Stephanie Zacharek
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For 1,504 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 2.3 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Chicago
Lowest review score: 0 Crush
Score distribution:
1,504 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 96 Metascore
    • 100 Stephanie Zacharek
    It's 85 minutes of screen time that represents one crystallized moment not in the Beatles' career per se but in the parallel career they forged inside all of us, the one that will last beyond any breakup, retirement or death.
    • 96 Metascore
    • 100 Stephanie Zacharek
    Bird is one of the great modern animators -- as well as an astonishingly gifted filmmaker, period -- precisely because he doesn't set out to wow us.
    • 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.
    • 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.
    • 95 Metascore
    • 95 Stephanie Zacharek
    Fincher and his screenwriter, TV writer-god Aaron Sorkin, have made a seemingly modest picture that achieves something close to greatness the old-fashioned, slow-burning way: By telling a story with faces, dialogue and body language of all types, from awkward to swaggering.
    • 72 Metascore
    • 95 Stephanie Zacharek
    To hell with that childlike sense-of-wonder crap: Despicable Me, instead of trying to return adults to a false state of innocence, reminds us that we all started out as ill-mannered little savages.
    • 88 Metascore
    • 95 Stephanie Zacharek
    A direct and heartfelt piece of work. It's conventional, maybe, in its sense of filmmaking decorum, but extraordinary in the way it cuts to the core of human frustration and feelings of inadequacy, reminding us how universal those feelings are.
    • 87 Metascore
    • 95 Stephanie Zacharek
    If anything, Joe's sense of dream logic is more naturalistic than Lynch's, more grounded in the knowable world - as much, that is, as we can know about nature - and the luminous Uncle Boonmee is no exception.
    • 76 Metascore
    • 95 Stephanie Zacharek
    What Press comes up with in the end isn't just a portrait of individual eccentricity. Its larger subject is the way one man, just by being alive to what's around him, has created a vast, detailed anthropological record of how New Yorkers present, and feel, about themselves.

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