Stephanie Zacharek
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For 1,483 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 2.2 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Lost in Translation
Lowest review score: 0 Crush
Score distribution:
1,483 movie reviews
    • 76 Metascore
    • 70 Stephanie Zacharek
    As black comedies go, Grosse Pointe Blank is just sort of gray.
    • 76 Metascore
    • 70 Stephanie Zacharek
    Mottola (who also wrote the script) and his actors manage to shape the movie into something whole and tangible, capturing, among other things, the shapeless listlessness of summer, especially at that age when you're technically an adult and yet you're left waiting for life to begin.
    • 76 Metascore
    • 80 Stephanie Zacharek
    It's Foster who rules the movie like an ice queen.
    • 76 Metascore
    • 90 Stephanie Zacharek
    This is the kind of sophisticated storytelling you rarely get even in live-action movies any more, full of unexpected turns and unruly human complications.
    • 76 Metascore
    • 100 Stephanie Zacharek
    In Something in the Air, that past—a version of Assayas's own—is rendered in visuals so specific and evocative, it's perpetually alive.
    • 76 Metascore
    • 70 Stephanie Zacharek
    Overall, the picture is accomplished, intelligent and, in places, a little dull. Mangold isn't an economical filmmaker, and parts of 3:10 to Yuma suffer from needless bloat. The new version doesn't use the same kind of blunt, visually arresting shorthand as Daves' original...And yet somehow, maybe just barely, Mangold -- succeeds on his own terms, largely because the actors he's working with here.
    • 76 Metascore
    • 90 Stephanie Zacharek
    Sex is threatening, as Brontë knew, and Wasikowska and Fassbender make this particular dance look exceedingly dangerous.
    • 76 Metascore
    • 70 Stephanie Zacharek
    Clooney is the soul of Syriana, and his face is what you're left with long after the movie's obsessive plot details have sifted away.
    • 76 Metascore
    • 40 Stephanie Zacharek
    There's so little love to be found in Dreamgirls. It's a product that promises magic, and yet gives us nothing to live on.
    • 76 Metascore
    • 50 Stephanie Zacharek
    It's a late-night infomercial masquerading as a concert movie, more an advertisement for vitality than a picture of vitality itself. There's something self-congratulatory, preening, about both the performance and the filmmaking.
    • 76 Metascore
    • 85 Stephanie Zacharek
    This is a picture whose dance steps are determined by any number of mishaps and misfortunes; like the dance floor of a great club on a good night, it's gorgeous, unruly and exhilarating all at once.
    • 76 Metascore
    • 85 Stephanie Zacharek
    Olsen's performance is restrained but not tentative; you could say the same for the movie around it.
    • 76 Metascore
    • 60 Stephanie Zacharek
    Gibney, a prolific and skilled documentarian, marshals and organizes a raft of information as deftly as anyone could wish. But his conclusions are murkier than they might be.
    • 76 Metascore
    • 80 Stephanie Zacharek
    Joseph Gordon-Levitt and Zooey Deschanel charm the pants off us -- and each other! -- in this irresistible comedy.
    • 76 Metascore
    • 90 Stephanie Zacharek
    (Coppola) connects with the essential purity of Eugenides' story, stripping it down to its bare essentials and cutting straight to everything that's wonderful about it.
    • 76 Metascore
    • 80 Stephanie Zacharek
    Buirski clearly shows that the spark that made her great couldn't be snuffed out so easily.
    • 76 Metascore
    • 90 Stephanie Zacharek
    Both the material and the setting seem to have shaken something loose in Witherspoon (who is also one of the movie's producers): She's moved further away from those uptight, humorless romantic-comedy cuties she played in the mid 2000s and more toward the breezy, blunt, self- determined characters of her early career.
    • 76 Metascore
    • 60 Stephanie Zacharek
    The vainglorious pas de deux between Philip and Zimmerman is entertaining for a while, though the novelty gradually wears off.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Penn and Teller are bright guys, and their act can be fun in small doses. Yet Tim's Vermeer accentuates one of their worst impulses: They think they're mischievously raining on our parades when, really, they're not telling us much at all.
    • 76 Metascore
    • 70 Stephanie Zacharek
    The plot is needlessly busy, and much of the action is more manic and indistinct. But How to Train Your Dragon 2 cuts deeper than the first picture — it will be particularly resonant for anyone who has ever worked with or adopted rescue animals — and there are a few sequences of cartoon grandeur.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Gunn has to juggle so many plot elements — so many booming galactic battles, so many whisker-close brushes with death — that it's little wonder he loses his grip on the thing. He inserts occasional moments of wonder but doesn't bother to smooth over the seams.
    • 76 Metascore
    • 80 Stephanie Zacharek
    In short, Cronenberg has made an elegant film, with spanking. There's some mildly kinky sex in A Dangerous Method, but Cronenberg makes it neither exploitive nor so tasteful that it loses its charge.
    • 76 Metascore
    • 80 Stephanie Zacharek
    Director John Cameron Mitchell - adapting David Lindsay-Abaire's play - has a surprisingly deft touch with this admittedly downbeat material; he builds dramatic intensity in subtle layers, rather than slapping it on with a trowel.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Offers only the stingiest platform for its actors, and as a piece of storytelling -- built on the foundation of a great story -- it's an epic that's been sliced and diced into so many little morsels that almost nothing in it has any weight.
    • 76 Metascore
    • 80 Stephanie Zacharek
    On the strength of Gyllenhaal's performance, Nightcrawler works best as a character study. It's chilling, but also wickedly funny and strange, like a good, dark Brian De Palma joke — in short, it's everything the stolid and humorless Gone Girl should have been.
    • 76 Metascore
    • 70 Stephanie Zacharek
    Its pleasures and charms lie in its very crudeness, in the way the characters' thoughts begin in their d---s and spill out of their mouths, completely bypassing their brains.
    • 76 Metascore
    • 50 Stephanie Zacharek
    Toothless, gutless, one-note political movies like Jonathan Demme's The Manchurian Candidate, a picture that purports to have a galvanizing, liberal-minded theme (big business is taking over our country and our lives) but is really just ploddingly pedestrian.
    • 76 Metascore
    • 70 Stephanie Zacharek
    An unsettling but ultimately joyous little picture, a movie that's as self-conscious as anything Baumbach has ever made, and yet far more open: It reaches out to the world instead of insisting on hugging its own pain, tight.
    • 75 Metascore
    • 90 Stephanie Zacharek
    There's nothing too clean or too overbright about it. It's magic, but not the loud, shiny kind: It has the texture of worn velvet, or a painstakingly hand-knit sweater stored away for years in tissue paper.
    • 75 Metascore
    • 90 Stephanie Zacharek
    Wild Tales is loose-limbed, rowdy, and exhilarating — in its vibrant lunacy, and with its cartoonishly brash violence, it's a little bit Almodóvar, a little bit Tarantino.

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