For 51 reviews, this critic has graded:
  • 72% higher than the average critic
  • 5% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 6.5 points higher than other critics. (0-100 point scale)

Stephen Farber's Scores

  • Movies
Average review score: 66
Highest review score: 100 Prisoners
Lowest review score: 40 God's Not Dead
Score distribution:
  1. Positive: 26 out of 51
  2. Negative: 0 out of 51
51 movie reviews
    • 74 Metascore
    • 100 Stephen Farber
    Although the subject matter is inherently disturbing, it’s hard to imagine any audience remaining unmoved by this mournful tale.
    • 74 Metascore
    • 100 Stephen Farber
    Prisoners can at times be a hard film to watch, but thanks to all the talent involved, it’s even harder to shake off.
    • 82 Metascore
    • 90 Stephen Farber
    All of the key creative personnel contribute to the movie's nail-biting tension and unexpectedly moving finale. Jon Harris's editing is matchless, and Rahman's score effectively heightens the emotion. Ultimately, however, it is the talents of Boyle and Franco that sock this movie home.
    • 82 Metascore
    • 90 Stephen Farber
    Although the film runs more than two hours, the story is so compelling and the production so beautifully controlled that we are gripped by the characters' quest right up to the shocking end of the story.
    • 94 Metascore
    • 90 Stephen Farber
    Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
    • 66 Metascore
    • 80 Stephen Farber
    Beyond its visual splendors, however, the film achieves searing moral power.
    • 69 Metascore
    • 80 Stephen Farber
    While the concept may sound schematic, it is brought to vivid life by wonderful characterizations.
    • 76 Metascore
    • 80 Stephen Farber
    This fascinating documentary about famed photographer Bill Cunningham features interviews with Vogue editor Anna Wintour, author Tom Wolfe and New York Times publisher Arthur Sulzberger Jr.
    • 67 Metascore
    • 80 Stephen Farber
    Dori Berinstein's tender but sharp portrait finds a lot of depths in the woman whom many see as a camp figure.
    • 76 Metascore
    • 80 Stephen Farber
    It's a pleasure to surrender to the movie's lush visuals, which are accompanied by wonderful jazz classics performed by Valdes, Estrella Morente, and Freddy Cole (Nat King Cole's brother), among many others.
    • 68 Metascore
    • 80 Stephen Farber
    The basic story has been told many times before, but it’s intriguingly retold by screenwriter Philip Gelatt and director Sebastian Cordero in this low-budget, bare-bones rendering of a familiar theme.
    • 51 Metascore
    • 80 Stephen Farber
    Engrossing, quietly revelatory, and often profoundly moving as it retells a story we only thought we knew.
    • 60 Metascore
    • 80 Stephen Farber
    Sparkling dialogue would count for little without two actors to deliver it expertly. Garcia (who is also one of the producers of the film) is generally cast in more serious roles, but he revealed a gift for comedy in "City Island" a few years ago, and he revisits that terrain rewardingly here. Farmiga is marvelous.
    • 27 Metascore
    • 70 Stephen Farber
    So even if Sex and the City 2 consisted of nothing but a two-hour fashion show, it would draw crowds. But it also has the returning cast members in fine comic form, and it has more cutting-edge humor than the first movie.
    • 74 Metascore
    • 70 Stephen Farber
    While the film is too convoluted to stir boxoffice excitement, it offers some rewards for sophisticated moviegoers
    • 45 Metascore
    • 70 Stephen Farber
    The stunt work is amazing, and the pace is breathless enough to keep one watching right up to the somewhat ambiguous conclusion.
    • 53 Metascore
    • 70 Stephen Farber
    This picture sometimes rivals "Avatar" in its spectacular landscapes and thrilling flying sequences, but of course it won't come anywhere near those megagrosses, and it's too scary to be wholeheartedly embraced by children.
    • 74 Metascore
    • 70 Stephen Farber
    Morris clearly invested so much time and energy in McKinney's story because he saw her as emblematic of our crazed times. Others might wonder whether the sad saga deserves quite this much attention, but there's no denying the film's morbid fascination.
    • 65 Metascore
    • 70 Stephen Farber
    Palmer keeps his focus tightly on the families, which makes the movie admirably unpretentious but also incomplete. Nevertheless, the picture has a vibrant central character in James McDonagh, the leading fighter in the clan who begins to question the rites of violence.
    • 65 Metascore
    • 70 Stephen Farber
    The fascinating human portrait that emerges should draw appreciative if limited audiences.
    • 43 Metascore
    • 70 Stephen Farber
    The picture is far from great, but it's a serviceable B-movie with some A-list talent on a slumming expedition.
    • 65 Metascore
    • 70 Stephen Farber
    This material would never have attracted a major studio, so Christy Walton — heir to the Wal-Mart fortune — financed the picture herself, not because of any desire to become a movie mogul but simply because of her passion for the novel. She allowed the filmmakers to work without major stars or obvious commercial hooks added to the story. Although the film doesn’t always sustain dramatic impact, its fidelity to the spirit of the novel is impressive.
    • 44 Metascore
    • 70 Stephen Farber
    Perhaps the best way to appreciate the picture, its few intellectual pretensions notwithstanding, is as a classy horror film with a particularly nasty edge. It's not exactly entertainment, but it casts a poisonous spell.
    • 69 Metascore
    • 60 Stephen Farber
    Expertly acted, impeccably photographed, intelligently written, even intermittently touching, the film is also too parched and ponderous to connect with a large audience.
    • 63 Metascore
    • 60 Stephen Farber
    Nine Muses is clearly the work of a talented filmmaker, and there are many moments to beguile the ears as well as the eyes. Yet it's a long slog through a few thousand years of myth and history, and most viewers are likely to grow impatient during the journey.
    • 76 Metascore
    • 60 Stephen Farber
    The first-rate cast cannot be faulted. Chandor has assembled an extraordinary ensemble.
    • 40 Metascore
    • 60 Stephen Farber
    Although the film is unlikely to sway the undecided, it actually starts out as a fairly measured and informative recap of Obama's personal history.
    • 42 Metascore
    • 60 Stephen Farber
    The actors do what they can to supply the texture missing from the script. Vaughn and Wilson riff together with pleasing professionalism.
    • 49 Metascore
    • 60 Stephen Farber
    Evans directs energetically, and the personable actors help to keep us involved, but the picture skims stubbornly along the surface.
    • 40 Metascore
    • 60 Stephen Farber
    Although it is overlong, it manages to be fascinating for much of its running time. But it also disappoints on many counts, providing another example of hype outpacing actual achievement -- a syndrome that Salinger himself would probably have deplored.
    • 53 Metascore
    • 60 Stephen Farber
    You may come away more impressed by the intentions than by the achievements.
    • 59 Metascore
    • 60 Stephen Farber
    All of the cast members deliver smooth, capable performances, but this sequel clarifies why Howard has become the biggest star from the original ensemble. (He also gave one of the strongest performances in Lee Daniels’ The Butler this past summer.)
    • 56 Metascore
    • 60 Stephen Farber
    None of the other economic gurus of the era is interviewed, so the film comes across as a 90-minute monologue, which is intriguing to a point but also wearying.
    • 49 Metascore
    • 50 Stephen Farber
    The film tracks the history of the country, but viewers may feel the documentarian inserts herself too much into the story.
    • 65 Metascore
    • 50 Stephen Farber
    Although the film recounts an intriguing slice of social history, it is too haphazard and repetitive to be truly memorable.
    • 34 Metascore
    • 50 Stephen Farber
    A thriller element that has not been present in earlier Sparks movies is designed to draw reluctant male viewers to see the picture, but they won’t respond with the same enthusiasm as his core audience of woozy romantics.
    • 35 Metascore
    • 50 Stephen Farber
    The picture has enough entertainment value to tickle its target audience and even offers a few chuckles for accompanying adults. A strong cast and bright -- if uninspired — animation help to offset a thin story.
    • 56 Metascore
    • 50 Stephen Farber
    Despite the solid work of cast and crew, the film dawdles and fails to justify its two-and-a-half-hour running time. Midnight reaches its tender conclusion without ever achieving the emotional or dramatic heft that such an epic tale requires.
    • 33 Metascore
    • 50 Stephen Farber
    The filmmakers may have hoped to make a timely commentary on the amorality in our executive suites, but they end up merely restating the obvious. Maybe the whole thing would have played better as a corporate comedy, the kind that Doris Day and Rock Hudson made some 50 years ago.
    • 51 Metascore
    • 50 Stephen Farber
    A couple of scenes toward the end do generate the suspense that the whole movie needed. But the impact is too muted, and an air of tired familiarity ultimately curdles the entire enterprise.
    • 42 Metascore
    • 50 Stephen Farber
    Their inside jape is unfortunately not as much fun for the audience as it may have been for the filmmakers, though it does have its piquant moments. But it’s not consistently entertaining enough either as a spoof or as a thriller.
    • 48 Metascore
    • 50 Stephen Farber
    This holiday extravaganza with an all-star cast has a lot of failings. But it seems likely to tap into the audience’s enthusiasm for uplifting entertainment.
    • 47 Metascore
    • 50 Stephen Farber
    Wallace made a lot of shrewd decisions to sock this movie home, but he can’t entirely overcome the dramatic thinness of the original material.
    • 27 Metascore
    • 40 Stephen Farber
    This is a good premise for a comedy, but somewhere along the way, it got diluted and turned into a sappy, feel-good story of family togetherness.
    • 21 Metascore
    • 40 Stephen Farber
    The film is smart enough not to wear out its welcome. But that's the only sign of true intelligence in this juvenile caper.
    • 30 Metascore
    • 40 Stephen Farber
    Young viewers looking for unbridled raunch will be sadly disappointed, and so will other moviegoers expecting more than a few wan chuckles. This picture is like a brightly colored balloon with all the comic air seeping out.
    • 16 Metascore
    • 40 Stephen Farber
    The film has entertaining moments, but these are clearly secondary to its proselytizing intentions.