For 412 reviews, this critic has graded:
  • 65% higher than the average critic
  • 1% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
Average review score: 68
Highest review score: 100 Palo Alto
Lowest review score: 10 Oldboy
Score distribution:
  1. Negative: 20 out of 412
412 movie reviews
    • 79 Metascore
    • 90 Stephanie Zacharek
    Louis-Dreyfus and Gandolfini are lovely together, though her character is the sharper-edged of the two. It's Gandolfini's Albert, soft-hearted and soft-bellied, who suffers more. Gandolfini takes the movie's small, offhand jokes and intensifies them.
    • 90 Metascore
    • 90 Stephanie Zacharek
    There may not be much behind the sparkling tinsel curtain of David O. Russell's extraordinarily entertaining American Hustle. But what a curtain!
    • 61 Metascore
    • 90 Stephanie Zacharek
    Adult World captures beautifully, and with a great deal of self-deprecating humor, what it's like to feel trapped in a place you think is too small to hold you.
    • 61 Metascore
    • 90 Stephanie Zacharek
    The story matters only in that it creates opportunities for heaps of ridiculousness, and writer-director James Bobin (who also directed The Muppets), along with co-writer Nicholas Stoller, mines them skillfully and breezily.
    • 66 Metascore
    • 90 Stephanie Zacharek
    Van Warmerdam keeps such a calm, firm hold on the material that he practically hypnotizes you into following along to the end. The craftsmanship is precise; the result is enigmatic.
    • 70 Metascore
    • 90 Stephanie Zacharek
    Polanski orchestrates this cat-and-mouse game with devilish delight, dancing around Ives's play as if it were a pagan bonfire, jabbing at it with his figurative pitchfork.
    • 87 Metascore
    • 90 Stephanie Zacharek
    James — the director of Hoop Dreams and The Interrupters — gives us a sense of Ebert as a man who kept reinventing life as he went along — out of necessity, sure, though he also took some pleasure in adapting. It couldn't always have been easy, but that, too, is part of the story.
    • 62 Metascore
    • 90 Stephanie Zacharek
    Demme, following in the footsteps of the late Louis Malle, takes a spare, direct approach to the material -- his economy pays off in quiet eloquence.
    • 92 Metascore
    • 90 Stephanie Zacharek
    A sequel made with care and integrity, Toy Story 3 is just moving enough: It winds its way gently toward its big themes instead of grabbing desperately at them, and because its plot is so beautifully worked out, getting there is almost all of the fun.
    • 78 Metascore
    • 90 Stephanie Zacharek
    I suspect nearly everyone who sees the picture will have a loud opinion about this ending, which is just one way Holofcener works her stealth magic as a filmmaker and storyteller: She doesn’t close up shop on her movie until she’s made each of us an honorary New Yorker — in other words, a person with a strong stance and something to say.
    • 61 Metascore
    • 90 Stephanie Zacharek
    Anton Corbijn's The American looks and feels like a movie made by a filmmaker who hasn't been to the movies since the '70s - and I mean that as the highest compliment.
    • 65 Metascore
    • 90 Stephanie Zacharek
    Ondine suggests that coincidence and magic are often the same thing.
    • 94 Metascore
    • 90 Stephanie Zacharek
    It's a tricky feat, channeling the glamour of a famous international terrorist without glamorizing him. But damned if French filmmaker Olivier Assayas doesn't pull it off with Carlos.
    • 37 Metascore
    • 90 Stephanie Zacharek
    If Elise and Frank are opaque to each other, they're opaque for a reason, as, sadly, lovers sometimes are. (Come to think of it, this picture has more in common with "The Lives of Others" than you might expect.)
    • 69 Metascore
    • 90 Stephanie Zacharek
    The Company Men is infinitely more despairing and yet also, paradoxically, more hopeful. It suggests that work can actually mean something to people, beyond just giving them the means to afford a nice house or a fantastic car.
    • 76 Metascore
    • 90 Stephanie Zacharek
    Sex is threatening, as Brontë knew, and Wasikowska and Fassbender make this particular dance look exceedingly dangerous.
    • 85 Metascore
    • 90 Stephanie Zacharek
    Meek's Cutoff is an ambitious feat of visual storytelling that's alive to both its landscape and the actors who people it.
    • 87 Metascore
    • 90 Stephanie Zacharek
    The picture does, in places, feel like an unspoken homage to Kurosawa, though it's certainly its own distinct creation. But I wonder if it more closely resembles another end-of-an-era picture, Sam Peckinpah's "The Wild Bunch."
    • 86 Metascore
    • 90 Stephanie Zacharek
    Cave of Forgotten Dreams is compelling, sometimes in a hypnotic, sleepy-bye way.
    • 57 Metascore
    • 90 Stephanie Zacharek
    I never would have believed it, but Branagh gets the balance between pageantry and silliness just right.
    • 81 Metascore
    • 90 Stephanie Zacharek
    The best Allen movie in 10 years, or maybe even close to 20 - is all about that idea: Reckoning with the past as a real place, but also worrying about the limits of nostalgia.
    • 87 Metascore
    • 90 Stephanie Zacharek
    The movie's final moments are the equivalent of the half-jubilant, half-mournful thrill you get when you close the cover of a book you've savored.
    • 87 Metascore
    • 90 Stephanie Zacharek
    Now that Pitt no longer has brash youth on his side, he's digging deeper and doing more with less. It's the kind of acting - understated but woven with golden threads of movie-star style - that gives us more to look at rather than less.
    • 58 Metascore
    • 90 Stephanie Zacharek
    Brewer, who spent most of his childhood in Memphis, is one of the few contemporary filmmakers I know of who can make movies about the South without sentimentalizing it, glorifying it or looking down on it.
    • 82 Metascore
    • 90 Stephanie Zacharek
    Le Havre proceeds from the usual Kaurismäkian premise: Things are only going to get worse, so why not just go with it?
    • 53 Metascore
    • 90 Stephanie Zacharek
    In Time has so much style and energy that it comes across as an act of boldness rather than just a liberal-minded tract, though of course, it's that too. If there were ever a movie made for the 99 percent, this is it.
    • 83 Metascore
    • 90 Stephanie Zacharek
    Hugo states, in its adamant, straightforward poetry, that old things do matter.
    • 83 Metascore
    • 90 Stephanie Zacharek
    What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it.
    • 72 Metascore
    • 90 Stephanie Zacharek
    The picture is celebratory, in its own quiet way, as well as clear-eyed.
    • 76 Metascore
    • 90 Stephanie Zacharek
    This is the kind of sophisticated storytelling you rarely get even in live-action movies any more, full of unexpected turns and unruly human complications.