Steve Macfarlane
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For 62 reviews, this critic has graded:
  • 25% higher than the average critic
  • 4% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

Steve Macfarlane's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Level Five
Lowest review score: 0 Third Person
Score distribution:
  1. Positive: 28 out of 62
  2. Negative: 22 out of 62
62 movie reviews
    • 87 Metascore
    • 100 Steve Macfarlane
    Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
    • 71 Metascore
    • 100 Steve Macfarlane
    Cinema is a vernacular of domination, and quaking with revelations both formal and personal, the film attests that Godard has spent his career apologizing for it.
    • 79 Metascore
    • 88 Steve Macfarlane
    A film for those who, whether here or in Israel, believe the law is the beginning, and not the end, of rights discourse.
    • 76 Metascore
    • 88 Steve Macfarlane
    A magnificently quizzical diagram of two ceaselessly inquiring minds in perfect tandem, like a raw X-ray of atomized creativity.
    • 71 Metascore
    • 88 Steve Macfarlane
    Between their wildly different bodies of work, a shared appeal emerges: to stop, look, listen, and consider not just what's in front of you, but also where it came from and where it might be going.
    • 88 Metascore
    • 88 Steve Macfarlane
    Costa's storytelling is illusory at best, but Horse Money's self-contradictions are communicated not via plot half as much as in scenography, even in the costuming.
    • 83 Metascore
    • 75 Steve Macfarlane
    The series is both a testimonial to the vagaries of chance and an endlessly cyclical study into the implications of being studied.
    • 76 Metascore
    • 75 Steve Macfarlane
    Mud
    The film ultimately succeeds thanks to small details, from its deep-fried lingo and the swampy texture of its location photography to its uniformly expert cast.
    • 49 Metascore
    • 75 Steve Macfarlane
    The film is knowingly sarcastic in its self-awareness without falling back on the gawky meta-squealing of its American rom-com counterparts.
    • 75 Metascore
    • 75 Steve Macfarlane
    Whatever your foreknowledge of low-budget Brooklyn dramedies, it's impossible that Gillian Robespierre's film won't lob you at least a few curveballs.
    • 83 Metascore
    • 75 Steve Macfarlane
    What first feels like a neurotic avoidance of Sol LeWitt the man instead becomes a kind of mirage of his life, as though he managed to evaporate into his body of work.
    • 64 Metascore
    • 75 Steve Macfarlane
    Robert Pattinson's stare is almost thousand-yard enough to make the film's sense of tragedy feel downright Greek.
    • 79 Metascore
    • 75 Steve Macfarlane
    This is a summer blockbuster contingent on grand bargains, tactical retreats, and a ferocious, inevitable shock-and-awe campaign.
    • 67 Metascore
    • 75 Steve Macfarlane
    Without a frame of footage nor a single interview presented from outside the camp, the documentary shows a capitalist nightmare that accords its victims zero wiggle room.
    • 72 Metascore
    • 75 Steve Macfarlane
    While the trivia value may feel tremendous, only One9's interviews with Nas, his father, Olu Dara, and his brother, Jungle, manage to make the doc legitimately moving--a history lesson in popular culture.
    • 77 Metascore
    • 75 Steve Macfarlane
    By putting so much weight on his characters' speech, Alex Ross Perry's is an approach with honestly few contemporaries in American independent film.
    • 75 Metascore
    • 63 Steve Macfarlane
    A dazzling heist film that can't help but come off as duly influenced by Steven Soderbergh's Ocean's trilogy, South Korea's number one box-office champ of all time is never less than clever.
    • 79 Metascore
    • 63 Steve Macfarlane
    The filmmakers spend vastly more time chronicling bigoted remarks from Romanians about gypsy life than they do actual gypsy life, so a minor crisis of perspective hangs over Our School.
    • 72 Metascore
    • 63 Steve Macfarlane
    With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details.
    • 65 Metascore
    • 63 Steve Macfarlane
    Dorothy Vogel is less the soft-spoken housewife from the first film than a businesswoman both shrewd and mousy, and her trajectory affords the film its closest semblance to a story.
    • 64 Metascore
    • 63 Steve Macfarlane
    Even if the film never transcends its subject matter, Jonathan Demme's light touch adds up to a charming portrait, only rarely fumbling into hagiography.
    • 55 Metascore
    • 63 Steve Macfarlane
    Costa-Gavras's new film is more a funhouse-mirror panegyric (albeit on an exhausted topic) than the staid thriller promised by its press materials.
    • 62 Metascore
    • 63 Steve Macfarlane
    Kevin Hart turns an essentially crude wingman into the conscience of the film's torturous, nettled discourse on romance.
    • 51 Metascore
    • 63 Steve Macfarlane
    Not unlike Michael Peña's prior supporting roles, Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story's text.
    • 64 Metascore
    • 63 Steve Macfarlane
    The script is perspicacious in making Henrik's bad choices understandable enough emotionally, but also nudges the audience toward wishing the man would wise up.
    • 66 Metascore
    • 63 Steve Macfarlane
    Opting for scenes that tend to be fragmented, flawed snippets from a much bigger story, the film exudes a bizarre confidence in not trying to encapsulate the singer's whole life in 120 minutes.
    • 63 Metascore
    • 63 Steve Macfarlane
    To Keira Knightley's credit, she's all too willing to undercut her pretty-girl reputation by looking and acting a fool for Lynn Shelton's camera.
    • 66 Metascore
    • 63 Steve Macfarlane
    It shrugs off the bigger questions about Iranian politics its first half appears to raise, falling back instead on a gestalt of the eternal, Kafkaesque regime, wherever the viewer may find it.
    • 52 Metascore
    • 50 Steve Macfarlane
    Essentially a live-action anime, it sweats rivulets of Tarantino-era digital anxiety from all pores--every kick, punch, pan, and zoom exaggerated for maximum impact.
    • 51 Metascore
    • 50 Steve Macfarlane
    The chop-socky wire-fu scenes are beautifully choreographed, but pretty crudely edited; despite its gourmet neo-grindhouse trappings, the film won't bring the heat like you've never seen before.
    • 73 Metascore
    • 50 Steve Macfarlane
    It foists its own retelling of Angela Davis's story over any contemplation of her politics, effectively neutering their power as it could apply to today in the hands of a proper film essayist.
    • 46 Metascore
    • 50 Steve Macfarlane
    The film's visual construction is spare, drawing power from its locations and quietly matted miniatures, though ultimately it succumbs to powering a series of cheap thrills.
    • 35 Metascore
    • 50 Steve Macfarlane
    It will come as a surprise to none that Grudge Match is so wantonly clichéd that to watch it is to explore the outer perimeters of one's own tolerance for a specific type of feel-good sports film.
    • 57 Metascore
    • 50 Steve Macfarlane
    The perverse thrill of seeing less-than-popular considerations of Nazism on screen fades hurriedly to the old ache of seeing any kind of questions about Nazism answered noxiously.
    • 64 Metascore
    • 50 Steve Macfarlane
    The film's clearest winner is Pat Healy, whose depiction of a man willing to corrode his entire life to provide for his wife and kid feels true despite the script's silliest moments.
    • 69 Metascore
    • 50 Steve Macfarlane
    Viewers' tolerance for Errol Morris's apparent sheepishness will hinge on their prior appreciation of the filmmaker's investigative acumen.
    • 63 Metascore
    • 50 Steve Macfarlane
    The film is too standard-issue in its making to probe beyond the rough outlines of a success story.
    • 60 Metascore
    • 50 Steve Macfarlane
    Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
    • 87 Metascore
    • 50 Steve Macfarlane
    For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
    • 50 Metascore
    • 50 Steve Macfarlane
    The film places its characters in a reflexive historical continuum that dooms them to be mere demonstrative types from start to finish.
    • 29 Metascore
    • 38 Steve Macfarlane
    It adds up to a methodically bland, intellectually sluggish exercise in guilt-tripping that's nonetheless still more interested in its rich and sexy characters than the supposed unfortunates.
    • 49 Metascore
    • 38 Steve Macfarlane
    Generally, these shorts do little to advance their own arguments, but then again, they don't need to; if the short film is the arena of students, amateurs, and small-timers, then these are overdogs from frame one, coming off every bit as expensive and banal as their makers allow them to be.
    • 64 Metascore
    • 38 Steve Macfarlane
    A long string of picnics, portrait sessions, elaborate dinners, and countryside rituals, filtered through a svelte aesthetic pleasantness that ultimately corrodes its larger interests.
    • 40 Metascore
    • 38 Steve Macfarlane
    Despite the intensity of its scope and research, American Meat is a decidedly soft-hitting display of an overweening good faith that, frankly, just can't jibe with the times.
    • 24 Metascore
    • 38 Steve Macfarlane
    Uwe Boll's insistence on plugging genre tropes into his imagined idea of populism returns us to the same cynical place as Postal, except with none of the sizzle.
    • 32 Metascore
    • 38 Steve Macfarlane
    Robert Luketic's supposedly down-and-dirty corporate espionage thriller undercuts itself at nearly every turn by shunning any potential relevancy.
    • 40 Metascore
    • 38 Steve Macfarlane
    An outsized A&E Biography episode coursing with the strident urgency typical to anyone convinced they have something new to say on a long since played-out topic.
    • 60 Metascore
    • 38 Steve Macfarlane
    Like his prior "The Kingdom," Peter Berg's film pretends to dabble in a frothy moral ambiguity, swiftly betraying its true aims with trigger-happy jingoism.
    • 54 Metascore
    • 38 Steve Macfarlane
    The cruelly obvious third act congeals the film as a wet-eyed monument to the Kevin Costner character's particular brand of American manliness, one that values gut instinct, it's implied, over cold and ruthless calculations.
    • 54 Metascore
    • 38 Steve Macfarlane
    Peter Sattler's film feels quintessentially Sundance: an expensively mounted treatise on important issues that's terrified to dig in obsessively, yet so ramrod-stiff with indignation that it never comes anywhere near compelling entertainment.
    • 38 Metascore
    • 25 Steve Macfarlane
    Hollywood celebrities romping around in a candy-colored Alexa-shot criminal underworld, pretty much as a means of passing time.
    • 20 Metascore
    • 25 Steve Macfarlane
    A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
    • 48 Metascore
    • 25 Steve Macfarlane
    Noam Murro gives the film nothing so much as a hit-refresh on the same glistening, impossibly golden and gray flecks of pixel-barf that have invaded the frames of every tent-pole studio release since the Bush administration.
    • 30 Metascore
    • 25 Steve Macfarlane
    The film is like an episode of Gossip Girl that's mistaken itself for one of the great satires by Evelyn Waugh.
    • 28 Metascore
    • 25 Steve Macfarlane
    It culminates in a weepy climax that verifies its status as a proud hunk of propaganda from America's massive self-help industry.
    • 41 Metascore
    • 25 Steve Macfarlane
    It's hard to tell if the film is hampered or helped by the performances of its three stars, because it's so amateurishly written and directed that their participation beggars belief.
    • 53 Metascore
    • 12 Steve Macfarlane
    It's a pretty tired proposition to complain about movies being manipulative, but Café de Flore sets the bar especially low.
    • 56 Metascore
    • 12 Steve Macfarlane
    The research that went into the film seems a largesse, but it's compromised at every turn by filmmaker Amei Wallach's sloppy, pedantic delivery.
    • 29 Metascore
    • 12 Steve Macfarlane
    The movie adds up to little more than an interminable bildungsroman, sunk early and often by the desperately miscast Spencer Lofranco.
    • 12 Metascore
    • 12 Steve Macfarlane
    Left Behind is one of those films so deeply, fundamentally terrible that it feels unwittingly high-concept.
    • 37 Metascore
    • 0 Steve Macfarlane
    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.

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