Steve Macfarlane

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For 93 reviews, this critic has graded:
  • 31% higher than the average critic
  • 5% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Steve Macfarlane's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Level Five
Lowest review score: 0 Third Person
Score distribution:
  1. Positive: 50 out of 93
  2. Negative: 26 out of 93
93 movie reviews
    • 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
    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.
    • 75 Metascore
    • 75 Steve Macfarlane
    Spy
    It's the sustained, full-bodied mania of Melissa McCarthy's performance that anchors the film's many winning blind-alley gags.
    • 57 Metascore
    • 63 Steve Macfarlane
    Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
    • 72 Metascore
    • 63 Steve Macfarlane
    It's most towering accomplishment are its set pieces, which manage to be brash, exhilarating, and even occasionally moving.
    • 71 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.
    • 59 Metascore
    • 63 Steve Macfarlane
    Philip Roth's original ending is cranked up to 11, flattening the more interesting contours of Al Pacino's performance into a martyr's desperate plea for an audience's love.
    • 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.
    • 53 Metascore
    • 63 Steve Macfarlane
    Woody Allen and Joaquin Phoenix's collaboration on Irrational Man's antihero is the closest the film gets to a saving grace.
    • 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
    • 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
    Kevin Hart turns an essentially crude wingman into the conscience of the film's torturous, nettled discourse on romance.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 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.
    • 70 Metascore
    • 63 Steve Macfarlane
    When the film's whirligig plotline goes off-rail in the heady final act, Oscar and Gloria's origin story bends over backward to justify a magical-realist conceit that was more fun without explanation.
    • 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.
    • 60 Metascore
    • 50 Steve Macfarlane
    Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
    • 59 Metascore
    • 50 Steve Macfarlane
    Jurassic World can't tell whether it wants to be junk food or not, lovingly poking fun at some Hollywood tropes while shamelessly indulging others.
    • 63 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.
    • 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.
    • 63 Metascore
    • 50 Steve Macfarlane
    The film is too standard-issue in its making to probe beyond the rough outlines of a success story.
    • 79 Metascore
    • 50 Steve Macfarlane
    This is a patchwork dystopia of white poverty whose facets are both difficult to deny and to prove exist precisely as depicted.
    • 86 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.
    • 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.
    • 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.

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