For 391 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 8.8 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
Average review score: 68
Highest review score: 100 Only Lovers Left Alive
Lowest review score: 10 Oldboy
Score distribution:
  1. Negative: 20 out of 391
391 movie reviews
    • 50 Metascore
    • 80 Stephanie Zacharek
    It deserves to be seen on a hot Saturday afternoon in a theater (preferably an air-conditioned one) peopled with other people, the way many of us used to see movies as kids.
    • 50 Metascore
    • 75 Stephanie Zacharek
    These are all people you feel you've met before in other movies, if not all at once. But the movie's saving grace is that they don't always behave as you expect them to.
    • 49 Metascore
    • 50 Stephanie Zacharek
    An ungodly mess that's great fun to look at for about 15 minutes and exhausting the rest of the time.
    • 49 Metascore
    • 45 Stephanie Zacharek
    There are some body-horror gross-outs if you're into that sort of thing, but mostly what you get are a bunch of too-obvious leftovers from the "Alien" stockroom, including a selection of moist innards, slimy tendons, dripping fangs and the like.
    • 49 Metascore
    • 70 Stephanie Zacharek
    The picture is devilishly entertaining, not least because it's laced with just the sort of dumb raunchy jokes you hate yourself for laughing at. But it also preserves, to a degree, the elemental sweetness that made the original so distinctive.
    • 49 Metascore
    • 85 Stephanie Zacharek
    This is a straightforward family comedy-drama, a movie made for adults, and one that actually gives its actors – among them Chris Pine, Elizabeth Banks, Michelle Pfeiffer and Philip Baker Hall – something to do. That's more of a rarity on today's landscape than it should be.
    • 49 Metascore
    • 55 Stephanie Zacharek
    Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.
    • 49 Metascore
    • 70 Stephanie Zacharek
    Lush with feeling that could easily be mistaken for sentimentality, Stalingrad is more like a 19th-century novel than a 21st-century blockbuster. It's theatrical and intense, sometimes in an overbearing way, but it's never boring.
    • 49 Metascore
    • 65 Stephanie Zacharek
    For every line or gag that works, there are three or four more that seem to belong in a different movie altogether, either a darker one or a breezier one.
    • 49 Metascore
    • 55 Stephanie Zacharek
    This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.
    • 49 Metascore
    • 65 Stephanie Zacharek
    Mostly, The Mechanic creaks and groans as it goes through the motions, and not even its lavish violence - which includes much smashing of heads and a nasty screwdriver stabbing - is particularly electrifying.
    • 49 Metascore
    • 10 Stephanie Zacharek
    Colorless and soulless in the extreme, it bears no one's fingerprints at all. There's no reason for this Oldboy to exist. It's so DOA, you stumble out of it wanting to eat something alive.
    • 48 Metascore
    • 60 Stephanie Zacharek
    Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.
    • 48 Metascore
    • 70 Stephanie Zacharek
    Rise of an Empire might have been essentially more of the same, but for one distinction that makes it 300 times better than its predecessor: Mere mortals of Athens, Sparta, and every city from Mumbai to Minneapolis, behold the magnificent Eva Green, and tremble!
    • 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.
    • 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.
    • 47 Metascore
    • 50 Stephanie Zacharek
    Red 2, disappointing in so many ways, isn't torture to watch, in part because Mirren has even more to do than she did in the first installment.
    • 47 Metascore
    • 85 Stephanie Zacharek
    Bad Teacher is hardly a perfect picture, but in the context of every other comedy on the summer movie landscape - from the faux empowerment of "Bridesmaids" to the neurotic frat-guy heteromania of "The Hangover Part II" - it feels revolutionary.
    • 47 Metascore
    • 75 Stephanie Zacharek
    But what makes Burlesque truly delectable - for the first half, at least, before its going-nowhere storyline really heads south - is its less obvious camp value.
    • 47 Metascore
    • 70 Stephanie Zacharek
    The picture is so fluttering and tender, so guileless, that you almost can't believe it was made by an old hand like Van Sant. Then again, maybe you can.
    • 47 Metascore
    • 70 Stephanie Zacharek
    Seeing Tom Cruise swathed in leather pants and fake tattoos, as Axl Rose-style metal god Stacee Jaxx, is supposedly Rock of Ages' big draw. But the movie is much more fun when he's not around.
    • 47 Metascore
    • 30 Stephanie Zacharek
    Big-name star Liam Neeson looks on, trying to add some class to the joint, though even he seems to know it's a losing battle.
    • 46 Metascore
    • 60 Stephanie Zacharek
    In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.
    • 46 Metascore
    • 40 Stephanie Zacharek
    The Lorax is so big, flashy and redundant that it courts precisely the kind of blind consumerism it's supposed to be condemning. It doesn't trust kids to sit still and pay attention for even a minute.
    • 46 Metascore
    • 45 Stephanie Zacharek
    The only bright spot in Extremely Loud and Incredibly Close is Max von Sydow, as a mysterious, and mysteriously mute.
    • 46 Metascore
    • 85 Stephanie Zacharek
    Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much.
    • 46 Metascore
    • 65 Stephanie Zacharek
    Turteltaub strives to show us realistic-looking magic, without realizing he'd be better off if he acknowledged that there's no such thing. Instead, we get human figures that emerge "magically" from swarms of cockroaches and sorceresses who dissolve into dust particles right before our eyes. It's the best CGI money can buy, and who cares?
    • 46 Metascore
    • 60 Stephanie Zacharek
    Johnny English Reborn never quite ignites, even though it starts out promisingly enough.
    • 46 Metascore
    • 65 Stephanie Zacharek
    Nothing Cruise does seems to come from the inside -- every eye crinkle, every grimace, every brow furrow seems plucked from the air, collected from the universe around him and bent to do his bidding. Maybe that’s one kind of acting. But it’s not cool. Never will be.
    • 45 Metascore
    • 45 Stephanie Zacharek
    It comes to the party overdressed and still fails to make an impression.