Stephanie Merry
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For 96 reviews, this critic has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% 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: 56
Highest review score: 88 Big Men
Lowest review score: 0 A Haunted House 2
Score distribution:
  1. Positive: 55 out of 96
  2. Negative: 22 out of 96
96 movie reviews
    • 37 Metascore
    • 50 Stephanie Merry
    Sometimes the punch lines land and sometimes they don’t, but overall the result is pleasantly nostalgic.
    • 49 Metascore
    • 50 Stephanie Merry
    The movie doesn’t offer much more than fleeting and superficial pleasures.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Stephanie Merry
    It’s hard to imagine this tale of tradition and miracles leading skeptics to contemplation, much less faith.
    • 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
    As quickly as the technical elements pull the audience in, the plot pushes us away.
    • 58 Metascore
    • 50 Stephanie Merry
    Without much to go on, Just a Sigh lives up to its name. It disappears without a trace.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Stephanie Merry
    A simple retelling of these stories would have been more dramatic, more effective and more powerful.
    • 45 Metascore
    • 50 Stephanie Merry
    The plot is so similar to “The Big Chill” that it almost could be called a remake, except that it isn’t nearly as funny, it follows millennials instead of baby boomers and the characters tweet.
    • 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.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 37 Stephanie Merry
    The movie’s action sequences are both thrilling and idiotic.
    • 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.
    • 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.
    • 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.
    • 51 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.
    • 44 Metascore
    • 37 Stephanie Merry
    For all the movie’s grandiose annihilation, there also is action so absurd and emotion so saccharine that the likelihood of involuntary laughter is high.
    • 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.
    • 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.
    • 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.