Tirdad Derakhshani

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For 256 reviews, this critic has graded:
  • 74% higher than the average critic
  • 3% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 6.1 points higher than other critics. (0-100 point scale)

Tirdad Derakhshani's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 I Am Not Your Negro
Lowest review score: 12 Gimme Shelter
Score distribution:
  1. Negative: 25 out of 256
256 movie reviews
    • 60 Metascore
    • 50 Tirdad Derakhshani
    Allied comes off like a highlight reel that mimics the look and feel of a whole school of great films, from "Casablanca" to Hitchcock's "Suspicion" and "Notorious."
    • 64 Metascore
    • 50 Tirdad Derakhshani
    A disquieting and ultimately disappointing political thriller.
    • 30 Metascore
    • 50 Tirdad Derakhshani
    Not a great film. Or particularly good. In fact, it's fairly bad as B-movies go.
    • 60 Metascore
    • 50 Tirdad Derakhshani
    It's refreshing to see an actor tell his own story with some real honesty. Overall, however, Tab Hunter Confidential is too much like every other Hollywood True Story out there.
    • 53 Metascore
    • 50 Tirdad Derakhshani
    An uneven, mildly amusing, and highly derivative flick featuring a wonderful, quirky cast as a crew of art thieves who run a complex scam on the art world, and on each other.
    • 40 Metascore
    • 50 Tirdad Derakhshani
    A tediously faithful remake of French filmmaker Luc Besson's terrific 2004 international hit "District 13," the Besson-produced Brick Mansions might have been mildly interesting had it been made a decade ago.
    • 54 Metascore
    • 50 Tirdad Derakhshani
    This should have been an easy knockout. Yet the pieces just don't fit together. Hands of Stone lurches back and forth between well-crafted dramatic scenes and shabby, cliché-ridden sequences that sap the viewer's energy.
    • 45 Metascore
    • 50 Tirdad Derakhshani
    Two Night Stand, is a clever, if uneven, romcom about Generation Y's conflicted, paradoxical views of sex and love. Featuring strong dialogue and terrific performances, the film has moments of near-brilliance, but falls apart with a lame, conventional ending.
    • 70 Metascore
    • 50 Tirdad Derakhshani
    The film is a ponderous, overwrought meditation on grief, loss, guilt, and memory that prods and probes its characters more like lab rats than living, breathing creations.
    • 34 Metascore
    • 50 Tirdad Derakhshani
    Not one of Sparks' best flicks (The Notebook is quite good) Safe Haven is marred by film cliches. It has an alarming number of throwaway montage sequences.
    • 34 Metascore
    • 50 Tirdad Derakhshani
    But there's not much here: The characters are paper-thin, and the action is slow, at times agonizingly so.
    • 59 Metascore
    • 50 Tirdad Derakhshani
    A horror pic with a new gimmick that likely will spawn an entire subgenre of more substandard rubbish.
    • 40 Metascore
    • 50 Tirdad Derakhshani
    A mildly charming, if singularly unoriginal, comedy.
    • 42 Metascore
    • 50 Tirdad Derakhshani
    Love conquers all. Sadly, Yoo's film does not.
    • 42 Metascore
    • 50 Tirdad Derakhshani
    The writer-director has the talent to dig deep and lay bare the assumptions behind our idea of justice and our notions of right and wrong. In The Devil's Knot, he settles for an encyclopedic, if skin-deep, presentation.
    • 33 Metascore
    • 50 Tirdad Derakhshani
    A weak "Toy Story"-esque animated film for preschool kids made with little imagination, little art, and even less soul.
    • 43 Metascore
    • 50 Tirdad Derakhshani
    Don't get me wrong. Angry Birds doesn't depict any on-camera violence against person, bird, or pig. But there's a darkness at the heart of this movie that's hard to reconcile.
    • 69 Metascore
    • 50 Tirdad Derakhshani
    It's hard to know whom to blame for this futile exercise: Morris or Rumsfeld.
    • 65 Metascore
    • 50 Tirdad Derakhshani
    Rogue One is a minor little story with a likable cast and familiar Star Wars themes. But it tries so hard to be an epic masterpiece – with self-important speeches and an insanely outsize orchestral score – that it ends up a laughable parody of itself.
    • 38 Metascore
    • 50 Tirdad Derakhshani
    The new Ben-Hur isn't much of an improvement. Dominated by CGI effects, it's a soap opera better fit for basic cable.
    • 31 Metascore
    • 50 Tirdad Derakhshani
    Mildly enjoyable despite its basic mediocrity.
    • 32 Metascore
    • 38 Tirdad Derakhshani
    Just because you can come up with names such as Azeroth, Durotan, Orgrim, and Grommash Hellscream doesn't mean you're J.R.R. Tolkien, people.
    • 28 Metascore
    • 38 Tirdad Derakhshani
    Slapdash, with dialogue and plot points that were cliches in Dickens' era, the pic sends up, then reaffirms, all the values the media sell us each holiday: compassion, forgiveness, tolerance.
    • 42 Metascore
    • 38 Tirdad Derakhshani
    Unsullied was made by a director with real promise. It's a shame Rice picked this turkey to shoot as his first
    • 26 Metascore
    • 38 Tirdad Derakhshani
    Aloupis is not untalented as writer or helmer. But his first outing is an unsurprising, paint-by-the-numbers picture.
    • 29 Metascore
    • 38 Tirdad Derakhshani
    The Best of Me is neither worse than his other films nor particularly better. At 118 minutes, it is, however, one of the longest. Interminably long, dragging out its molasses heart through what seem like three different endings.
    • 37 Metascore
    • 38 Tirdad Derakhshani
    Predictable, tired, formulaic, it makes up for its lack of originality with a bigger budget, louder jokes, louder costumes, and louder music.
    • 48 Metascore
    • 38 Tirdad Derakhshani
    Just call this movie "The Hangover: AARP Strikes Back."
    • 30 Metascore
    • 38 Tirdad Derakhshani
    Overall, the effect is closer to a Monty Python skit or a Village People music vid than a serious film about civil rights.
    • 32 Metascore
    • 38 Tirdad Derakhshani
    Identity theft and credit-card fraud never looked as exciting or sexy as in Plastic, a frothy little heist movie from Britain that starts off with great promise, only to devolve midway into an empty derivative shell of a film.

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