Stephen Holden
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For 1,958 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Maria Full of Grace
Lowest review score: 0 Addicted to Love
Score distribution:
1,958 movie reviews
    • 65 Metascore
    • 30 Stephen Holden
    In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
    • 65 Metascore
    • 30 Stephen Holden
    Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
    • 64 Metascore
    • 20 Stephen Holden
    Because it unfolds like a garish hybrid of Simon Birch and What Dreams May Come, with some horror-movie touches thrown in to keep us from nodding off, "The Sixth Sense" appears to have been concocted at exactly the moment Hollywood was betting on supernatural schmaltz.
    • 61 Metascore
    • 20 Stephen Holden
    The worst flaw of Willard is a clunky tone-deaf screenplay based on Gilbert Ralston's original and updated by the director. Barely a line flies by that doesn't land with a wooden thud.
    • 61 Metascore
    • 30 Stephen Holden
    One
    The film's spareness and lack of words seem affected and ultimately unrealistic. At such moments, its refusal to put things into words and its crushing sense of gloom turn self-defeating.
    • 57 Metascore
    • 30 Stephen Holden
    Filmed in Rwanda, Shake Hands With the Devil is certainly panoramic. But the best that can be said of the film is that it is an honorable dud.
    • 57 Metascore
    • 30 Stephen Holden
    Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
    • 56 Metascore
    • 30 Stephen Holden
    Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
    • 56 Metascore
    • 20 Stephen Holden
    Bogus on every level, right down to its half-hearted trick ending.
    • 56 Metascore
    • 30 Stephen Holden
    Soon after that the movie simply stops dead in its tracks, as though the money had run out and the project had been called off in the middle of a scene that makes no psychological or dramatic sense. It leaves you frustrated and annoyed.
    • 55 Metascore
    • 30 Stephen Holden
    Its indictment of capitalism is so shrill and one-note that it may just as easily set off fits of giggling, because its characters are so ridiculously evil.
    • 55 Metascore
    • 30 Stephen Holden
    Muddled, pretentious assemblage of film clips of the band shot between 1966 and 1971.
    • 55 Metascore
    • 10 Stephen Holden
    Once Ice-T sticks his mug in the window of the couple's BMW and begins haranguing the wife in bad stage dialogue, all credibility flies out the window.
    • 55 Metascore
    • 0 Stephen Holden
    Mush, delivered with a trembling, quasi-biblical solemnity, is what emanates from Anthony Hopkins most of the time in Hearts in Atlantis, a nostalgic fiasco so shameless it makes movies like "Simon Birch" and "Frequency" seem as austere as the work of Robert Bresson.
    • 54 Metascore
    • 20 Stephen Holden
    Because all of this looks blatantly unreal, and because the timing of the shock effects is so haphazard, Dead Alive isn't especially scary or repulsive. Nor is it very funny. Long before it's over, the half-hour-plus bloodbath that is the climax of the film has become an interminable bore. [12 Feb 1993, p.C16]
    • The New York Times
    • 53 Metascore
    • 20 Stephen Holden
    The Book Thief is a shameless piece of Oscar-seeking Holocaust kitsch.
    • 53 Metascore
    • 30 Stephen Holden
    A movie like We Are Marshall stands or falls on its ability to make you feel the pain and loss of individuals in a place where community pride and football are one and the same. As the film, directed by McG (the "Charlie's Angels" movies) from a wooden screenplay by Jamie Linden, follows a handful of Huntington residents during the months after the accident, not one of them comes fully to life.
    • 52 Metascore
    • 30 Stephen Holden
    Its tepid satire of art world pretensions culminates with a visual dirty joke that is mildly amusing but still not worth the wait.
    • 52 Metascore
    • 30 Stephen Holden
    For much of the movie, the kinetic furor of the game sequences helps camouflage the weaknesses of a screenplay that is a mechanically contrived series of power struggles.
    • 52 Metascore
    • 20 Stephen Holden
    Short-circuits the novel's quirky charms and period atmosphere by its squeamish attitude toward gritty circus life and smothers the drama under James Newton Howard's insufferable wall-to-wall musical soup.
    • 52 Metascore
    • 30 Stephen Holden
    Rudderless, the misbegotten directorial debut of William H. Macy, is so dishonest, manipulative and ultimately infuriating that it never recovers after its bombshell revelation two-thirds of the way into the movie.
    • 52 Metascore
    • 30 Stephen Holden
    The movie’s principal saving grace is Ms. Winslet’s convincing portrayal of Adele, a despairing woman of low self-esteem just a twitch away from a nervous breakdown. In almost every other respect, this overbaked romantic hokum is preposterous.
    • 51 Metascore
    • 20 Stephen Holden
    Can a feature-length movie be built on minutiae like jammed copying machines, unsent business letters and orientation programs for new employees? This innocuous wisp of a film, as weighty as a scrap of fax paper caught in an updraft, suggests that the answer is no.
    • 51 Metascore
    • 30 Stephen Holden
    As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
    • 51 Metascore
    • 30 Stephen Holden
    This crude, inspirational tear-jerker is as sweet as a bowl of instant oatmeal smothered in molasses. It should please those who honestly believe that Santa Claus and God are synonymous; others may retch.
    • 51 Metascore
    • 30 Stephen Holden
    As its momentum accelerates, and its special effects transform it into a pulpy cartoon, Predators loses its judgment and turns into a frantic, clichéd chase film. This chaotic stew of fire, blood, mud and explosives is so devoid of terror and suspense that any metaphorical analysis is rendered moot.
    • 50 Metascore
    • 30 Stephen Holden
    As flimsy and manipulative as the shallowest Hollywood fantasy.
    • 50 Metascore
    • 20 Stephen Holden
    Played in a loud sketch-comedy style that might be described as "Gay Mad TV." The haranguing, badly acted farce wears out its comic welcome within half an hour.
    • 49 Metascore
    • 0 Stephen Holden
    Ms. Ryan's lean, eagle-eyed golden girl is enough to curdle milk.
    • 49 Metascore
    • 30 Stephen Holden
    The question is why. Why would a star of Michael Douglas's stature and intelligence attach himself to a Washington thriller as deeply ridiculous, suspense-free and potentially career-damaging as The Sentinel?

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