Stephanie Zacharek
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For 1,479 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Lost in Translation
Lowest review score: 0 The Amityville Horror
Score distribution:
1,479 movie reviews
    • 71 Metascore
    • 80 Stephanie Zacharek
    As human beings, we're geared to desire an actual plot in our movies, and I regret to inform you that nothing really happens in Syndromes and a Century -- and yet the experience of the movie is all about the NOT happening.
    • 59 Metascore
    • 80 Stephanie Zacharek
    The good news about Spider-Man 3 is that it's more of the same -- except better.
    • 88 Metascore
    • 80 Stephanie Zacharek
    Although there's plenty of music, and plenty of joy, in Once, it's ultimately a quiet, wistful picture.
    • 85 Metascore
    • 80 Stephanie Zacharek
    A beautifully shaped piece of work: There are no slack patches, no gratuitous feel-good moments -- if you walk out of Knocked Up feeling good, that means you've earned it.
    • 74 Metascore
    • 80 Stephanie Zacharek
    That sense of one small, private world shattering within the larger and even more unstable one around it is the essence of Michael Winterbottom's unmooring, bleakly beautiful film version of A Mighty Heart.
    • 80 Metascore
    • 80 Stephanie Zacharek
    The picture works because, despite the fact that it took nearly six years for the filmmakers to bring it to the screen, it doesn't strive for greatness. It's fleet, concise and clever in a nut-ball way.
    • 82 Metascore
    • 80 Stephanie Zacharek
    Instead of taking control of the movie in any overt way, Clooney commands our attention by swimming just beneath its surface. He's a disappearing act with staying power.
    • 67 Metascore
    • 80 Stephanie Zacharek
    This tale of filial love and family baggage is Wes Anderson's most heartfelt feature film yet. Its companion short, "Hotel Chevalier," is darn near perfect.
    • 78 Metascore
    • 80 Stephanie Zacharek
    Lovely and deeply touching picture.
    • 81 Metascore
    • 80 Stephanie Zacharek
    As lively and entertaining as Juno is, Reitman and Cody have also done the work of shaping the story into something emotionally direct, unsparing and generous.
    • 69 Metascore
    • 80 Stephanie Zacharek
    Philip Seymour Hoffman utters one of the year's most refreshing lines in this terrific tale of political wheeling and dealing.
    • 69 Metascore
    • 80 Stephanie Zacharek
    Entertaining and subtle at once, it doesn't just dazzle us with the hows and whys of a particularly wily brand of thievery; it transports us to a specific time and place that often seems to fall between significant eras. The Bank Job is set in a country that's in transition, an extended metaphor for the way its characters are in transition, too.
    • 63 Metascore
    • 80 Stephanie Zacharek
    Watching McDormand navigate that transformation is the kind of thing that can keep your hope in movies, and in actors, alive.
    • 79 Metascore
    • 80 Stephanie Zacharek
    The movie's climactic battle scene is mildly thrilling -- although it's not nearly as exciting as simply watching Downey and Bridges work together. Bridges makes a great villain precisely because he's such a relaxed, affable presence.
    • 54 Metascore
    • 80 Stephanie Zacharek
    The movie "Munich" should have been. At the very least, it's got to be the first picture to use smelly-feet jokes as a means of parsing the Israeli-Palestinian conflict. But more than that, it's a mainstream movie that dares to make jokes about the kinds of complex political realities that most of us don't dare bring up at dinner parties.
    • 52 Metascore
    • 80 Stephanie Zacharek
    So unapologetically loopy and lush and ridiculous that I found it irresistible.
    • 72 Metascore
    • 80 Stephanie Zacharek
    Ghost Town is a rarity, a contemporary romantic comedy that honors the traditions of the genre without checking them off some plasticized list. The picture is breathing, and alive, every minute.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Howard has made a picture for grown-ups, a well-constructed entertainment that neither talks down to its audience nor congratulates it just for showing up.
    • 51 Metascore
    • 80 Stephanie Zacharek
    Statham isn't an actor who coasts, not even in a recklessly enjoyable picture like Transporter 3. He does the work, so we don't have to: His Frank Martin is the personification of pleasure without guilt.
    • 65 Metascore
    • 80 Stephanie Zacharek
    Such an exhilarating, spirited piece of work that its embellishments and omissions cease to matter.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Coraline is essentially faithful to the spirit of its source material. But it's also so visually inventive, and so elaborately tactile, that it stands apart as its own creation.
    • 64 Metascore
    • 80 Stephanie Zacharek
    An intelligent adult thriller about the death of newspapers.
    • 70 Metascore
    • 80 Stephanie Zacharek
    Rudd's timing has always been good, but in I Love You, Man he gives the finest performance of his career, breaking his comic beats down into weird and wonderful fractional increments. It's as if he's invented a new comedy dialect.
    • 84 Metascore
    • 80 Stephanie Zacharek
    The magic of Summer Hours is that even in its elusiveness, it gives us something to hang onto.
    • 66 Metascore
    • 80 Stephanie Zacharek
    Streep isn't playing Julia Child here, but something both more elusive and more truthful -- she's playing our IDEA of Julia Child.
    • 76 Metascore
    • 80 Stephanie Zacharek
    Joseph Gordon-Levitt and Zooey Deschanel charm the pants off us -- and each other! -- in this irresistible comedy.
    • 94 Metascore
    • 80 Stephanie Zacharek
    The drawback is that even though The Hurt Locker is extremely effective in places, it ultimately feels unformed and somewhat unfinished.
    • 70 Metascore
    • 80 Stephanie Zacharek
    The picture throws off an aura of wistfulness, which may be Mann's acknowledgment that of course he can't re-create the past. The best he can do is to honor the idea of it, storybook-style, and to remind us that before there was gangsta, there were gangsters.
    • 73 Metascore
    • 80 Stephanie Zacharek
    The picture is beautifully paced, with an exhilarating, comically violent opening, a halcyon middle section where, in what could be viewed as a sideways homage to "Rebel Without a Cause," our rootless wanderers share a brief respite in an empty, lavish mansion, and a finale filled with light and color and movement (as well as piles of vanquished zombies).
    • 61 Metascore
    • 80 Stephanie Zacharek
    The kind of smart, openhearted comedy that doesn't come along every day.

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