For 226 reviews, this critic has graded:
  • 50% higher than the average critic
  • 1% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.8 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Salt of the Earth
Lowest review score: 0 Everly
Score distribution:
  1. Positive: 91 out of 226
  2. Negative: 53 out of 226
226 movie reviews
    • 40 Metascore
    • 38 Sara Stewart
    Rockwell is incapable of being boring, so there’s some small entertainment to be found in watching his buttoned-up beta male blossom into full Sam Rockwell.
    • 48 Metascore
    • 38 Sara Stewart
    It often seems like an acting workshop: Behave as if you are the parent of a dead child.
    • 29 Metascore
    • 38 Sara Stewart
    Shooting in South Africa and Botswana, director Kamaleshwar Mukherjee never lacks for atmosphere, but his film is painfully awkward in execution, from the stiff dialogue to the time-padding slo-mo sequences and glaring CGI.
    • 25 Metascore
    • 38 Sara Stewart
    There’s a secret at play in After, which director Pieter Gaspersz communicates via many side-long glances. I won’t give it away, but it’s a fairly far-fetched twist that feels out of place in this realism-based drama.
    • 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.
    • 41 Metascore
    • 38 Sara Stewart
    Ultimately, though, the lack of story and relentless suffering make Raze appealing for hard-core genre fans only.
    • 32 Metascore
    • 38 Sara Stewart
    The bloodshed is artful, at least.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 38 Sara Stewart
    Pineda is lovely, but I stopped believin’ in this documentary long before it was over.
    • 36 Metascore
    • 25 Sara Stewart
    Parental Guidance kicks off with a mean-spirited joke about an overweight woman and heads downhill from there.
    • 40 Metascore
    • 25 Sara Stewart
    The dancing’s fine here, but there’s little else to distinguish Make Your Move, an entirely generic drama.
    • 12 Metascore
    • 25 Sara Stewart
    Director Anthony Leonardi, in his feature debut, litters the film with inconsistencies.
    • 38 Metascore
    • 25 Sara Stewart
    I only laughed once, and it was when Whit Stillman made a cameo to be snubbed by the newly self-actualized Imogene. But it was mostly in disbelief; pretentious or not, Stillman represents a caliber of smart writing that’s wholly absent from Girl Most Likely.
    • 37 Metascore
    • 25 Sara Stewart
    The innovation of Refn’s latest is mostly just in the way it manages to merge gory and boring. At least it’s created a new movie adjective for me: goring.
    • 22 Metascore
    • 25 Sara Stewart
    Dreadful, misogynist slog of a film.
    • 37 Metascore
    • 25 Sara Stewart
    As it stands, there’s little to explain the existence of this confoundingly unfunny film. It’s as if a talented cast (Wilson, Zach Galifianakis, Amy Poehler) assembled to make a comedy and at the last minute was told to play everything straight.
    • 19 Metascore
    • 25 Sara Stewart
    This cynical rom-com subgenre has been done to death.
    • 22 Metascore
    • 25 Sara Stewart
    With any luck, this’ll be the death knell of the idiot-savant rom-com.
    • 28 Metascore
    • 25 Sara Stewart
    This blathery, misogynist indie from first-time director David Grovic — which seems to be aiming for “Pulp Fiction” territory with its blend of crime, banter and the mysterious contents of a bag — falls far short, rife as it is with noir and gender clichés.
    • 21 Metascore
    • 25 Sara Stewart
    The jovial, hyperverbal comic has played against type before, but his presence feels like epic miscasting in this underwritten dramedy.
    • 13 Metascore
    • 25 Sara Stewart
    Is it never funny? No, it’s not never funny. It’s just not funny nearly often enough.
    • 39 Metascore
    • 25 Sara Stewart
    Playing like a script that’s been moldering since Diane Keaton turned it down in 1983, The Other Woman is a weak adultery rom-com in which the most authentic performance comes from a non-housebroken Great Dane.
    • 34 Metascore
    • 25 Sara Stewart
    Nothing in this movie would actually happen, so what’s irritating is that it presents itself as a savvy, “Am I right, ladies?” dating commentary.
    • 40 Metascore
    • 25 Sara Stewart
    At the start of Insidious 2, a young woman opens her mouth to speak and someone else’s voice comes out of her. Demonic possession? Nope, just some inexplicable dubbing to kick off this clunker of a horror sequel.
    • 21 Metascore
    • 25 Sara Stewart
    This crowd-funded — and overcrowded — collection of interwoven stories, directed by John Herzfeld, plays like an amateur-acting exercise in which each participant picks a name and a couple of defining props.
    • 38 Metascore
    • 25 Sara Stewart
    Yes, it’s gross, and no, it’s not remotely original.
    • 33 Metascore
    • 25 Sara Stewart
    There is virtually nothing in Mac Carter’s horror flick that deviates from the standard haunted house plot (or, in this case, plod).

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