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
    • 57 Metascore
    • 65 Stephanie Zacharek
    The big problem with Iron Man 2, maybe, is that it so dutifully gives the people what they want, instead of giving them what they didn’t know they wanted.
    • 57 Metascore
    • 80 Stephanie Zacharek
    Gallenberger tells Rabe’s story deftly, establishing essential elements of the man’s personality in subtle shorthand.
    • 57 Metascore
    • 55 Stephanie Zacharek
    The plot of Cars 2 is both overly convoluted and thin, and it folds in so much unvarnished toddler-instruction that it almost feels like an educational film.
    • 57 Metascore
    • 60 Stephanie Zacharek
    Why can't heroines just be heroines anymore, instead of micromanaged personalities who may as well have the words "Role Model" tattooed across their foreheads?
    • 57 Metascore
    • 80 Stephanie Zacharek
    Breezy and enjoyable.
    • 57 Metascore
    • 70 Stephanie Zacharek
    Aside from having murder on their minds, these three are a lot more well-behaved than the "Hangover" guys.
    • 57 Metascore
    • 80 Stephanie Zacharek
    Jack Ryan: Shadow Recruit is half silliness, half swagger, but Branagh's arms-akimbo impudence as a director makes it work. He takes it all seriously, but with a wink.
    • 56 Metascore
    • 75 Stephanie Zacharek
    Leaving is a bit too dry and controlled, as well as too relentlessly bleak, to be a satisfying melodrama.
    • 56 Metascore
    • 80 Stephanie Zacharek
    But at the risk of overintellectualizing what probably is, at heart, just a bunch of overgrown guys acting out, I will venture that many of the gags in Jackass 3D show plenty of visual wit, if not brilliance.
    • 56 Metascore
    • 40 Stephanie Zacharek
    In the end, Non-Stop is a waste of a perfectly good Neeson, and of our time and goodwill. Please make it stop.
    • 56 Metascore
    • 60 Stephanie Zacharek
    Del Toro loves his creatures. Maybe he loves them too much: He always wants us to get a good look at them, and that's one of the things that saps the spookiness from this Don't Be Afraid of the Dark.
    • 56 Metascore
    • 80 Stephanie Zacharek
    Fading Gigolo is a breeze, enjoyable both for its sweetness and its unapologetic silliness.
    • 56 Metascore
    • 70 Stephanie Zacharek
    It goes through all the motions, properly and efficiently, and yet it's missing some core warmth. Watching Real Steel, I kept thinking of Brad Bird's retro-modern cartoon "The Iron Giant," and of how that picture humanized a metal alien so effortlessly.
    • 56 Metascore
    • 55 Stephanie Zacharek
    It's hard to know how much of what's wrong with Hereafter stems from Morgan's screenplay, which lacks the characteristic tartness (and brains) of other movies he's written, like "The Queen" and "Frost/Nixon."
    • 56 Metascore
    • 65 Stephanie Zacharek
    The problem isn't just that the gags feel airless and pointless; it's that the performers - many of whom have done wonderful work in other settings - seem more bent on pleasing each other than on entertaining us.
    • 56 Metascore
    • 80 Stephanie Zacharek
    Bobby and Peter Farrelly's The Three Stooges is not particularly great, though it is possibly brilliant, a picture that goes beyond homage to become its own rambunctious invention - it's one big eye-poke, with footnotes.
    • 56 Metascore
    • 85 Stephanie Zacharek
    The Extra Man is something of a love letter to the marvelous weirdos of New York.
    • 55 Metascore
    • 60 Stephanie Zacharek
    Jennifer Westfeldt's sort-of romantic comedy Friends with Kids is on to something, even if in the end it suffers from a failure of nerve.
    • 55 Metascore
    • 60 Stephanie Zacharek
    It’s a relief just to watch the actors act once in a while, and thankfully, Snyder is astute enough to punch some breathing holes in this steel-clad colossus.
    • 55 Metascore
    • 80 Stephanie Zacharek
    The result is a kind of homespun video scrapbook, bumpy seams and glue splotches and all; it's flawed, but at least it feels handmade and human.
    • 55 Metascore
    • 55 Stephanie Zacharek
    Parts of Dark Shadows look lovely. So what happened to the story?
    • 55 Metascore
    • 50 Stephanie Zacharek
    This is a here today, gone tomorrow trifle, albeit one with lots of gunplay. In midsummer, that may be enough, but it's still a shame that 2 Guns shoots so many blanks.
    • 55 Metascore
    • 55 Stephanie Zacharek
    It has neither the Red Bull–fueled crudeness of "Crank" nor the Frenchified lunatic vitality of the "Transporter" movies; it's not even as cheaply entertaining as the generic hit-man retread "The Mechanic." Safe shows Statham comfortably treading water, proving all the things he no longer needs to prove.
    • 55 Metascore
    • 65 Stephanie Zacharek
    As potentially appealing as these two actors might be, there's just nowhere for this story to go.
    • 55 Metascore
    • 65 Stephanie Zacharek
    The bad news is that The Conspirator - doesn't have enough crackle.
    • 55 Metascore
    • 75 Stephanie Zacharek
    Those of us who love Michael Caine have to recognize that his capacity for coldness is part of what makes him great. And in that respect, what he does in Harry Brown is something of a bookend to his extraordinary, and extraordinarily chilly, turn in Mike Hodges' cold-blooded 1971 Get Carter.
    • 55 Metascore
    • 70 Stephanie Zacharek
    It's an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it.
    • 54 Metascore
    • 75 Stephanie Zacharek
    To Rome with Love - rangy, vaguely ridiculous and trepidatiously optimistic - is Allen's film for tomorrow.
    • 54 Metascore
    • 65 Stephanie Zacharek
    The picture is also weirdly compelling, maybe most notably for the way Dafoe's character - who is, in this respect, perhaps a stand-in for the Bronx-born Ferrara - seems to be grappling less with the idea that the world is ending than that the city is ending.
    • 54 Metascore
    • 50 Stephanie Zacharek
    [A] heartfelt but largely inarticulate documentary.