Stephen Farber

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For 113 reviews, this critic has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Stephen Farber's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Prisoners
Lowest review score: 30 3 Nights in the Desert
Score distribution:
  1. Positive: 57 out of 113
  2. Negative: 4 out of 113
113 movie reviews
    • 76 Metascore
    • 60 Stephen Farber
    The first-rate cast cannot be faulted. Chandor has assembled an extraordinary ensemble.
    • 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.
    • tbd Metascore
    • 60 Stephen Farber
    Despite these lapses and a padded running time, this film does burst with fascinating inside lore.
    • 48 Metascore
    • 60 Stephen Farber
    Director Michael Damian does not bring any special spark to the film, but he recognizes the talents of his cast and allows them to shine.
    • 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.
    • 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.
    • 52 Metascore
    • 60 Stephen Farber
    No movie with such a limp ending can be fully satisfying, and the beginning also falters. But the long middle section is a rousing good show.
    • 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.
    • 53 Metascore
    • 60 Stephen Farber
    You may come away more impressed by the intentions than by the achievements.
    • 70 Metascore
    • 60 Stephen Farber
    One wonders if A Brave Heart might have been more effective as a short film than as a feature. The characters and the story compel our attention, but the film runs out of steam before the end.
    • 40 Metascore
    • 60 Stephen Farber
    The acting in the film is outstanding down to some of the smallest parts, and here director Taylor Hackford (who hasn’t had a major hit in several years) deserves considerable credit for guiding these performers.
    • 54 Metascore
    • 60 Stephen Farber
    It’s always entertaining to tag along with these attractive actors on their photogenic journey.
    • 73 Metascore
    • 60 Stephen Farber
    Jim ultimately raises more questions than it can answer, so it cannot be considered a completely satisfying documentary. Nevertheless, it builds undeniable emotional force as it reaches its somber conclusion.
    • 65 Metascore
    • 60 Stephen Farber
    The picture doesn’t fully succeed, but it showcases strong performances.
    • tbd Metascore
    • 60 Stephen Farber
    This film about family dysfunction and ethical crises never reaches a fully satisfying conclusion.
    • 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.
    • 72 Metascore
    • 60 Stephen Farber
    The narration is overused, but at least Fey makes an engaging hostess.
    • 75 Metascore
    • 60 Stephen Farber
    Ferguson certainly has some strong, even encouraging points to make. And he has brought impressive filmmaking skills to his cinematic essay. Still, one wishes that he had presented his thesis with a little more energy and a little less didacticism.
    • 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.)
    • 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.
    • 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.
    • 50 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.
    • 34 Metascore
    • 50 Stephen Farber
    The intriguing story degenerates into a flat-out action movie with car chases and violent shootouts that are competently filmed by Singh but seem to come from a far more conventional film.
    • 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.
    • tbd Metascore
    • 50 Stephen Farber
    The aim is admirable, the execution somewhat less so. The film makes a few too many missteps, but it does deserve credit for re-opening debate on an issue that merits serious scrutiny.
    • 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.
    • 31 Metascore
    • 50 Stephen Farber
    Caruso’s direction is slick and fluid enough, and gifted cinematographer Rogier Stoffers (Quills, School of Rock) makes the most of the house’s dark, eerie corners. But the performances are highly variable. Beckinsale delivers the goods, but Mel Raido as her impatient husband David never generates much sympathy.
    • 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.
    • 32 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.
    • 45 Metascore
    • 50 Stephen Farber
    Fortunately, the two stars always brighten the proceedings.
    • 58 Metascore
    • 50 Stephen Farber
    Stone’s direction is measured, methodical, and totally lacking in the fire and flamboyance that sometimes electrified and sometimes ruined his earlier films. The story moves along without any real sense of urgency or suspense.
    • 52 Metascore
    • 50 Stephen Farber
    The bittersweet conclusion does stir some feeling, but the impact comes a little too late to save the whole of the film.
    • 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.
    • tbd Metascore
    • 50 Stephen Farber
    Some of the film’s acerbic touches are welcome, but Snitch doesn’t offer nearly enough fresh variations on the Scarface formula.
    • 74 Metascore
    • 50 Stephen Farber
    We expect these stories to intersect, but instead they are completely self-contained narratives that rarely reach a potent dramatic conclusion. More irritating is Ostlund's shooting style, which consists of very long takes from an unmoving camera, often from the backs of the heads of important characters.
    • 51 Metascore
    • 50 Stephen Farber
    Given the vacuity of the script, it must be admitted that Hathaway achieves something of a triumph. She’s always engaging and keeps the character on a human rather than superhuman scale.
    • 64 Metascore
    • 50 Stephen Farber
    The subject is a rich one, but the film simply isn’t incisive enough.
    • 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.
    • 30 Metascore
    • 50 Stephen Farber
    What makes it intermittently palatable even to non-believers is that it acknowledges some of the darker truths of the era.
    • 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.
    • 33 Metascore
    • 40 Stephen Farber
    It’s a pretty trying movie to watch, though it does have some striking images.
    • 30 Metascore
    • 40 Stephen Farber
    Any film that tries to revive this technique needs a clever story or unusual filmmaking ingenuity to stand out from the crowd. The Gallows has neither. It has enough mild scares to captivate the under-25 crowd.
    • 16 Metascore
    • 40 Stephen Farber
    The film has entertaining moments, but these are clearly secondary to its proselytizing intentions.
    • 28 Metascore
    • 40 Stephen Farber
    After a while, you give up trying to make sense of the plot and sit there gaping at the car crashes, fight scenes, and shootings. The problem is that even the mayhem quickly becomes repetitive.
    • 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.
    • 41 Metascore
    • 40 Stephen Farber
    It’s too blandly acted and directed to make much of an impact.
    • 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.
    • 44 Metascore
    • 40 Stephen Farber
    The script by John Swetnam is rudimentary, with only the most minimal and pallid stabs at characterization... Nevertheless, once the funnel clouds begin swirling, Quale and his special effects team achieve some remarkably authentic and frightening moments.
    • tbd Metascore
    • 40 Stephen Farber
    The seemingly autobiographical film from writer/director/star Philipp Karner may have been therapeutic for him, but it is too opaque and slow-moving to compel the attention of many audiences beyond the gay festival circuit.
    • 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.
    • 34 Metascore
    • 40 Stephen Farber
    The filmmakers’ unsubtle style is responsible for killing many of the jokes. But they do succeed with several of the performers.

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