Stephen Holden

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For 2,122 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 2 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 About Elly (2009)
Lowest review score: 0 Happiness Runs
Score distribution:
2122 movie reviews
    • 85 Metascore
    • 90 Stephen Holden
    Melancholy little gem of a movie.
    • 85 Metascore
    • 100 Stephen Holden
    This remarkably terse movie doesn’t waste a word or an image. It refuses to linger over each little crisis its characters endure. And its detachment lends a perspective that widens the film’s vision of people reacting to events beyond their control.
    • 85 Metascore
    • 90 Stephen Holden
    Valley of Saints finds a poignant humanity in this chaste romance, which awakens in Gulzar a wondrous sense of possibility, along with a new awareness of the world’s complexity.
    • 85 Metascore
    • 90 Stephen Holden
    What lifts the film above many other high-minded documentaries dealing with poverty and the welfare cycle is this filmmaker's astounding empathy for both Diane and Love.
    • 85 Metascore
    • 100 Stephen Holden
    What makes this exquisitely observed slice of American screen realism transcend itself is finally its moral sensibility.
    • 85 Metascore
    • 100 Stephen Holden
    Clever, funny, wildly innovative film.
    • 85 Metascore
    • 80 Stephen Holden
    The best way to enjoy The Intruder is to surrender to its poetry without demanding cut-and-dried explanations.
    • 85 Metascore
    • 80 Stephen Holden
    A deeply personal film, and at times a touching one, it is a collection of fragments and memories artfully pieced into a quirky, captivating book of dreams.
    • 85 Metascore
    • 90 Stephen Holden
    Sustains a perfect balance of pathos, humor and a clear-headed realism. One tiny misstep, and it could have tumbled into an abyss of tears.
    • 84 Metascore
    • 80 Stephen Holden
    In the Shadow of the Moon is such a morale booster. The power of its archival images hasn’t diminished with familiarity.
    • 84 Metascore
    • 100 Stephen Holden
    An astonishing documentary of culture clash and the erasure of history amid China’s economic miracle.
    • 84 Metascore
    • 70 Stephen Holden
    One of the movie's dark running jokes is that everyone seems to speak a different language and has trouble communicating. The continual struggle of people to make themselves understood becomes a metaphor for the war itself.
    • 84 Metascore
    • 80 Stephen Holden
    As with Mr. Farhadi’s other films, every detail of speech and body language resonates.
    • 84 Metascore
    • 90 Stephen Holden
    Superstition, witchcraft, exorcism, talismans that ward off evil: in this land of the supernatural, irrationality prevails. But War Witch is so cleareyed that it makes you wonder how much more irrational this world is than the so-called civilized one under its camouflage of material wealth.
    • 84 Metascore
    • 80 Stephen Holden
    A thorny masterpiece.
    • 84 Metascore
    • 90 Stephen Holden
    What appears on the screen has a starkness that is almost indelible.
    • 84 Metascore
    • 90 Stephen Holden
    Fowler may be the richest character of Mr. Caine's screen career. Slipping into his skin with an effortless grace, this great English actor gives a performance of astonishing understatement whose tone wavers delicately between irony and sadness.
    • 84 Metascore
    • 100 Stephen Holden
    Eloquent, meticulously structured documentary -- Sober political and legal analysis alternates with grim first-hand accounts of torture and murder in a film that has the structure of a choral symphony that swells to a bittersweet finale.
    • 84 Metascore
    • 90 Stephen Holden
    Infuriating and depressing but rivetingly watchable.
    • 84 Metascore
    • 100 Stephen Holden
    Scrupulously apolitical, The Waiting Room is the opposite of a polemic like Michael Moore's "Sicko." But by removing any editorial screen, it confronts you head-on with human suffering that a more humane and equitable system might help alleviate.
    • 84 Metascore
    • 60 Stephen Holden
    Until it goes haywire with the cabbage scene, Stray Dogs sustains a hypnotic intensity anchored in exquisite cinematography that portrays the modern industrial cityscape as a chilly wasteland.
    • 84 Metascore
    • 80 Stephen Holden
    For all its eccentricities and technical quirks, Dracula is a compelling expressionistic work.
    • 83 Metascore
    • 90 Stephen Holden
    The Fool is a hard movie to shake.
    • 83 Metascore
    • 90 Stephen Holden
    In juxtaposing two extraordinary personal histories, it ponders in a refreshingly original way unanswerable questions about memory, imagination, history and that elusive thing we call truth.
    • 83 Metascore
    • 70 Stephen Holden
    On one viewing, at least, it is a typically impenetrable Maddin film: zany one minute, pompous the next. Ardent Maddin admirers, of whom I am not one, might discern a grand design of what often feels like a post-Freudian horror comedy.
    • 83 Metascore
    • 80 Stephen Holden
    Don’t Think Twice, which has a warm heart, could have been a much nastier movie. Yet its disappointed show-business hopefuls dreading their expiration dates make no bones about their insecurities.
    • 83 Metascore
    • 90 Stephen Holden
    The film's depiction of the raw fear lurking below the brothers' braggadocio is the most pronounced emotion in a movie whose focus on the personalities of its criminals suggests an Australian answer to "Goodfellas," minus the wise-guy humor.
    • 83 Metascore
    • 100 Stephen Holden
    Belongs to a school of Central European surrealism that marries nightmarish horror with formal beauty.
    • 83 Metascore
    • 80 Stephen Holden
    Brilliantly realized but bone-chillingly bleak.
    • 83 Metascore
    • 90 Stephen Holden
    If Hadewijch is Mr. Dumont's most overtly religious film, it is not pro-faith in any specific way, although the director clearly respects the religious impulse.

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