Stephanie Zacharek
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For 1,470 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 Blue Is the Warmest Color
Lowest review score: 0 Over Her Dead Body
Score distribution:
1,470 movie reviews
    • 78 Metascore
    • 30 Stephanie Zacharek
    Blue Jasmine is so relentlessly clueless about the ways real human beings live, and so eager to make the same points about human nature that Allen has made dozens of times before, that it seems like a movie beamed from another planet.
    • 74 Metascore
    • 30 Stephanie Zacharek
    Everything he (Nolan) does is forced and overthought, and Inception, far from being his ticket into hall-of-fame greatness, is a very expensive-looking, elephantine film whose myriad so-called complexities -- of both the emotional and intellectual sort -- add up to a kind of ADD tedium.
    • 74 Metascore
    • 20 Stephanie Zacharek
    Cameron manhandles the real story, scavenging it for his own puny narrative purposes. It's a film made with boorish confidence and zero sensitivity, big and dumb and hulking.
    • 73 Metascore
    • 20 Stephanie Zacharek
    Extravagant in movie terms but stingy in emotional ones, it embodies all of Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive.
    • 69 Metascore
    • 30 Stephanie Zacharek
    Cinderella Man is ostensibly the kind of old-fashioned drama that sends audiences home with a satisfied glow. But like so many of Howard's movies, there's something canned and phony about it -- it left me feeling cooked and dehydrated, as if I'd fallen asleep on a tanning bed.
    • 69 Metascore
    • 30 Stephanie Zacharek
    With Scott Pilgrim, Wright leaps over the line from chattery cleverness to all-out self-consciousness.
    • 67 Metascore
    • 30 Stephanie Zacharek
    Moore's supporters are quick to impugn the liberal credentials of anyone who criticizes his presentation of the information he digs up (or, in some cases, makes up). For them, Michael Moore is the issues he talks about, so his detractors must be enemies of democratic principles. It's an old trick, akin to the way Pauline Kael was accused of being insensitive about the Holocaust when she didn't like "Shoah."
    • 66 Metascore
    • 30 Stephanie Zacharek
    It's an English movie doing its best to masquerade as the shallowest kind of Hollywood romantic comedy, as if somewhere along the way someone had made a calculated supposition that would be the only kind of comedy American audiences would buy.
    • 64 Metascore
    • 30 Stephanie Zacharek
    It's a shame when an actor like Sylvester Stallone, who's always at his most appealing when he just hunkers down and lets himself be a big galoot, feels he has to make a bid for respectability.
    • 64 Metascore
    • 30 Stephanie Zacharek
    It pretends to examine how self-absorbed we are as a culture, only to be consumed by its own self-absorption. It's also badly constructed, humorless and emotionally sadistic .
    • 63 Metascore
    • 30 Stephanie Zacharek
    Unless you're a lover of tigers, there's probably no reason to see Jean-Jacques Annaud's Two Brothers. And maybe not even then.
    • 62 Metascore
    • 30 Stephanie Zacharek
    Bug
    A humorless picture, a somber, arty exercise in deep denial of its exploitation roots. The dialogue is stiff and mechanical and the performances are too.
    • 61 Metascore
    • 30 Stephanie Zacharek
    Actually, the wonder The Polar Express induces feels something like a coma.
    • 61 Metascore
    • 30 Stephanie Zacharek
    This is a love story, all right, but it has less to do with the flaws of capitalism than it does with Moore's unwavering fondness for the sound of his own voice, and for what he perceives as his own vast cleverness.
    • 61 Metascore
    • 30 Stephanie Zacharek
    The sex scenes -- intense, affecting and emotionally raw -- are the best thing about this frustratingly limp movie.
    • 60 Metascore
    • 30 Stephanie Zacharek
    The movie works neither as a comedy nor as a lame melodrama -- its entertainment value is embarrassingly feeble.
    • 60 Metascore
    • 30 Stephanie Zacharek
    It would be destined for the trash heap of Shakespeare adaptations, if not for its female lead, and its heart, 17-year-old Claire Danes.
    • 59 Metascore
    • 25 Stephanie Zacharek
    Rubber could have been a modest horror novelty, a wicked, malevolent version of "The Red Balloon."
    • 59 Metascore
    • 20 Stephanie Zacharek
    There's nothing offhand or spontaneous-feeling about Nanny McPhee; it's a highly mechanical piece of work, and its potentially delightful details are wasted.
    • 57 Metascore
    • 30 Stephanie Zacharek
    Bateman, as both director and star, digs his heels in too hard to make the movie's points, using lots of ho-hum close-ups and wriggly camera work along the way.
    • 56 Metascore
    • 20 Stephanie Zacharek
    As The Muse chugs along, it becomes more apparent how tired and pointless it is.
    • 55 Metascore
    • 30 Stephanie Zacharek
    Watching The Boy in the Striped Pajamas, it struck me that weaving a touching little tale about a death-camp friendship is actually a pretty bad way to teach kids about the Holocaust.
    • 55 Metascore
    • 20 Stephanie Zacharek
    It takes a very clever schoolboy to make a movie as elaborately empty as Guy Ritchie's Snatch.
    • 55 Metascore
    • 30 Stephanie Zacharek
    Cruise pedals hard through The Last Samurai, and the exertion shows. In fact, the whole picture is belabored and lumbering.
    • 54 Metascore
    • 30 Stephanie Zacharek
    There's no doubt we need more movies for grown-ups, with jokes that don't hit us over the head, but The Men Who Stare at Goats doesn't fit the bill. At best, it might hypnotize you into a stupor.
    • 54 Metascore
    • 10 Stephanie Zacharek
    It's possible Hill has a style, of sorts. But he doesn't work from the heart, or from the gut, as a good comedy director generally needs to. He operates from one guiding question: "How disturbing can we make this sh**?"
    • 54 Metascore
    • 30 Stephanie Zacharek
    Pulp needs a pulse -- without one, it's DOA. No matter how hard some of its actors work to resuscitate it, Assault on Precinct 13 is as lifeless as a corpse on a slab.
    • 53 Metascore
    • 20 Stephanie Zacharek
    Paranormal Activity 2 sinks much lower than it needs to in order to get a rush out of us - and in the end, the rush isn't even that great. The movie puts us through the paces with minimal payoff.
    • 53 Metascore
    • 30 Stephanie Zacharek
    The Book Thief is just too tidy to have much impact.
    • 53 Metascore
    • 20 Stephanie Zacharek
    I can't remember ever feeling so glad that a movie was finally over. Lucas may have held my imagination hostage for two hours, but reclaiming it afterward wasn't hard at all.

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