For 87 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Stephanie Merry's Scores

  • Movies
Average review score: 56
Highest review score: 88 Big Men
Lowest review score: 0 A Haunted House 2
Score distribution:
  1. Positive: 50 out of 87
  2. Negative: 20 out of 87
87 movie reviews
    • 90 Metascore
    • 88 Stephanie Merry
    Boynton’s most impressive feat in Big Men is how she takes an impossibly convoluted scenario, makes sense of it and tells a story that’s riveting on its own but also serves as a parable about greed and human nature.
    • 55 Metascore
    • 88 Stephanie Merry
    The film serves an effective marketing tool after all, with some lively footage and funny interviews. It’s just too bad viewers can’t see the actual play.
    • 76 Metascore
    • 88 Stephanie Merry
    A riveting, moving and beautifully animated film.
    • 64 Metascore
    • 75 Stephanie Merry
    Farahani’s performance is outstanding. She comes across as both delicate and fierce, and her sad-eyed anguish is palpable.
    • 66 Metascore
    • 75 Stephanie Merry
    Don Jon is a disarming film that proves Gordon-Levitt’s deftness both behind the camera and in front of a computer screen, writing.
    • 67 Metascore
    • 75 Stephanie Merry
    The documentary is unwieldy, unfocused and frustrating at times... But the movie is also, somehow, dazzling.
    • 61 Metascore
    • 75 Stephanie Merry
    For all its melancholy and grey, snowy landscape, The Motel Life never feels totally hopeless, thanks in large part to colorful ancillary characters (not to mention occasional trips into Frank’s mind).
    • 71 Metascore
    • 75 Stephanie Merry
    With its exquisite depictions of suffering, The Broken Circle Breakdown is not always easy to watch. But, as in life, sometimes there’s beauty to be found in the pain.
    • 74 Metascore
    • 75 Stephanie Merry
    The animated comedy-adventure has a sweet and very modern message, plus strong characters. More important, the movie blends the music-minded mentality of yore with the more recent ambition (thank you, Pixar) of truly appealing to all ages.
    • 75 Metascore
    • 75 Stephanie Merry
    The Punk Singer, like the best documentaries, captures more than just its subject, fascinating though she may be. Anderson manages to capture the feel of an era and the excitement surrounding a fresh feminist voice.
    • 60 Metascore
    • 75 Stephanie Merry
    It can feel, at times, both overlong and oversimplified, but the story propels itself along while awakening in viewers some profound emotions.
    • 83 Metascore
    • 75 Stephanie Merry
    For the most part, Gloria is a day brightener of a character study about finding someone new and making the same old mistakes.
    • 82 Metascore
    • 75 Stephanie Merry
    Writer-director Alain Guiraudie takes an all-natural approach to his material, and not just because most of the men spend the movie in the buff. He takes long, lingering shots, never rushes a scene and uses no score, just organic sounds.
    • 75 Metascore
    • 75 Stephanie Merry
    Kids for Cash proves that the abuse was both more nuanced and more tragic than the public understood.
    • 76 Metascore
    • 75 Stephanie Merry
    What’s most fascinating about Afternoon of a Faun — and what the movie could spend more time delving into — is ballet’s grueling and fleeting nature.
    • 68 Metascore
    • 75 Stephanie Merry
    Mock’s biases are clear here, and her documentary does at times feel a bit too worshipful of its subject... Still, the documentary remains a powerful time capsule. It’s a reminder of what we were and, thanks to Hill, how far we’ve come.
    • 75 Metascore
    • 75 Stephanie Merry
    While the movie can feel disjointed at times, bouncing around to cover so much territory, the climax of the kids’s ballroom competition makes up for any quibbles. If nothing else, it’s heartening to see the kids so transformed.
    • 64 Metascore
    • 75 Stephanie Merry
    The movie packs a lot in, and the quick pace of early scenes can feel like running on a treadmill, but Belle settles into a nice rhythm. It ends up having all the requisites of a period drama — a strings-heavy soundtrack, lavish costumes and passionate declarations of love — plus a good deal more.
    • 75 Metascore
    • 75 Stephanie Merry
    For all the spectacular weirdness, Jodorowsky manages to generate real emotion.
    • 49 Metascore
    • 75 Stephanie Merry
    None of the movie’s faults can undo the power of Binoche and Owen. Their interactions look so naturalistic that they seem unscripted.
    • 64 Metascore
    • 75 Stephanie Merry
    This may be a buddy comedy on its surface, but Bicycling With Molière also gives some insight into the way art imitates life, and also the way life informs art.
    • 65 Metascore
    • 75 Stephanie Merry
    Ivory Tower covers a lot of ground, and sometimes the focus feels diffuse.
    • 72 Metascore
    • 75 Stephanie Merry
    Knappenberger’s documentary is smart and focused, homing in on a recurring theme of independence.
    • 72 Metascore
    • 75 Stephanie Merry
    There is an obliqueness to In Bloom. Writer Nana Ekvtimishvili, who directed the movie with Simon Gross, doesn’t spell things out, and the complete story never comes into focus... But when the truth is so troubling, sometimes part of the story is more than enough.
    • 70 Metascore
    • 75 Stephanie Merry
    This may not be Roman Polanski’s finest movie; it may not even be his best adaptation of a play. But it’s masterfully done in a way that does justice to its source material.
    • 63 Metascore
    • 75 Stephanie Merry
    It manages to make an entertaining story out of nothing in particular. And just when you get comfortable passively observing a passive observer, the minutest of twists becomes its own call to action. It urges the audience to consider this small story in a broader context.
    • 49 Metascore
    • 63 Stephanie Merry
    I’m on to you, Spurlock. There are holes in your story about five lads who don’t appear to ever drink, smoke, fight, curse or partake in romantic dalliances of any kind. At least, not on screen.
    • 49 Metascore
    • 63 Stephanie Merry
    Riddick can be cheesy and silly, not to mention excessively violent, but it’s also fun.
    • 57 Metascore
    • 63 Stephanie Merry
    The story starts to feel crowded, especially when each character seems instantaneously at odds with another. One set of opposing forces would probably suffice.
    • 55 Metascore
    • 63 Stephanie Merry
    When it comes to writing the poetry that Kalindra recites, Murray knows how to do more with less; he needs to apply that lesson to his filmmaking, too.
    • 60 Metascore
    • 63 Stephanie Merry
    The documentary transmits plenty of positive vibes, but it offers nothing fresh about the Fab Four.
    • 61 Metascore
    • 63 Stephanie Merry
    Haute Cuisine provides no huge revelations or profound messages, but it is sweetly and consistently engaging — a tasty treat that’s not entirely filling but perfectly enjoyable all the same.
    • 67 Metascore
    • 63 Stephanie Merry
    You Will Be My Son is not a subtle movie. Some of the characterizations and music feel heavy-handed, and one major plot point late in the film feels inauthentic.
    • 48 Metascore
    • 63 Stephanie Merry
    It’s the actors, plus an exuberant Mary Steenburgen as quick-witted lounge singer Diana, who make the movie more than a middling copycat.
    • 38 Metascore
    • 63 Stephanie Merry
    Free Birds has the colorful palette, zippy action and silly story to keep kids giggling, but it also delivers a few worthwhile winks to parents.
    • 65 Metascore
    • 63 Stephanie Merry
    The movie doesn’t always feel cohesive, but the stories are unexpectedly touching.
    • 53 Metascore
    • 63 Stephanie Merry
    The Book Thief has its moments of brilliance, thanks in large part to an adept cast. But the movie about a girl adopted by a German couple during World War II also crystallizes the perils of book adaptations.
    • 41 Metascore
    • 63 Stephanie Merry
    Hart is clearly working overtime; there’s nothing effortless about his histrionic delivery, but it works.
    • 56 Metascore
    • 63 Stephanie Merry
    The documentary’s greatest strength is its ability to humanize Paulson.
    • 62 Metascore
    • 63 Stephanie Merry
    The movie lacks some of the verve and chemistry that made the series a must-see. I guess that makes the movie more of a good-to-see.
    • 57 Metascore
    • 63 Stephanie Merry
    Although his character might be a one-trick pony, Bateman’s directing proves he’s got skills to spare.
    • 60 Metascore
    • 63 Stephanie Merry
    Bercot’s sense of atmospherics is more successful than her editing and camera work. Some pieces of the plot seem like they would make a bigger impact with a bit more backstory... But these series of vignettes still leave an impression, thanks in no small part to Deneuve.
    • 67 Metascore
    • 63 Stephanie Merry
    The Galapagos Affair spins a strange and compelling tale, with perfectly sinister music by Laura Karpman setting the mood. But the movie is better at building suspense than following through.
    • 51 Metascore
    • 63 Stephanie Merry
    You might call it a black comedy of errors, but the humorous side of the film is less well executed than Slattery’s impeccable creation of a certain neighborhood feel.
    • 69 Metascore
    • 63 Stephanie Merry
    Palo Alto starts strong but runs out of momentum. Strangely, as aimless vignettes give way to bigger life events.
    • 58 Metascore
    • 63 Stephanie Merry
    Walking the Camino: Six Ways to Santiago may not be entirely brilliant, but it’s at the very least inspiring.
    • 64 Metascore
    • 63 Stephanie Merry
    The movie’s focus on good vibes and high times leaves little room to contemplate the more human story. Regardless, the movie is good-natured and an enjoyable watch. If Myers really just wanted to show his appreciation, he went above and beyond.
    • 54 Metascore
    • 63 Stephanie Merry
    Fans of the play will be pleased. And for those that love the Four Seasons’ music but haven’t made it to the play, you can put your fear of missing out to rest. This is a much more affordable way to very nearly re-create the experience.
    • 55 Metascore
    • 63 Stephanie Merry
    In a jovial, if superficial way, he offers some perspective on the men behind the banana hammocks.
    • 43 Metascore
    • 63 Stephanie Merry
    Wish I Was Here touches on some timely themes and does so with an artistic vulnerability.
    • 49 Metascore
    • 50 Stephanie Merry
    With the exception of one heartbreaking and well-acted scene towards the end of the movie, the atmosphere is oppressive and the characters act as if their personalities have been shot with novocaine.
    • 49 Metascore
    • 50 Stephanie Merry
    The movie doesn’t offer much more than fleeting and superficial pleasures.
    • 33 Metascore
    • 50 Stephanie Merry
    It’s hard to imagine this tale of tradition and miracles leading skeptics to contemplation, much less faith.
    • 64 Metascore
    • 50 Stephanie Merry
    Enzo Avitabile Music Life succeeds at conveying one-quarter of its title. It is full of beautiful sounds that should delight fans of Avitabile and world music in general. The life portion is a bit trickier, but you get the sense that Avitabile wanted it that way.
    • 35 Metascore
    • 50 Stephanie Merry
    Luckily, a strong supporting cast makes up for the protagonists’ tepid interactions. The brilliant duo of Kevin Hart and Alan Arkin steal the show.
    • 36 Metascore
    • 50 Stephanie Merry
    Sometimes the punch lines land and sometimes they don’t, but overall the result is pleasantly nostalgic.
    • 31 Metascore
    • 50 Stephanie Merry
    Winter’s Tale is ambitious with its otherworldly ingredients and temporal leaps. It’s not always a success, but the movie has one thing going for it: spot-on casting.
    • 49 Metascore
    • 50 Stephanie Merry
    As quickly as the technical elements pull the audience in, the plot pushes us away.
    • 51 Metascore
    • 50 Stephanie Merry
    It seems like a waste of talent, but worse still, Cesar Chavez squanders an opportunity to revisit a story worth retelling.
    • 54 Metascore
    • 50 Stephanie Merry
    This isn’t a sports movie so much as a procedural about backroom dealings, double-crosses and high-stakes trades.
    • 49 Metascore
    • 50 Stephanie Merry
    The movie feels at once too busy and too derivative. That’s no easy feat, but it’s also one sequel-makers probably shouldn’t aspire to.
    • 70 Metascore
    • 50 Stephanie Merry
    It’s as if the movie’s many pieces are supposed to be like impressionistic brush strokes. When seen together, the result is pretty to look at. But it’s not as meaningful as it should be.
    • 44 Metascore
    • 50 Stephanie Merry
    A simple retelling of these stories would have been more dramatic, more effective and more powerful.
    • 58 Metascore
    • 50 Stephanie Merry
    Without much to go on, Just a Sigh lives up to its name. It disappears without a trace.
    • 45 Metascore
    • 50 Stephanie Merry
    A Night in Old Mexico succeeds when it comes to suspense, and the ever-evolving plot will keep viewers guessing. But the movie doesn’t have the same kind of emotional depth that Duvall and Wittliff managed to pull off decades ago. Worse, the dialogue often sounds stilted.
    • 31 Metascore
    • 50 Stephanie Merry
    Each sweet moment is inevitably punctuated by some in-your-face joke that’s at least as stupid as the preceding moments were heartfelt. Blended has other problems, too, including some faulty editing and a typically predictable finale. But there are some genuinely sweet and funny moments, which are more than enough to exceed expectations.
    • 54 Metascore
    • 50 Stephanie Merry
    The movie’s great strength is the way it captures these dancers, sometimes in slow motion, as they contort their bodies in ways that don’t seem possible. When it comes to the narrative, though, the movie struggles a bit.
    • 40 Metascore
    • 37 Stephanie Merry
    While some of the stories are interesting, the film is much longer than it needs to be. For his part, Salerno tries to get creative with solutions for the lack of visual stimuli, but most attempts fail.
    • 41 Metascore
    • 37 Stephanie Merry
    Just a series of familiar scenes unfurling toward an inevitable conclusion.
    • 46 Metascore
    • 37 Stephanie Merry
    All of The Last Days on Mars feels like it’s been done before.
    • 37 Metascore
    • 37 Stephanie Merry
    Like an elaborately decorated wedding cake, the kid-friendly Walking With Dinosaurs 3D may leave you wondering how something so stunning could end up being so bland.
    • 39 Metascore
    • 37 Stephanie Merry
    Along the way there’s a sprinkling of humanizing moments.
    • 29 Metascore
    • 37 Stephanie Merry
    The movie’s editing mishaps, unbelievable scenarios, overuse of music and computer-generated fakery distract from what should be a great ad­ven­ture.
    • 39 Metascore
    • 37 Stephanie Merry
    Paul W.S. Anderson, best known for the “Resident Evil” franchise and 2011’s “The Three Musketeers,” creates harrowing simulations of the disaster. It’s enough to make you want him to ditch the story altogether.
    • 53 Metascore
    • 37 Stephanie Merry
    For all its intimations about finding one’s true self and the complicated setups for a big misidentification, The Pretty One is just another romantic dramedy.
    • 32 Metascore
    • 37 Stephanie Merry
    The problem is quantity. There are so many action sequences related to so many story lines that midway through an epic fight, you might find yourself wondering what exactly started this particular battle and what the objective is other than destruction for the sake of it.
    • 48 Metascore
    • 37 Stephanie Merry
    The film is artfully shot with eye candy galore: sumptuous dresses, beautiful people and scenes from Pierre and Yves’s time in Morocco. But for all its visual stimulation, the story does little to awaken emotions.
    • 42 Metascore
    • 25 Stephanie Merry
    After the movie limps along for an hour and a half, Besson suddenly switches gears and does what he does best.
    • 23 Metascore
    • 25 Stephanie Merry
    The intentions for I’m in Love With a Church Girl may have been noble, but nearly every part of the delivery turns out to be flawed.
    • 35 Metascore
    • 25 Stephanie Merry
    Diana isn’t just an egregious case of rewriting history, but one of oversimplifying it.
    • 30 Metascore
    • 25 Stephanie Merry
    The only thing that distinguishes this teen-magnet wannabe from its predecessors is how lazily it appears to have been slapped together.
    • 30 Metascore
    • 25 Stephanie Merry
    The movie feels like Nicholas Sparks fan fiction.
    • 40 Metascore
    • 25 Stephanie Merry
    Some of the dancing really is spectacular. Scenes from the competing clubs include impressive choreography and gravity-defying moves. If only the poorly delivered, trite dialogue and predictable plot aimed as high.
    • 23 Metascore
    • 12 Stephanie Merry
    The whole movie becomes such a pileup of detritus, whether it’s cop cars or plot points, that even something as important as rationale becomes an afterthought.
    • 22 Metascore
    • 12 Stephanie Merry
    The only thing epic about The Legend of Hercules is what a failure it is.
    • 17 Metascore
    • 0 Stephanie Merry
    Definitely exceeds expectations, but in the worst way possible.