Stephanie Zacharek
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For 1,523 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 Love Is Strange
Lowest review score: 0 Crush
Score distribution:
1,523 movie reviews
    • 80 Metascore
    • 85 Stephanie Zacharek
    Mattie is a no-nonsense mite with a forthright manner and a mean head for figures; she wears her hair in two sturdy braids whose tips have never seen the inside of any inkwell, believe you me.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Blitz captures the intensity of the bee itself, showing how it frazzles the nerves of even the most well-prepared spellers as, one by one, their colleagues and competitors drop away.
    • 80 Metascore
    • 80 Stephanie Zacharek
    It's such a lovely piece of work -- and, especially for a filmmaker whose name is barely known outside of art-house circles, so pleasingly accessible -- that it's troubling to think that few people outside of major cities will be able to see it.
    • 80 Metascore
    • 95 Stephanie Zacharek
    An adaptation that wholly and faithfully captures the spirit and mood of the book it's based on, and an example of computer animation - the 2-D sort - that shows the human touch in every frame.
    • 80 Metascore
    • 75 Stephanie Zacharek
    Naranjo keeps the action tense but understated; instead of allowing explosions and shootouts to pile up, he rations them in taut doses.
    • 80 Metascore
    • 50 Stephanie Zacharek
    The plot of Howl's Moving Castle meanders so listlessly that its details become less and less charming.
    • 80 Metascore
    • 80 Stephanie Zacharek
    The picture works because, despite the fact that it took nearly six years for the filmmakers to bring it to the screen, it doesn't strive for greatness. It's fleet, concise and clever in a nut-ball way.
    • 80 Metascore
    • 100 Stephanie Zacharek
    Aside from the effectiveness of Set Me Free as a coming-of-age story, it's also one of the most poetic avowals of love for movies that I've seen in years.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Coraline is essentially faithful to the spirit of its source material. But it's also so visually inventive, and so elaborately tactile, that it stands apart as its own creation.
    • 80 Metascore
    • 80 Stephanie Zacharek
    A comedy embedded with secret tips for better, more enjoyable living.
    • 80 Metascore
    • 80 Stephanie Zacharek
    It doesn't sacrifice craftsmanship and elegance at the altar of its strong convictions.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Like all good documentaries, Iris is about much more than what we see on the surface, no matter how dazzling that surface may be.
    • 80 Metascore
    • 80 Stephanie Zacharek
    It's fascinating. It's horrible. It's fascinatingly horrible. It's also, as Gladstone points out, a sterling example of the power that television, when it was still a "public square," could have.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Carell's physical comedy is close to genius.
    • 80 Metascore
    • 80 Stephanie Zacharek
    Howard has made a picture for grown-ups, a well-constructed entertainment that neither talks down to its audience nor congratulates it just for showing up.
    • 79 Metascore
    • 90 Stephanie Zacharek
    There's more drama, and more heartbreak, in March of the Penguins than in most movies that are actually scripted to tug at our feelings.
    • 79 Metascore
    • 80 Stephanie Zacharek
    Pride hits some bumpy patches when it switches gears between comedy and gentle pathos, which it does often. But its spirit is bold enough to power through the rough spots. It’s easy to find fault with Pride, but it’s not so easy to resist it.
    • 79 Metascore
    • 70 Stephanie Zacharek
    The performances are so plainspoken and direct that they manage to push the material beyond the confines of a mere social-problem tract -- as played by the cast, these characters aren't symbols of inner-city hardship, but people.
    • 79 Metascore
    • 80 Stephanie Zacharek
    Rivers appears to have more energy than most 30-year-olds; she gets more done in a day that some of us could accomplish in a week.
    • 79 Metascore
    • 90 Stephanie Zacharek
    Every single actor here rises to the occasion.
    • 79 Metascore
    • 65 Stephanie Zacharek
    Fiennes works hard to keep the rhythm going: He stages hand-to-hand combat sequences and knife fights as if he were making a smart action movie, not adapting Shakespeare, which is precisely the point.
    • 79 Metascore
    • 40 Stephanie Zacharek
    Grand in its aims but tepid in its conclusions, A Most Violent Year burns slow and gives off very little heat. It's not really that violent. But it sure feels like a year.
    • 79 Metascore
    • 70 Stephanie Zacharek
    The movie, while entertaining and extremely well crafted, is too self-conscious about its depravity to be either truly disturbing or disturbingly funny. Ticking along with metronome-like efficiency, it's more slick than sick.
    • 79 Metascore
    • 60 Stephanie Zacharek
    Condon's tone is gentle and lifeless and at times baffling: The picture is a weird cross between clinical and whimsical.
    • 79 Metascore
    • 90 Stephanie Zacharek
    The small miracle of the movie is that Simien finds so many laughs in what are genuinely bewildering issues.
    • 79 Metascore
    • 60 Stephanie Zacharek
    Well-meaning but remote picture.
    • 79 Metascore
    • 80 Stephanie Zacharek
    The flaws in Flags of Our Fathers are at least partly attributable to Eastwood's attempts to do too much. Still, even when he overreaches, he somehow hits the mark.
    • 79 Metascore
    • 55 Stephanie Zacharek
    The tragedy of The Fighter is that Wahlberg's performance suggests a character who wants more. And yet Russell barely seems to notice how much subtlety Wahlberg brings to his role, or to the movie at large.
    • 79 Metascore
    • 90 Stephanie Zacharek
    Eloquent and unassuming, it's a picture that hits home precisely because it doesn't overreach its grasp.
    • 79 Metascore
    • 90 Stephanie Zacharek
    Don't Think I've Forgotten is a testament to how much a song can mean: You can destroy the vinyl it's been recorded on, but the sound itself, and all it stands for, is indestructible. Groove is in the heart.

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