble an X-wing fighter seems at odds with the mission.
    • 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.
    • 41 Metascore
    • 50 Sara Stewart
    The birth of the titular infant — what the whole movie’s leading up to — is just an anticlimactic mess.
    • 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.
    • 47 Metascore
    • 50 Sara Stewart
    I know this is a teen-boy fantasy — it was produced by Michael Bay, after all — but the female characters in Project Almanac are lamely retro, little more than props in short shorts.
    • 51 Metascore
    • 50 Sara Stewart
    As a distinctly not-insider, though, I would have benefited more from a broader portrait of the woman herself, and how she became such a legend.
    • 36 Metascore
    • 50 Sara Stewart
    From time to time, it works.
    • 29 Metascore
    • 50 Sara Stewart
    At the risk of sounding 100, I think it’s regrettable this film had to be shot in digital 3-D. Both those formats actually do a frustrating disservice to the depiction of the action, making them look choppier, more flickery and occasionally blurrier than they would otherwise.
    • 67 Metascore
    • 50 Sara Stewart
    Despite James Wan’s capable direction and very game cast, the whole thing goes increasingly wobbly like a bad axle, until it’s just a tangle of metal and bullets and yelling.
    • 56 Metascore
    • 50 Sara Stewart
    Well-intentioned, if ultimately underwhelming, ode to the ongoing fight for a cure.
    • 28 Metascore
    • 50 Sara Stewart
    There’s little sense of urgency, or — oddly, given the film’s title — of scale. You never really think that the 47 are truly outnumbered, and the large action scenes are often just incomprehensible.
    • 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.
    • 42 Metascore
    • 50 Sara Stewart
    Director Tom Harper (“War Book”) defaults too often to gotcha scares, which is disappointing.
    • 60 Metascore
    • 50 Sara Stewart
    Director Niki Caro, whose 2005 film “North Country” gave creative life to another true story, doesn’t allow this one enough narrative twists; it starts off at point A and heads straight for point B, much like one of its many racing scenes.
    • 61 Metascore
    • 50 Sara Stewart
    While absolutely nothing in Grand Piano makes the least bit of sense, it is admittedly gorgeous to look at and listen to. Give Mira a decent script, and he might be a director to be reckoned with.
    • 49 Metascore
    • 50 Sara Stewart
    No personal revelations surface in “This Is Us.” Also, no narrative, no conflict — no differentiation between band members, even, besides the designation of dark-eyed Zayn as “the mysterious one” (he likes to paint).
    • 54 Metascore
    • 50 Sara Stewart
    For a movie called Sparkle, the absolutely least interesting or central thing about it is Sparkle (and Sparks), although the "Idol" singer does bust out one impressive performance.
    • 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.
    • 28 Metascore
    • 50 Sara Stewart
    Director Christian Charles gets some comic mileage from the inimitable Walsh and Rae, but it’s ultimately hard to care too much about a caddish protagonist like Norman — or, for that matter, about the clichéd “women are crazy!” sentiment that hums nastily under the antics of Dori’s unorthodox family gathering.
    • 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.
    • 49 Metascore
    • 50 Sara Stewart
    Teen Lisa Johnson (Abigail Breslin) is trapped in a kind of undead, unfunny “Groundhog Day,” living one particular 24 hours with her family over and over.
    • 62 Metascore
    • 50 Sara Stewart
    Too much of the film is taken up by creaky plot devices and one sibling vowing to track down and talk to another one to resolve a problem.
    • 43 Metascore
    • 50 Sara Stewart
    Director Ben Hickernell soft-pedals the material into a blandly feel-good dramedy. As Abigail's spirited young trainees, Alexandra Metz and Meredith Apfelbaum give Backwards their all, but can't row their way clear of its clichés.
    • 67 Metascore
    • 50 Sara Stewart
    This Cinderella is all dressed up with nowhere very interesting to go.
    • 50 Metascore
    • 50 Sara Stewart
    Pollak obviously had fun, but you get the feeling the best bits never made it in.
    • 67 Metascore
    • 50 Sara Stewart
    Just in time for Mexico’s Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue.
    • 54 Metascore
    • 50 Sara Stewart
    The movie itself seems equally divided between the sensibilities of hyperverbal writer Diablo Cody and music-centric director Jonathan Demme, and ends up falling into a muddy gap between the two.
    • 41 Metascore
    • 50 Sara Stewart
    Italian director Carlo Carlei has a background in TV movies, and this film, plodding and earnest, seems meant for the small screen, too.
    • 25 Metascore
    • 50 Sara Stewart
    Director Mark L. Mann seems to be searching for the meaning in aimlessness, and in lowered expectations. But too often the narrative left me feeling the titular “um.”
    • 45 Metascore
    • 50 Sara Stewart
    Nobody does the rebellious-elder thing as well as Duvall, and whenever he’s center stage in A Night in Old Mexico, this scrappy film from Spanish director Emilio Aragon is entertaining enough.

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