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 2.6 points lower than other critics. (0-100 point scale)

Stephen Cole's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Pool
Lowest review score: 25 The Condemned
Score distribution:
  1. Negative: 28 out of 228
228 movie reviews
    • 45 Metascore
    • 38 Stephen Cole
    The film has one sly, ominous touch Peckinpah would have liked. David is writing a script on the defence of Stalingrad, a battle that swallowed two million lives. Otherwise, the new version is a vigilante action film bereft of subtlety or restraint.
    • 50 Metascore
    • 38 Stephen Cole
    Last Night is a New York morality play: A film in love with (lower) Manhattan that is suspicious of real romance. What it lacks is Allen's sense of horseplay; his appetite for lunatic adventure. When you take a bite of the Big Apple, you're not supposed to nibble.
    • 41 Metascore
    • 38 Stephen Cole
    Try not to be in the same room as Jesus Henry Christ. At the very least run when the first fire alarm sounds.
    • 51 Metascore
    • 25 Stephen Cole
    It's like flipping through five years of dog calendars.
    • 31 Metascore
    • 25 Stephen Cole
    Fails as a comedy-drama because it’s neither funny nor involving. But it fails as a buddy movie because Willis and Morgan make for a dull couple.
    • 46 Metascore
    • 25 Stephen Cole
    Can anyone still be rooting for Rocky or Rambo?
    • 40 Metascore
    • 25 Stephen Cole
    The Virginity Hit is another slice of "American Pie," one more youth comedy that encourages its cast (and audience) to ridicule a fumbling, well-meaning teenager.
    • 32 Metascore
    • 25 Stephen Cole
    There is no getting these boys down. They are just like Lloyd and Harry in the Farrelly brothers' breakthrough 1994 hit, "Dumb & Dumber." Except that they are never, ever funny.
    • 23 Metascore
    • 25 Stephen Cole
    It is hard to say what is more despicable about The Condemned: the overtly racist portrayal of Brekel-Goldman as Jewish-media bloodsuckers, or the film's sleazeball attempt to pass off lovingly attentive sequences of ritual torture - often scenes of incredible hulks bashing cowering women - as a critique of media violence.
    • 50 Metascore
    • 25 Stephen Cole
    David Bowie, flaunting a Marianne Faithfull hairdo, stars in Jim Henson's latest puppety film, the flagrantly unoriginal Labyrinth. [1 Jul 1986, p.A1]
    • The Globe and Mail (Toronto)
    • 33 Metascore
    • 25 Stephen Cole
    The best part of Jonah Hex is Josh Brolin on a horse. Especially when he's not saying anything, just moseying into or out of town. Too had he never moseys into a better movie.
    • 47 Metascore
    • 25 Stephen Cole
    Sounds promising. What a disappointment then to report that Just Like Heaven is more like purgatory, a sweating, straining attempt to marry the wisecracking fury of the modern sitcom to the classic Rock-Doris, Cary-Kate romantic comedy.
    • 21 Metascore
    • 25 Stephen Cole
    So here’s an idea: Maybe filmmakers should shoot what Ashton’s up to off-camera, because not many laughs are making it to the screen.
    • 38 Metascore
    • 25 Stephen Cole
    There is no energy here. No sense of movie invention or fun.
    • 26 Metascore
    • 25 Stephen Cole
    A 105-minute cringe-a-thon that reduces the Katharine Hepburn of her generation to a sitcom harpy presiding over a brood of Valley Girl chicks.
    • 36 Metascore
    • 25 Stephen Cole
    There is no narrative tension in the film, however, just a variety of grisly crucifixions. And the morality tales are blood-stained window dressing.
    • 36 Metascore
    • 25 Stephen Cole
    If all this sounds familiar, it should. Fathers seldom fare very well in family comedies.
    • 45 Metascore
    • 25 Stephen Cole
    The narrative line itself rambles increasingly down a path toward tawdry melodrama, defeating the impact of the handsome visuals and finely etched performances. [13 Jan 1995]
    • The Globe and Mail (Toronto)

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