Stephanie Zacharek

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For 1,602 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 1.9 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 Speed Racer
Score distribution:
1602 movie reviews
    • 65 Metascore
    • 50 Stephanie Zacharek
    Mystery Men is supposed to be an action comedy, but there isn't nearly enough of either.
    • 67 Metascore
    • 50 Stephanie Zacharek
    Bolt is just too knowing; it keeps reminding us, loud and clear, of how culturally savvy it is.
    • 49 Metascore
    • 50 Stephanie Zacharek
    The super-duper whiteness of Ashton Kutcher is funny. Just not funny enough.
    • 52 Metascore
    • 50 Stephanie Zacharek
    Depp aside, the movie is higher on style than it is on substance.
    • 51 Metascore
    • 50 Stephanie Zacharek
    The experience of watching The Night Listener didn't make me feel "real" at all, only stuffed.
    • 47 Metascore
    • 50 Stephanie Zacharek
    A maddeningly indistinct picture.
    • 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.
    • 51 Metascore
    • 50 Stephanie Zacharek
    Although The Brothers Grimm is partly an inventive fantasy, it's also a cluttered, jangly action picture, and there's too much noise and commotion for Gilliam's subtler ideas to really resonate.
    • 37 Metascore
    • 50 Stephanie Zacharek
    Like so many disappointing movies, it's peopled by performers who do their damnedest to make the whole thing work.
    • 72 Metascore
    • 50 Stephanie Zacharek
    Feels like a movie that keeps wishing it were something else: an award-winning play, a grand novel, an epic poem, anything but that populist thing we call a movie. Mendes makes movies as if he hates them.
    • 61 Metascore
    • 50 Stephanie Zacharek
    The Good Shepherd, soft when it needs to be sharp, is all cloak with very little dagger.
    • 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.
    • 61 Metascore
    • 50 Stephanie Zacharek
    Matchstick Men isn't even remotely intricate; it's not even particularly interesting.
    • 64 Metascore
    • 50 Stephanie Zacharek
    Proof isn't just a movie about mathematics; it's a mathematical movie. The scenes may as well have been laid out by diagram.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Mel Gibson may have changed the face of cinema forever. I think he has: He's made the first true Jesusploitation flick, a picture that, despite its self-righteous air of grave religiosity, is barely spiritual at all.
    • 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.
    • 31 Metascore
    • 50 Stephanie Zacharek
    Morgan transcends the wayward silliness of Cop Out just by going for the gusto. He grabs it, and he hangs on.
    • 60 Metascore
    • 50 Stephanie Zacharek
    Hayek, with that old-time movie-star pout, those dark, reflective eyes (they could be Satan's twin swimming pools), is the shivery, chilling backbone of Lonely Hearts. Martha Beck couldn't get away with murder. But Salma Hayek can.
    • 70 Metascore
    • 50 Stephanie Zacharek
    Curiously and disappointingly lethargic.
    • 42 Metascore
    • 50 Stephanie Zacharek
    Fred Claus does feature some very nicely groomed reindeer, a far cry from those patchy, depressed-looking creatures you see every holiday season at the petting zoo. They're prancing and dancing as fast as they can, but they can't pull Fred Claus from the rut it's in.
    • 48 Metascore
    • 50 Stephanie Zacharek
    Weitz, an openhearted director if not always a precise one, can't bring himself to whet the knives. Only Fey drills to the center of what Admission might have been—her performance has more layers of emotion than the picture does.
    • 34 Metascore
    • 50 Stephanie Zacharek
    Kidman will have the last laugh; not even Ephron, with her dumb flying house of a movie, can crush her magic.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Disappointingly tame.
    • 65 Metascore
    • 50 Stephanie Zacharek
    While Jacobson navigates the first half of Down in the Valley deftly, he loses his way in the second.
    • 86 Metascore
    • 50 Stephanie Zacharek
    His (Miyazaki) stories, and often his character design, just leave me cold. I know I'm supposed to be magically transported by his fanciful tales and his whimsical grandiosity, but they make me listless.
    • 56 Metascore
    • 50 Stephanie Zacharek
    Neither a masterpiece nor an embarrassment, but a workmanlike picture that sits, inoffensively, in the middling space between.
    • 39 Metascore
    • 50 Stephanie Zacharek
    Jon Voight shows up as Ben's daddy, and Harvey Keitel plays a devilishly goateed FBI agent: They're the only two actors who seem to have a sense of how ridiculous National Treasure is, but there's not enough of them to carry the picture.
    • 54 Metascore
    • 50 Stephanie Zacharek
    [A] heartfelt but largely inarticulate documentary.
    • 83 Metascore
    • 50 Stephanie Zacharek
    It is a very expensive-looking, very flashy entertainment, albeit one that groans under the weight of clumsy storytelling in the second half and features some of the most godawful dialogue this side of "Attack of the Clones."
    • 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."

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