Steve Macfarlane
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For 58 reviews, this critic has graded:
  • 25% higher than the average critic
  • 6% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Steve Macfarlane's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Goodbye to Language
Lowest review score: 0 Third Person
Score distribution:
  1. Positive: 26 out of 58
  2. Negative: 21 out of 58
58 movie reviews
    • 74 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.
    • 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.
    • 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.
    • 79 Metascore
    • 75 Steve Macfarlane
    This is a summer blockbuster contingent on grand bargains, tactical retreats, and a ferocious, inevitable shock-and-awe campaign.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 63 Steve Macfarlane
    Kevin Hart turns an essentially crude wingman into the conscience of the film's torturous, nettled discourse on romance.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.