Stephanie Zacharek

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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 Something in the Air
Lowest review score: 0 Crush
Score distribution:
1602 movie reviews
    • 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
    • 100 Stephanie Zacharek
    The beauty, and the horror, of Bill Pohlad's exhilarating and inventive Love & Mercy...is the sense it gives us of the world passing through Brian Wilson's ears.
    • 92 Metascore
    • 100 Stephanie Zacharek
    Although the Coens are consummate craftsmen, they don't always show the lightness of touch or the depth of feeling they do here.
    • 77 Metascore
    • 100 Stephanie Zacharek
    What Angio captures, beautifully, is that the Mekons make great music because, together and apart, they’re so alive to the world around them.
    • 89 Metascore
    • 100 Stephanie Zacharek
    The director's last film was the superb 2012 Barbara, also starring Hoss and Zehrfeld, another romance with a mystery built in; Phoenix is an even finer piece of work, so beautifully made that it comes close to perfect.
    • 82 Metascore
    • 100 Stephanie Zacharek
    Blissful, blazingly intelligent adaptation.
    • 100 Metascore
    • 100 Stephanie Zacharek
    Boyhood had the curious effect of making me feel lost, uneasy, a little alone in the inexorable march forward — and also totally, emphatically alive.
    • 78 Metascore
    • 100 Stephanie Zacharek
    Poetic, funny, darkly romantic and beautifully structured -- is a very different picture from "Pan's Labyrinth." But there's no doubt that it springs from the same cathedral.
    • 72 Metascore
    • 100 Stephanie Zacharek
    Subtle emotional intelligence has always distinguished Bellocchio's filmmaking, and Dormant Beauty is constructed from fine-grained layers of it, the filmmaker's equivalent of a master cabinetmaker's craft.
    • 81 Metascore
    • 100 Stephanie Zacharek
    Chris Rock couldn't have planned it this way, but his exuberant and wondrous comedy Top Five, opening at just the right time, is like an airdrop of candy over the city, if not the country.
    • 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.
    • 83 Metascore
    • 100 Stephanie Zacharek
    20,000 Days on Earth is meticulously crafted but nonetheless feels casual and heartfelt. It's revelatory, and wonderful, to watch Cave walking (or driving) around, being a real person — if the movie is somewhat staged, it's never stagey.
    • 89 Metascore
    • 100 Stephanie Zacharek
    The connection between Bob and Charlotte, as Coppola shows it to us at the end of Lost in Translation, is a moment of intimate magnificence. I have never seen anything quite like it, in any movie.
    • 81 Metascore
    • 100 Stephanie Zacharek
    Lynch's Hollywood is a grand old girl, but she's one with some very treacherous curves. To trace the contours of her sensuality, you need a camera as sensitive as a set of fingertips. Lynch's is.
    • 99 Metascore
    • 100 Stephanie Zacharek
    Not just one of the great films of the '60s but one of the great films, period -- and the chance to discover it at the beginning of the 21st century, in an era when we think we've seen it all, is an unquantifiable privilege.
    • 85 Metascore
    • 100 Stephanie Zacharek
    A great action movie, exhilarating and neatly crafted, the kind of picture that will still look good 20 or 30 years from now.
    • 93 Metascore
    • 100 Stephanie Zacharek
    Spotlight feels both timeless and modern, a dexterously crafted film that could have been made anytime but somehow feels perfect for right now.
    • 84 Metascore
    • 100 Stephanie Zacharek
    What's remarkable about Dallas Buyers Club is its lack of sentimentality. The movie, like its star, is all angles and elbows, earning its emotion through sheer pragmatism.
    • 80 Metascore
    • 100 Stephanie Zacharek
    Hou uses very few close-ups here, preferring to tell his story mostly through movement: combat, dance, the act of passing through a landscape of satiny green firs or silvery birch trees and just watching. Shu conveys complicated feelings — longing, regret, anxiety — with little more than the tilt of her chin or the set of her shoulders.
    • 82 Metascore
    • 100 Stephanie Zacharek
    One of the greatest fantasy films of all time.
    • 94 Metascore
    • 100 Stephanie Zacharek
    Leigh, Spall, and cinematographer Dick Pope — who borrows lots of lighting tricks from Vermeer and Ingres and even Turner himself, to glorious effect — have gently atomized Turner's character, breaking it into small, potent fragments that affect us in ways we don't see coming.
    • 94 Metascore
    • 100 Stephanie Zacharek
    Before Midnight—visually stunning, in a late-summer way—is more vital and cutting than another recent marriage picture, Michael Haneke's old-folks-together death march Amour; it has none of Amour's tasteful restraint, and in the end, it says more about the nature of long-term love.
    • 87 Metascore
    • 100 Stephanie Zacharek
    Brash and sweet, We Are the Best! captures perfectly the aimlessness of adolescence, the waiting to become something that's so often intertwined with the desire to make something, to leave your mark on the world in some small way.
    • 85 Metascore
    • 100 Stephanie Zacharek
    The sight of Hedwig and his band transforming a trashy trailer into a glitter-rock stage during "Wig in a Box" was so exhilarating I almost leapt out of my seat. The movie is pure theater, as it should be.
    • 83 Metascore
    • 100 Stephanie Zacharek
    Anderson has pulled off the most elusive of goals: He's made a nonchalant masterpiece, a movie that feels dog-eared and loved before it's even reached our hands.
    • 67 Metascore
    • 100 Stephanie Zacharek
    Coppola is a filmmaker who fills up a big canvas with small moments: That's the opposite of working in miniature, even though she's attuned to the tiniest details.
    • 87 Metascore
    • 100 Stephanie Zacharek
    The Missing Picture is so immediate, so vital, it practically breathes. Not all memoirs need to exist. But the gentle urgency of Panh's story is right there in the filmmaking. This is a story that had to be told. Even in its stillness, it moves.
    • 77 Metascore
    • 100 Stephanie Zacharek
    Queen of Earth is also a semi-comedy, often funny in an intentionally bleak way. And that, besides Moss, is what makes it work.
    • 89 Metascore
    • 100 Stephanie Zacharek
    With Selma, DuVernay has pulled off a tricky feat, a movie based on historical events that never feels dull, worthy, or lifeless; it hangs together as a story and not just part of a lesson plan. The movie is at once intimate and grand in scope.
    • 81 Metascore
    • 100 Stephanie Zacharek
    Magnificent and heartfelt.

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