Stephanie Zacharek

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For 1,532 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 2.1 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Phoenix
Lowest review score: 0 Over Her Dead Body
Score distribution:
1,532 movie reviews
    • 50 Metascore
    • 85 Stephanie Zacharek
    The picture is rambunctiously affectionate; Guiterrez may go for the broad joke, but never the cheap one.
    • 75 Metascore
    • 85 Stephanie Zacharek
    I've seen Detective Dee twice now, and I still don't think I've taken the full measure of the visual nuttiness, and lushness, Tsui has packed in there.
    • 72 Metascore
    • 85 Stephanie Zacharek
    Mulligan is terrific here, and restrained in a way that suggests an actorly generosity unusual for someone so young: Her scenes with Fassbender don't so much say "Look at me" as "Look at him."
    • 68 Metascore
    • 85 Stephanie Zacharek
    While the media desk isn't the whole of the New York Times, it does give Rossi a solid perch from which to survey the paper's recent and ongoing struggle for both relevancy and revenues.
    • 77 Metascore
    • 85 Stephanie Zacharek
    At its simplest level, Jiro Dreams of Sushi is a portrait of a master. In its deeper layers, it explores what drives us to make things: Beautiful, jewel-like things, or things that delight our palate – or, in this case, both.
    • 46 Metascore
    • 85 Stephanie Zacharek
    Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much.
    • 72 Metascore
    • 85 Stephanie Zacharek
    For all its borrowing from old Hollywood, I don't think War Horse is particularly nostalgic. The word I'd use is wistful. It's the largest, most lavish handful of wistfulness money can buy, and sometimes it's too much. Yet it's nice to know that even Steven Spielberg can still wish for something.
    • 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.
    • 69 Metascore
    • 85 Stephanie Zacharek
    My heart belongs to Bear Elinor, whose movements and mannerisms are a tender echo of Human Elinor's – her character is designed and drawn just that carefully.
    • 85 Metascore
    • 85 Stephanie Zacharek
    The low-key quality of the filmmaking in Restrepo only intensifies the reality of how much these kids are risking.
    • 50 Metascore
    • 85 Stephanie Zacharek
    Redgrave puts all she’s got into something other actors might just toss off or throw away. She’s present every moment; this is an actress who doesn’t have a second to waste.
    • 82 Metascore
    • 85 Stephanie Zacharek
    By the end you feel you've learned something about the man, yet his mystique emerges intact.
    • 58 Metascore
    • 85 Stephanie Zacharek
    The Dictator, for all its liberal leanings, doesn't let anyone off the hook, not even well-intentioned liberals. Cohen comes right out and says things that most of us, in polite conversation, wouldn't dare. He knows it's the impolite conversation that really gets things moving.
    • 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.
    • 81 Metascore
    • 85 Stephanie Zacharek
    The faces of these performers - particularly Williams' - are the key to Blue Valentine.
    • 95 Metascore
    • 85 Stephanie Zacharek
    A Separation doesn't try to make easy sense of that world, or of this family's suffering. It's simply a quiet cry of anguish.
    • 49 Metascore
    • 85 Stephanie Zacharek
    This is a straightforward family comedy-drama, a movie made for adults, and one that actually gives its actors – among them Chris Pine, Elizabeth Banks, Michelle Pfeiffer and Philip Baker Hall – something to do. That's more of a rarity on today's landscape than it should be.
    • 86 Metascore
    • 85 Stephanie Zacharek
    The Tillman Story isn't designed to be a shockeroo exposé; it's more a slow, steady rumble of anger and dismay at what the U.S. military, and the government, can get away with in the name of public relations, as if PR - and not human lives - were the most important consideration during wartime.
    • 76 Metascore
    • 85 Stephanie Zacharek
    Olsen's performance is restrained but not tentative; you could say the same for the movie around it.
    • 56 Metascore
    • 85 Stephanie Zacharek
    The Extra Man is something of a love letter to the marvelous weirdos of New York.
    • 62 Metascore
    • 85 Stephanie Zacharek
    The "black maid" may be a cliché. But when was the last time we saw a story told from her point of view?
    • 69 Metascore
    • 85 Stephanie Zacharek
    The thrill of Tony Scott's Unstoppable, in which a runaway freight train hurtles through rural - and toward not-so-rural - Pennsylvania, is that its setup asks us to believe only in human ineptitude.
    • 80 Metascore
    • 85 Stephanie Zacharek
    Mattie is a no-nonsense mite with a forthright manner and a mean head for figures; she wears her hair in two sturdy braids whose tips have never seen the inside of any inkwell, believe you me.
    • 64 Metascore
    • 85 Stephanie Zacharek
    O'Brien describes a number of those basic human feelings that drop-kick all of us from time to time, like being resentful of anyone and everyone who still has a job when we don't.
    • 73 Metascore
    • 85 Stephanie Zacharek
    It's the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.
    • 50 Metascore
    • 83 Stephanie Zacharek
    Dark Skies is about the fragility of family, a muted meditation on how precious it is...it does affirm that genre filmmakers who work with their eyes, their hearts and their brains still walk among us.
    • 52 Metascore
    • 83 Stephanie Zacharek
    LUV
    LUV is partly a story about drugs, guns and street crime, the legacies we pass on to our children despite our efforts to do otherwise. But it’s also about the things we pass on to our children with love: How to tie a necktie, hold a steering wheel, shake another person’s hand. And it’s about the hope that those things will win out in the end.
    • 81 Metascore
    • 83 Stephanie Zacharek
    No
    No is anything but a somber political tract; it’s a little bit of a thriller, and more than a little bit of a comedy.
    • 49 Metascore
    • 83 Stephanie Zacharek
    If Broken City – the first film to be directed solo by Allen Hughes, one-half of the Hughes Brothers directing team – is a little flawed and cracked itself, it still squeaks by as a reasonably thoughtful piece of big-screen entertainment.
    • 81 Metascore
    • 83 Stephanie Zacharek
    A true New York City movie, alive every minute. There’s some Woody Allen in its veins, but it’s driven more by the free-for-all spirit you find in pictures like Peter Sollett’s 2002 “Raising Victor Vargas” and Spike Lee’s 1986 “She’s Gotta Have It.”

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