Stephanie Zacharek

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For 1,530 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 2.1 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Boyhood
Lowest review score: 0 Over Her Dead Body
Score distribution:
1,530 movie reviews
    • 92 Metascore
    • 50 Stephanie Zacharek
    There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.
    • 83 Metascore
    • 50 Stephanie Zacharek
    The picture throws off no feeling, not even the misanthropic kind; at best, it manages a dull, throbbing energy, as if Burton were dutifully pushing his way through the material instead of shaping it.
    • 63 Metascore
    • 50 Stephanie Zacharek
    Funniest in its first half, when you're not quite sure where it's going, and drags in the second, by which time you realize it's going nowhere.
    • 32 Metascore
    • 50 Stephanie Zacharek
    Over and over again, Hoblit misses opportunities to make an engaging picture, instead giving us a merely pedestrian one.
    • 45 Metascore
    • 50 Stephanie Zacharek
    Meet the Browns, like the rest of Tyler Perry's movies and plays, will find its audience. His talent lies in knowing what people will buy. He's a marketer, not a filmmaker.
    • 56 Metascore
    • 50 Stephanie Zacharek
    You have to give Leatherheads this much: It's like no other comedy, or movie, out there these days. Clooney, one of our few old-style Hollywood movie stars himself, obviously loves old-fashioned moviemaking.
    • 76 Metascore
    • 50 Stephanie Zacharek
    It's a late-night infomercial masquerading as a concert movie, more an advertisement for vitality than a picture of vitality itself. There's something self-congratulatory, preening, about both the performance and the filmmaking.
    • 57 Metascore
    • 50 Stephanie Zacharek
    Fine actors do their damnedest to make this dumb movie look sharp.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Forgetting Sarah Marshall follows the Apatow formula faithfully enough. All that's missing is charisma -- the je ne sais quois that makes us fall in love in the first place.
    • 61 Metascore
    • 50 Stephanie Zacharek
    The Incredible Hulk suggests only that we've bottomed out on special effects: They're not necessarily getting better -- they're just getting bigger. Technically, Leterrier's Hulk is as realistic-looking as a rampaging green giant could be. But that doesn't make him credible.
    • 82 Metascore
    • 50 Stephanie Zacharek
    Nolan may want us to believe in the darkness that lurks within each of us, but instead of leading us to it visually, he chops it up and sets it out in front of us, a grim, predigested banquet.
    • 53 Metascore
    • 50 Stephanie Zacharek
    I left Australia feeling drained and weakened, as if I'd suffered a gradual poisoning at the hands of a mad scientist.
    • 47 Metascore
    • 50 Stephanie Zacharek
    A maddeningly indistinct picture.
    • 35 Metascore
    • 50 Stephanie Zacharek
    Gets more cluttered and confused as it moves along.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Bolt is just too knowing; it keeps reminding us, loud and clear, of how culturally savvy it is.
    • 37 Metascore
    • 50 Stephanie Zacharek
    A picture that's dramatically compelling in some places and plodding and didactic in others.
    • 64 Metascore
    • 50 Stephanie Zacharek
    If Appaloosa is something to look at, it's also unnecessarily lethargic. Even an intentionally slow-paced picture needs to have its own internal source of energy, and as a filmmaker, Harris can't quite get that motor running.
    • 61 Metascore
    • 50 Stephanie Zacharek
    Isn't as uproarious as it pretends to be. The foul language, the constant repetition of words like the aforementioned "boobies" -- look, they've even got me doing it -- doesn't feel daring or cathartic, only canned.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Strives to be a work of greatness. But Kaufman's overarching vision is a lot less interesting than the small insights he gathers along the way. This is what happens when life imitates art, and blows it.
    • 38 Metascore
    • 50 Stephanie Zacharek
    A disappointing picture that suffers from all manner of ills: Both the direction and the dialogue are stiff and awkward, and Kramer -- who also wrote the script -- crams too many not-believable-enough subplots into the movie's "Crash"-style construction. Yet Crossing Over is an interesting failure.
    • 58 Metascore
    • 50 Stephanie Zacharek
    The Reader feels weighty, all right; but it's an unsatisfying kind of weight, and Fiennes' presence, as the grown-up Michael, doesn't help much.
    • 69 Metascore
    • 50 Stephanie Zacharek
    This is a movie about two people in pain; the last thing they need is for Mendes to turn his cool camera on them. But that's all Mendes knows how to do. He's a clinical director, and whatever feeling he puts into a movie is measured out in careful quarter-teaspoon increments.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Neither a masterpiece nor an embarrassment, but a workmanlike picture that sits, inoffensively, in the middling space between.
    • 50 Metascore
    • 50 Stephanie Zacharek
    It's great that Perry has seized opportunity for himself and for the performers he employs. But has he succeeded only in creating a kind of ghetto for black-themed entertainment that's of sub-par quality -- one that, admittedly, makes him a lot of money?
    • 69 Metascore
    • 50 Stephanie Zacharek
    The structure of Duplicity is its own worst enemy.
    • 49 Metascore
    • 50 Stephanie Zacharek
    2012 is totally, certifiably nuts, without being quite as off-the-wall kitschy as Emmerich's last special-effects extravabanzoo, "10,000 BC."
    • 88 Metascore
    • 50 Stephanie Zacharek
    Up
    Save for a few inspired canine gags and a handful of very pretty visual details, Up left me cold. Its charms appear to have been applied with surgical precision; by the end, I felt expertly sutured, but not much else.
    • 61 Metascore
    • 50 Stephanie Zacharek
    How you'll feel about Sunshine Cleaning probably depends on your tolerance for slender, semi-hip comedic dramas about oddball families grappling with sometimes overwhelming problems.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Even in 3D, as the picture is being shown in some theaters -- Ginormica is a disappointingly flat character.
    • 50 Metascore
    • 50 Stephanie Zacharek
    There's enough sweetness, and enough just-under-the-surface intelligence, in The Education of Charlie Banks to suggest that Durst may have a future as a filmmaker.

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