Stephanie Zacharek

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For 1,568 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 Under the Skin
Lowest review score: 0 Speed Racer
Score distribution:
1568 movie reviews
    • 66 Metascore
    • 55 Stephanie Zacharek
    The subject of Spurlock's movie is Spurlock, and while he may be reasonably affable, and sometimes extremely goofy, it's a stretch to call him controversial.
    • 57 Metascore
    • 55 Stephanie Zacharek
    The plot of Cars 2 is both overly convoluted and thin, and it folds in so much unvarnished toddler-instruction that it almost feels like an educational film.
    • 42 Metascore
    • 55 Stephanie Zacharek
    To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.
    • 48 Metascore
    • 55 Stephanie Zacharek
    We need to wait nearly 20 years for the romance in Lone Scherfig's One Day to get cooking, and for long stretches it seems as if we're watching this particular pair of nonstarters hem and haw in real time.
    • 44 Metascore
    • 55 Stephanie Zacharek
    The picture, the debut feature of Irish director Gary McKendry, is rote and joyless, an exercise in disposability.
    • 49 Metascore
    • 55 Stephanie Zacharek
    Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.
    • 61 Metascore
    • 55 Stephanie Zacharek
    It's an extravaganza of bad taste that in the end just tastes bad.
    • 59 Metascore
    • 55 Stephanie Zacharek
    As Lily Tomlin's Ernestine once said, "There's nothing like a Hoover when you're dealing with dirt." Clint Eastwood's J. Edgar could use more dirt: This is a sensitive, sympathetic portrait of a scummy little man.
    • 84 Metascore
    • 55 Stephanie Zacharek
    The Descendants is an ultra-polished picture in which every emotion we're supposed to feel has been cued up well in advance. There's nothing surprising or affecting about it. Not even Clooney, who works wonders with the occasional piece of dialogue, can save it.
    • 37 Metascore
    • 55 Stephanie Zacharek
    W.E. is actually two intertwining stories - or maybe, more accurately, two stories clumsily rubbing against each other in an awkward attempt to set off a spark.
    • 67 Metascore
    • 55 Stephanie Zacharek
    Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.
    • 49 Metascore
    • 55 Stephanie Zacharek
    This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.
    • 55 Metascore
    • 55 Stephanie Zacharek
    It has neither the Red Bull–fueled crudeness of "Crank" nor the Frenchified lunatic vitality of the "Transporter" movies; it's not even as cheaply entertaining as the generic hit-man retread "The Mechanic." Safe shows Statham comfortably treading water, proving all the things he no longer needs to prove.
    • 28 Metascore
    • 55 Stephanie Zacharek
    Walks the jittery line between being exploitative and too sensitive, and while it's probably a relief that it tips more toward the latter, the movie also seems a bit unclear in its motives.
    • 55 Metascore
    • 55 Stephanie Zacharek
    Parts of Dark Shadows look lovely. So what happened to the story?
    • 41 Metascore
    • 55 Stephanie Zacharek
    Actually, the picture is perhaps not quite as painful as you might be expecting, though probably not as enjoyable, either.
    • 45 Metascore
    • 55 Stephanie Zacharek
    None of it quite works, but it seems Beresford did his damnedest to try to pull it off.
    • 59 Metascore
    • 55 Stephanie Zacharek
    Stone's moralism, coupled with discreet but bloody beatings, shootouts and all manner of tawdry goings on, rings hollow. The picture is neither entertaining nor preachy – it is simply very loudly meh.
    • 53 Metascore
    • 55 Stephanie Zacharek
    Winterbottom’s version goes too far.
    • 49 Metascore
    • 50 Stephanie Zacharek
    It might not measure up to the 1967 original, but now Satan's got sooty pussycat eyes and a kitten-cruel smile.
    • 51 Metascore
    • 50 Stephanie Zacharek
    Always worth watching when Angelina Jolie steps to the fore. Somehow, she takes a thuddingly ill-conceived role and turns it into gold
    • 48 Metascore
    • 50 Stephanie Zacharek
    Isn't so much a movie as a tract, a parable in which the charred wisdom of its characters is much more significant than the intricacies of their lives.
    • 69 Metascore
    • 50 Stephanie Zacharek
    Handled more delicately, Monster's Ball could have been a fine little movie about human beings' capacity for growth and change. As it is, it's less than half a fine movie. The great surprise is that its actors come through in the clutch.
    • 44 Metascore
    • 50 Stephanie Zacharek
    The penalties for drug trafficking in Thailand are very, very stiff. If there were any justice in the world, the penalties for saddling fine actors with terrible dialogue would be even stiffer.
    • 52 Metascore
    • 50 Stephanie Zacharek
    Depp aside, the movie is higher on style than it is on substance.
    • 65 Metascore
    • 50 Stephanie Zacharek
    You come away with the sense that you should have come to care (or at least to know) more about its central characters than you do.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Redford glances too lightly off the story's racial questions. You could call that approach "eminently tasteful" if you're looking for a nice substitute for "wimpy."
    • 49 Metascore
    • 50 Stephanie Zacharek
    Sometimes stylish flashiness can be fun, and the movie does have a terrific, bleached-out, ice-blue look. But anyone who cares about what actors do has a right to be distrustful of a director who puts more emphasis on the look of his movie than on the performances.
    • 31 Metascore
    • 50 Stephanie Zacharek
    There's something refreshing about the way it invites us to splash around in its little wading pool of amorality.
    • 45 Metascore
    • 50 Stephanie Zacharek
    There's only one good reason to see The Bone Collector, and her name is Angelina Jolie.

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