Stephen Holden

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For 2,074 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 1.8 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
Lowest review score: 0 Addicted to Love
Score distribution:
2074 movie reviews
    • 62 Metascore
    • 50 Stephen Holden
    So much care has been taken to build a mood of hushed suspense that the rushed, tragic conclusion, in which too little is shown and too little explained, leaves you deeply unsatisfied.
    • 62 Metascore
    • 50 Stephen Holden
    Archetypes and symbols solemnly parade through Seraphim Falls, a handsome, old-fashioned western of few words and heavy meanings that unfolds with the sanctimonious grandeur of a biblical allegory.
    • 62 Metascore
    • 60 Stephen Holden
    Two Lives is an absorbing, well-acted, moderately suspenseful mystery, although its time line of events is fuzzy to the point of impenetrability.
    • 62 Metascore
    • 50 Stephen Holden
    The movie, which begins with Mr. Sarkozy's election-night victory in May 2007, only intermittently rises above the tone of an arch, sniping drawing-room comedy peopled with mild caricatures.
    • 62 Metascore
    • 50 Stephen Holden
    For all its subtext about identity and London's social fabric, Dreams of a Life leaves too many blanks and is ultimately more frustrating than rewarding.
    • 62 Metascore
    • 50 Stephen Holden
    The screenplay by Mike Rich is so far-fetched and riddled with holes that Mr. Van Sant's urban realist touches only underscore the falseness of what's on the screen.
    • 62 Metascore
    • 50 Stephen Holden
    Delivers its Holocaust-related story with the clunking force of a blunt instrument slammed into the skull.
    • 62 Metascore
    • 50 Stephen Holden
    Once again, the lesson that more is not necessarily better, something rarely learned by blockbuster sequels, is forgotten.
    • 62 Metascore
    • 50 Stephen Holden
    A kind of apocalyptic 21st-century "Ordinary People," Beautiful Boy, directed by Shawn Ku from a screenplay he wrote with Michael Armbruster, is so high-mindedly determined to avoid sensationalism that it sidesteps critical dramatic content and sabotages its own ambitions.
    • 62 Metascore
    • 40 Stephen Holden
    The semi-improvised performances, which seem so natural that it is tempting to confuse the actors with their characters, bring Baghead into the realm of group therapy observed through one-way glass.
    • 62 Metascore
    • 50 Stephen Holden
    It is best appreciated as an immersion in a three-dimensional toyland outfitted with enough whimsical gadgetry to fill a thousand playrooms.
    • 62 Metascore
    • 50 Stephen Holden
    Although the film, with its home movies and family reminiscences, portrays him as a heroic crusader for justice, it is by no means a hagiography of a man who earned widespread contempt late in his career for defending pariahs.
    • 62 Metascore
    • 60 Stephen Holden
    This visually stylish work, with its vintage glamour photos, film and television clips, and snippets from a 1951 B-movie, "Racket Girls," is more of a scrapbook than a coherent history of the sport during its rough-and-tumble infancy.
    • 62 Metascore
    • 60 Stephen Holden
    What saves Train of Life from sinking into sudsy Holocaust kitsch is its sustained comic buoyancy.
    • 62 Metascore
    • 60 Stephen Holden
    Ultimately, A Silent Love transcends its problem-play situation to ponder how the best laid plans for an arranged marriage are no match against the vicissitudes of passion in a romantically besotted culture.
    • 62 Metascore
    • 40 Stephen Holden
    Despite the movie's considerable visual splendor, the pacing of Warriors of the Rainbow is clumsy, its battle scenes chaotic and its computer effects (especially of a fire that ravages the Seediq hunting forest) cheesy.
    • 61 Metascore
    • 40 Stephen Holden
    This proudly old-fashioned movie will pull any trick in the book to hold your attention. And it needs those tricks: Damien Chazelle’s screenplay is sloppy, ludicrous and ultimately devoid of suspense.
    • 61 Metascore
    • 50 Stephen Holden
    The biggest weakness in Nina's Tragedies, is the character of Nadav. His shadowy presence leaves the movie without a solid center around which to spin its tales.
    • 61 Metascore
    • 60 Stephen Holden
    An unpretentious, well-acted ensemble piece that doesn't aspire to be a portentous generational time capsule like "The Big Chill," "American Graffiti" or "Diner." But it has enough markers - a grown-up, married white rapper who break dances; a karaoke bar - to suggest an approximate date.
    • 61 Metascore
    • 60 Stephen Holden
    Trucker sometimes feels like a performance in search of a movie.
    • 61 Metascore
    • 50 Stephen Holden
    The film's energy begins to flag after less than an hour, and as its pulse slackens it turns into a quirky allegory, punctuated with brilliant visionary flashes that partially redeem a philosophic ham-handedness.
    • 61 Metascore
    • 60 Stephen Holden
    The cinematic equivalent of a visit from a cherished but increasingly dithery maiden aunt.
    • 61 Metascore
    • 50 Stephen Holden
    Despite the intensity of their performances, Ms. Watts and Mr. Dillon are only fleetingly convincing as these desperate young Americans trying to maintain a foothold.
    • 61 Metascore
    • 50 Stephen Holden
    Maddeningly, purposefully evasive.
    • 61 Metascore
    • 60 Stephen Holden
    With its icy cynicism and desolate settings, the film evokes the work of the young Roman Polanski in his sadistic trickster mode.
    • 61 Metascore
    • 40 Stephen Holden
    With the ferocity of a drill instructor and the boundless confidence of a self-help guru who combines psychobabble clichés with embarrassingly explicit confessions, Ms. Lynch's Gayle redeems the movie from utter banality.
    • 61 Metascore
    • 60 Stephen Holden
    Red
    Once Avery's mission assumes a Freudian dimension, the allegory loses its moral force and changes from a meditation on justice, power and inequality into a gory melodrama.
    • 61 Metascore
    • 60 Stephen Holden
    The movie is as blunt as its title. It portrays such behavior as "evil" without offering any deep insights or revelations, beyond handing out the plot equivalent of a lollipop at the end of the movie as compensation for the vicarious anguish.
    • 61 Metascore
    • 50 Stephen Holden
    Although Mr. Leguizamo wisely underplays a role that is just short of saintly, the character is still a filmmaker's bogus, bleeding-heart contrivance in a movie that is much less truthful than it pretends to be.
    • 61 Metascore
    • 60 Stephen Holden
    May be an expertly manipulated exercise in psychological horror, but that's all it is. Don't look for the kind of metaphoric weight you'd find in a movie by David Lynch or David Fincher.

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