Stephanie Zacharek

Select another critic »
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 Mr. Turner
Lowest review score: 0 The Amityville Horror
Score distribution:
1602 movie reviews
    • 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
    This is a jewel box of a movie for anyone who loves either Hitchcock or Truffaut–or better yet, both.
    • 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.
    • 79 Metascore
    • 80 Stephanie Zacharek
    The movie's climactic battle scene is mildly thrilling -- although it's not nearly as exciting as simply watching Downey and Bridges work together. Bridges makes a great villain precisely because he's such a relaxed, affable presence.
    • 79 Metascore
    • 100 Stephanie Zacharek
    Only Lovers Left Alive is silly and deeply serious at once, an elegy with a light touch and more than a dash of hope.
    • 79 Metascore
    • 80 Stephanie Zacharek
    Bell captures the insularity of certain professional pockets of Hollywood, with all their petty rivalries and backstabbing. But she's sharpest in her exploration of what makes women desire success, and what prevents them from getting it.
    • 79 Metascore
    • 80 Stephanie Zacharek
    Dawn of the Planet of the Apes is a much better and far less silly movie than its predecessor.
    • 79 Metascore
    • 80 Stephanie Zacharek
    You’ve seen every element of Sing Street hundreds of times before — it’s Carney’s knack for assembling them that makes the difference. In his hands, this isn’t just a nostalgia trip. It’s an homage to teenage kicks and the urgency of getting them any way you can.
    • 79 Metascore
    • 85 Stephanie Zacharek
    Let Me In is a chilly little story set in a very cold place. But Reeves still knows when to go for the burn.
    • 79 Metascore
    • 80 Stephanie Zacharek
    Aronofsky isn't loose enough, or canny enough, to be in touch with its camp soul.
    • 78 Metascore
    • 95 Stephanie Zacharek
    Drive not only met my hopes; it charged way over the speed limit, partly because it's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.
    • 78 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.
    • 78 Metascore
    • 100 Stephanie Zacharek
    The movie's true center, the meteorological phenomenon that makes it so pleasurable to watch, is the half-prickly, half-affectionate interplay between Binoche and Stewart.
    • 78 Metascore
    • 90 Stephanie Zacharek
    Anderson's Lily is the kind of heroine who earns our protectiveness by never begging for it; it's an astonishing performance.
    • 78 Metascore
    • 80 Stephanie Zacharek
    Lovely and deeply touching picture.

Top Trailers