Stephanie Merry

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For 246 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 3.1 points lower than other critics. (0-100 point scale)

Stephanie Merry's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Look of Silence
Lowest review score: 0 A Haunted House 2
Score distribution:
  1. Negative: 56 out of 246
246 movie reviews
    • 26 Metascore
    • 37 Stephanie Merry
    Director James McTeigue frequently collaborates with the visionary Wachowski siblings, and he directed V for Vendetta. How the man who blew up Parliament in such memorably spectacular fashion can’t add some originality to Philip Shelby’s script is the movie’s only real mystery.
    • 30 Metascore
    • 37 Stephanie Merry
    In the world of Freedom, slaves and the people who help them are Christians, and the bad guys don’t believe in God.
    • 58 Metascore
    • 37 Stephanie Merry
    The movie winks and nudges its way through a lighter, modernized variation of the classic, proud of its own cleverness every time Gemma’s life mirrors Madame B’s. But imitation for the sake of itself isn’t brilliant, especially when the elements most worthy of copying — Flaubert’s precise narration and telling details — don’t make the cut.
    • 45 Metascore
    • 37 Stephanie Merry
    In the end, Davis ends up a wasted resource. She does her best to elevate the material, but the story fails to live up to her considerable talents.
    • 27 Metascore
    • 37 Stephanie Merry
    Lazy humor and familiar plotting aside, Pixels at least gets a little mileage out of its affection for the 1980s.
    • 38 Metascore
    • 37 Stephanie Merry
    Every Asian character is either a ruthless murderer or anonymous collateral damage. A lot of locals have to die, the film suggests, in order for one white family to survive.
    • 36 Metascore
    • 37 Stephanie Merry
    Pan
    Pan doesn’t deliver on its own promise. The movie doesn’t so much enhance our understanding of the flying boy as it demonstrates how little thought went into crafting his back story.
    • 44 Metascore
    • 37 Stephanie Merry
    By the Sea is dazzlingly gorgeous, as are its stars. But peeling back layer upon layer of exquisite ennui reveals nothing but emptiness, sprinkled with stilted sentiments.
    • 45 Metascore
    • 37 Stephanie Merry
    As the movie wears on, the plot points become increasingly far-fetched, and what started out as a moody if by-the-book thriller becomes increasingly silly. All the while, Roberts gives her all.
    • 32 Metascore
    • 37 Stephanie Merry
    The plot is paint by numbers, which puts pressure on the comedy to deliver. But it doesn’t.
    • 53 Metascore
    • 37 Stephanie Merry
    Monster Hunt has visual appeal to spare, but the allure ends there.
    • 45 Metascore
    • 37 Stephanie Merry
    Pride and Prejudice and Zombies delivers what its title promises: a little romance and some undead villains, plus a bit of comedy. But this overly busy riff on Austen’s winning formula doesn’t justify all the tinkering.
    • 44 Metascore
    • 37 Stephanie Merry
    The Brothers Grimsby is fitfully, sometimes outrageously, funny. But Cohen’s shtick of showing the backwardness and stupidity of unprivileged characters is starting to feel lazy, not to mention classist itself.
    • 44 Metascore
    • 37 Stephanie Merry
    The Bronze is just another movie about overcoming arrested development. It’s not as funny as it tries to be, but, for a few, fleeting minutes, it leaves an impression.
    • 37 Metascore
    • 37 Stephanie Merry
    With so many warmed-over jokes, you’d think that the delivery would at least be on point. But everything, including the timing, feels off.
    • 37 Metascore
    • 37 Stephanie Merry
    On paper, this is an extraordinary story. But the careless production values blunt its impact. The score is obtrusive and generic; the sound editing makes a shootout sound reminiscent of an old Western; continuity errors abound.
    • 46 Metascore
    • 37 Stephanie Merry
    Dough never leaves any doubt about where it’s going or what it’s trying to say, serving up a recipe that we’ve not only had many times before, but we’ve had enough of.
    • 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.
    • 52 Metascore
    • 25 Stephanie Merry
    This biblical action drama that feels excessive in every way imaginable, from running time (nearly 2 1/2  hours) to melodramatic acting to the conspicuous amount of computer generation.
    • 36 Metascore
    • 25 Stephanie Merry
    Cooper and Lawrence do their best, but the material consistently works against them, from the overwrought dialogue to the never-ending plot twists in place of character development.
    • 28 Metascore
    • 25 Stephanie Merry
    The movie — which looks and sounds like a more brutal Bond knockoff — is at least consistently stylish, though its tone is less assured.
    • 51 Metascore
    • 25 Stephanie Merry
    Good camerawork only goes so far. Love drags on and on, alternating between arguments and intimacy, breakups and makeups. The movie never passes the authenticity test; if this is what sex feels like, we’ll all soon be extinct.
    • 34 Metascore
    • 25 Stephanie Merry
    It takes a very special director to make scenes of sky-diving, free climbing, big-wave surfing and BASE jumping something to yawn at. Yet Ericson Core must be that kind of miracle worker, because Point Break, his update of the 1991 cult classic, is basically a cavalcade of extreme sports, but with less drama than a highlight reel.
    • 29 Metascore
    • 25 Stephanie Merry
    Somehow channeling the tone of both a Lifetime movie and an after-school special, Mothers and Daughters shambles into theaters oozing schlock and melodrama, just in time for Mother’s Day. This is no way to honor a beloved family member.
    • 34 Metascore
    • 25 Stephanie Merry
    Wondrous visuals only go so far, in a film that turns out to be lethally dull.

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