For 303 reviews, this critic has graded:
  • 49% higher than the average critic
  • 0% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 5.3 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Danish Girl
Lowest review score: 0 Everly
Score distribution:
  1. Negative: 66 out of 303
303 movie reviews
    • 53 Metascore
    • 38 Sara Stewart
    Pineda is lovely, but I stopped believin’ in this documentary long before it was over.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 38 Sara Stewart
    It often seems like an acting workshop: Behave as if you are the parent of a dead child.
    • 38 Metascore
    • 38 Sara Stewart
    A forgettable — and occasionally borderline offensive — animated tale of turkeys trying to take back Thanksgiving.
    • 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.
    • 41 Metascore
    • 38 Sara Stewart
    Ultimately, though, the lack of story and relentless suffering make Raze appealing for hard-core genre fans only.
    • 34 Metascore
    • 38 Sara Stewart
    The dialogue is so vague, and the plot so minimal, it all feels like a rather pointless exercise.
    • 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.
    • 45 Metascore
    • 38 Sara Stewart
    Like the reanimated corpse of a teen queen, this would-be cult movie looks the part, but has little going on inside.
    • 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.
    • 58 Metascore
    • 38 Sara Stewart
    First-time feature director Jeff Preiss has a top-notch duo in John Hawkes, as the affable but troubled Joe, and Elle Fanning as his teen daughter, Amy, but neither can really get out from under the film’s heavy-handed tone, a one-note trip down a bleak memory lane.
    • 32 Metascore
    • 38 Sara Stewart
    The bloodshed is artful, at least.
    • 34 Metascore
    • 38 Sara Stewart
    Aloft is less like a story than a dream, populated with gorgeous people and symbolism you can interpret any way you like.
    • 40 Metascore
    • 38 Sara Stewart
    The film alternates between shoving its confusing plot forward and dropping dialogue bombs that fizzle.
    • 37 Metascore
    • 38 Sara Stewart
    For a story whose appeal hinges on the saving grace of getting a "purpose-driven life," this one's got remarkably little of it.
    • 47 Metascore
    • 38 Sara Stewart
    I’ve never seen a restaurant documentary that seemed less interested in showing the joy of food.
    • 36 Metascore
    • 25 Sara Stewart
    Parental Guidance kicks off with a mean-spirited joke about an overweight woman and heads downhill from there.
    • 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.
    • 39 Metascore
    • 25 Sara Stewart
    Like some hybrid beast out of Greek mythology, this young-adult sequel has the body of a “Harry Potter,” the head of a “Twilight,” the feet of a “Hunger Games” and the tail, oddly, of a “Raiders of the Lost Ark.”
    • 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.
    • 12 Metascore
    • 25 Sara Stewart
    Director Anthony Leonardi, in his feature debut, litters the film with inconsistencies.
    • 23 Metascore
    • 25 Sara Stewart
    This overlong drama plays like a threefold infomercial: for Christianity, the cheesy resort chain Sandals and Jeff “Ja Rule” Atkins, the rapper-turned-actor playing drug kingpin Miles Montego.
    • 54 Metascore
    • 25 Sara Stewart
    Minus its smirky twist ending, it’d make perfect material for New York’s new “That’s Abuse” domestic violence awareness campaign.
    • 37 Metascore
    • 25 Sara Stewart
    A clunky movie that feels as if it’s underwritten by the Roman Catholic Church.

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