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 Gravity
Lowest review score: 10 The Internship
Score distribution:
  1. Negative: 20 out of 391
391 movie reviews
    • 48 Metascore
    • 60 Stephanie Zacharek
    Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.
    • 39 Metascore
    • 60 Stephanie Zacharek
    Takes forever to get going and then goes nowhere.
    • 34 Metascore
    • 60 Stephanie Zacharek
    Getting a movie's setup right is one thing. But following through on an intriguing premise is the hard part, and that's where Matthew Chapman's The Ledge, a thriller that wrangles with intricate ideas about faith and religious extremism, goes splat.
    • 66 Metascore
    • 60 Stephanie Zacharek
    In the end, the action sequences are just overblown and dollar-squandering, with no particular payoff in the entertainment department. The supporting actors - particularly Jones, Tucci and Luke - are the thing to watch here; they do all they can to keep the movie's gears running smoothly.
    • 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.
    • 46 Metascore
    • 60 Stephanie Zacharek
    Johnny English Reborn never quite ignites, even though it starts out promisingly enough.
    • 50 Metascore
    • 60 Stephanie Zacharek
    Robin Williams, who's sometimes too overbearing in real-life live action, makes a great cartoon-character voice.
    • 44 Metascore
    • 60 Stephanie Zacharek
    A well-intentioned, pleasant-enough picture that shoots off in too many directions to ever ignite.
    • 46 Metascore
    • 60 Stephanie Zacharek
    In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.
    • 53 Metascore
    • 60 Stephanie Zacharek
    There's no doubt that Being Flynn is an attempt at something painful and genuine – the movie itself yearns to make a connection, even if it can't quite locate the most effective channels.
    • 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.
    • 67 Metascore
    • 60 Stephanie Zacharek
    How much you enjoy Damsels will depend on your tolerance for Stillman's particular brand of duct-taped Sperry Topsider whimsy. It's a comedy! It's a musical! It's a trip down memory lane to revisit the blissful confusion of our - or someone's - college years!
    • 64 Metascore
    • 60 Stephanie Zacharek
    As lukewarm as We Have a Pope may be as a piece of filmmaking, Moretti doesn't tread particularly gently into sacred territory. The picture could be more irreverent, but at least it dares to suggest that popes are people too.
    • 75 Metascore
    • 60 Stephanie Zacharek
    It was a stroke of genius, at least a miniature one, to cast Black in this role – he's made to play the affable teddy bear who could snap at any moment.
    • 44 Metascore
    • 60 Stephanie Zacharek
    A handsome-looking thing, with fairly grand period costumes and reasonably lavish sets. So much for production values: In every other way the picture is stiff and unyielding, hampered by a clumsy plot and diorama performances. The whole thing has the feel of a second-rate living-history exhibit.
    • 67 Metascore
    • 60 Stephanie Zacharek
    It's hard to say whether Sound of My Voice is a wholly bogus and pretentious indie enterprise or a weirdly compelling bit of low-budget storytelling.
    • 69 Metascore
    • 60 Stephanie Zacharek
    The picture is broken down into narrative chunks that ultimately don't tell much of a story – what you get instead is a series of mini-climaxes held together by banter between characters.
    • 60 Metascore
    • 60 Stephanie Zacharek
    Its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.
    • 57 Metascore
    • 60 Stephanie Zacharek
    Actually, The Intouchables isn't bad - its merely shameless, but at least it's overtly so.
    • 58 Metascore
    • 60 Stephanie Zacharek
    Most wonderful of all is Josh Brolin as the young Agent K. It's so easy to believe that Brolin could turn into Jones, given a couple of decades.
    • 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?
    • 65 Metascore
    • 60 Stephanie Zacharek
    It's imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn't feel like a cheap grab for our moviegoing dollars – but it doesn't inspire anything so vital as wonder or fear, either.
    • 57 Metascore
    • 60 Stephanie Zacharek
    I was with the movie every step of the way, right until the final credits began rolling – at which point I realized that the whole thing made no sense whatsoever, and that none of my nagging questions about what the hell was going on would ever be answered. There's a distinction to be made between being a dupe and being had.
    • 67 Metascore
    • 60 Stephanie Zacharek
    The picture coasts along quite nicely on the strength of its contemplative sensuality, its macaron colors, and the exquisite beauty of its three chief actresses, Léa Seydoux, Virginie Ledoyen and Diane Kruger. Oh, and there's nudity in it too, not to mention lesbian undertones – or are they overtones?
    • 21 Metascore
    • 55 Stephanie Zacharek
    It’s so ineffectual and unfocused that after it’s over, you’re not even sure you watched a movie.
    • 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."
    • 79 Metascore
    • 55 Stephanie Zacharek
    The tragedy of The Fighter is that Wahlberg's performance suggests a character who wants more. And yet Russell barely seems to notice how much subtlety Wahlberg brings to his role, or to the movie at large.
    • 51 Metascore
    • 55 Stephanie Zacharek
    A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.
    • 28 Metascore
    • 55 Stephanie Zacharek
    Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.
    • 59 Metascore
    • 55 Stephanie Zacharek
    How, I'm wondering more and more often, do studios put movies like this one in front of audiences and assume they'll just buy it? The secret to making a great, or even just a good, thriller these days seems to have been lost.