For 228 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Stephen Cole's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Every Little Step
Lowest review score: 25 The Virginity Hit
Score distribution:
  1. Negative: 28 out of 228
228 movie reviews
    • 96 Metascore
    • 100 Stephen Cole
    It is a work of great beauty that rewards continued visits.
    • 94 Metascore
    • 100 Stephen Cole
    The most gripping war movie you'll see this year, We Were Here tells first-hand the story of how AIDS attacked San Francisco, killing more than 15,000. Whole peer groups were happy, healthy, and then dead in months.
    • 91 Metascore
    • 75 Stephen Cole
    Patricio Guzmán's documentary, Nostalgia for the Light, pays equal attention to the astronomers and searchers, regarding their quest as the same – a search for life.
    • 88 Metascore
    • 88 Stephen Cole
    Nothing short of mesmerizing.
    • 87 Metascore
    • 100 Stephen Cole
    Few directors working today make films with the grace and magisterial power of Jean-Pierre and Luc Dardenne's best work.
    • 87 Metascore
    • 88 Stephen Cole
    An astonishing multimedia diary.
    • 86 Metascore
    • 88 Stephen Cole
    It is our tour guide that makes Cave of Forgotten Dreams an often thrilling experience. His producer, Erik Nelson, has joked Herzog is the first filmmaker to use 3-D for good, instead of evil. There is no question that the technology enhances our visit, giving perspective and shape to the jagged Chauvet Cave – an open mouth the size of a football field.
    • 86 Metascore
    • 88 Stephen Cole
    Another angry, searching document about pedophile priests, Deliver Us from Evil makes for unexpectedly gripping drama.
    • 86 Metascore
    • 88 Stephen Cole
    For all its fuss and fury, Flight of the Red Balloon succeeds magnificently.
    • 84 Metascore
    • 100 Stephen Cole
    A little bit of "Crime and Punishment" and a whole lot of "The Postman Always Rings Twice," Revanche, the Austrian candidate for last year's Best Foreign Language Film, is a surprisingly unruffled tale of love, thievery, murder and revenge.
    • 84 Metascore
    • 75 Stephen Cole
    We don't get a good look at a painting until 35 minutes into the film biography of Séraphine de Senlis, the early 20th-century French painter discovered by German art collector Wilhelm Uhde. The film Séraphine is not about paintings.
    • 84 Metascore
    • 88 Stephen Cole
    Guy and Madeline is a decidedly modern film, whose frightened, impulsive, charming characters could walk into our lives tomorrow.
    • 84 Metascore
    • 100 Stephen Cole
    It is filmmaker Assayas who is the star here. France's most important contemporary director has created a work of almost magisterial calm.
    • 83 Metascore
    • 88 Stephen Cole
    In art there are no rules, just stuff that works. And for the second film in a row, Marsh has created a movie we can't keep our eyes off.
    • 83 Metascore
    • 100 Stephen Cole
    An impressionistic work that is perfectly in tune with its subject’s hallucinatory music.
    • 82 Metascore
    • 63 Stephen Cole
    Surely the real story of Enron is that so many accountants, lawyers, bankers and politicians were willing to call a dog a duck in order to remain happy insiders in the world's biggest pyramid scheme.
    • 82 Metascore
    • 75 Stephen Cole
    The film's greatest achievement is that it allows us to know Ray.
    • 80 Metascore
    • 63 Stephen Cole
    The Mill and the Cross may thrill you. But be prepared for a fight. Twenty minutes in, your companion may throw up his or her arms and complain, "This is like watching a painting dry." They wouldn't be wrong.
    • 80 Metascore
    • 75 Stephen Cole
    An anthropological marvel and an animal-drive movie that belongs beside the classics of the genre - Red River and Lonesome Dove.
    • 79 Metascore
    • 75 Stephen Cole
    Succeeds because the subject knows she's a showbiz monster and plays her role to the hilt. She's Norma Desmond in "Sunset Blvd." or "Mommie Dearest's" Joan Crawford up from the grave.
    • 78 Metascore
    • 75 Stephen Cole
    In a better entertainment world, Owe would have won a special Buster Keaton Great Stoneface award at last year's Academy Awards.
    • 78 Metascore
    • 75 Stephen Cole
    No matter who you side with here, Waste Land – the title should come with a question mark – is a fascinating adventure, populated by memorable characters.
    • 77 Metascore
    • 100 Stephen Cole
    A miraculous, American-made Hindi film that is every bit as tranquil as the blue-green reservoir that serves as its abiding metaphor.
    • 77 Metascore
    • 75 Stephen Cole
    It's Duvall and Murray who make Get Low a small, wonderful thing.
    • 76 Metascore
    • 100 Stephen Cole
    An uncommonly tender and observant documentary on the phenomenon that is "A Chorus Line."
    • 76 Metascore
    • 100 Stephen Cole
    Chandor's shrewdest bit of business is figuring out how to make an A-list movie with a $3.5-million budget. Solution: buy low, sell high. Hire last decade's A-list – Spacey, Irons and Demi Moore – and give them their best parts in years.
    • 76 Metascore
    • 75 Stephen Cole
    A chilling film best experienced bundled up in a sweater and scarf.
    • 43 Metascore
    • 50 Stephen Cole
    More than anything, the film lacks a rapport with its audience.
    • 75 Metascore
    • 75 Stephen Cole
    The movie's big kick – what makes Enchanted live up to its title – is that the further Giselle progresses in New York, the more we feel like we've tumbled into a timeless Disney Neverland.
    • tbd Metascore
    • 75 Stephen Cole
    The story of Canada’s tragically unhip – Geddy Lee, Alex Lifeson and Neil Peart, charter members of a group that has sold 40 million or so albums and discs since 1973, without ever getting a whole lotta love. Never mind the Rock and Roll Hall of Fame; Rush never even made it on American TV until funnyman Stephen Colbert invited them on The Colbert Report in 2008.

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