For 278 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Tom Russo's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 88 Creed
Lowest review score: 25 Getaway
Score distribution:
  1. Negative: 50 out of 278
278 movie reviews
    • 42 Metascore
    • 50 Tom Russo
    To Chu’s credit, he does work hard not only to legitimize 30-somethings’ halcyon recollections, but also to make the material relevant to a new generation.
    • 42 Metascore
    • 50 Tom Russo
    Cooper swaggers as convincingly as always, the food-prep montages are mesmerizing, and we even get a couple of solid twists and an education on the sous-vide trend.
    • 35 Metascore
    • 50 Tom Russo
    The copious violence, as always, is an assault - even aurally, as every thudding knife strike is made to sound like a boulder dropping on the theater.
    • 34 Metascore
    • 50 Tom Russo
    Angelo Pizzo knows inspirational sports drama. As the writer of “Hoosiers” and “Rudy,” Pizzo has made a career out of mining the genre and its themes of underdog determination and locker-room brotherhood. But he’s overmatched in his directing debut, the well-intentioned football biopic My All American.
    • 45 Metascore
    • 50 Tom Russo
    What’s ironic — and frustrating — is how precipitously the movie itself eventually goes tumbling down the intelligence scale. In the process, Chiwetel Ejiofor is wasted, along with some potent moments from costars Roberts and Nicole Kidman.
    • 32 Metascore
    • 50 Tom Russo
    You’ll have to be satisfied with a modest assortment of energetically comic moments here, because the story sure isn’t a reason to catch this encore, and neither are who-asked-for-’em cast additions such as Ken Jeong.
    • 57 Metascore
    • 50 Tom Russo
    Returning director Wilson Yip commits to this tone too late, getting lost in tangential conflict and stunt casting — in this corner, Mike Tyson! — at the expense of the drama and even the action.
    • 66 Metascore
    • 50 Tom Russo
    A story that builds toward Po training an army of his panda brethren fails to deliver exponentially greater fun.
    • 26 Metascore
    • 50 Tom Russo
    In the end, though, the film disappointingly, even lazily, shies away from being anything more than you’d expect.
    • 33 Metascore
    • 50 Tom Russo
    This doesn’t even feel much like Tris’s story anymore, just generically overdigitized combat. The main thing she’s diverging from at this point is the tone that hooked us in the first place.
    • 44 Metascore
    • 50 Tom Russo
    Disappointingly, this scruffy indie doesn’t live up to its promise either, despite a few flashes of subversive inspiration.
    • 51 Metascore
    • 50 Tom Russo
    When the action is at its sharpest, such as with Henry’s mid-chase leap from a detonating truck onto the back of a motorcycle, it’s spectacular.
    • 35 Metascore
    • 50 Tom Russo
    Pretty uninspired material for a dream-teaming of actresses who currently rate among the edgiest of them all.
    • 43 Metascore
    • 50 Tom Russo
    What starts out as a lowbrow gag very typical of a pedestrian ’toon gradually balloons into absurdity that Mel Brooks would probably love. Here, at least, the Angry Birds fly.
    • 51 Metascore
    • 50 Tom Russo
    Elle Fanning is impeccably cast as Jesse, a quiet, sweet-natured ingénue shuttling between sketchy photo shoots and her clichéd newcomer’s digs in a seedy Pasadena motel.
    • 34 Metascore
    • 50 Tom Russo
    The riot of color here brings to mind what the makers of “Ice Age” delivered with “Rio,” which in turn reminds us that these animators certainly aren’t just one-trick talents. Could be time for them to show us some new ones.
    • 78 Metascore
    • 50 Tom Russo
    Despite the material’s fit, the story’s relentlessly downbeat tone is challenging. Strong performances by Logan Lerman (“Fury”) and Sarah Gadon (Hulu’s “11.22.63”) can’t keep the film from feeling like exhaustingly slow going.
    • 68 Metascore
    • 50 Tom Russo
    The role of investment banker Naomi Bishop seems right for Gunn, no question, and it’s one that she approaches with conviction. So why is it so hard to root for her, or for any of the characters here?
    • 71 Metascore
    • 50 Tom Russo
    An original thriller about a home-invasion robbery gone wrong. To clarify, that would be “wrong” as in “not according to plan” – but also “wrong” as in “so dementedly repugnant, it just isn’t right.”
    • 48 Metascore
    • 50 Tom Russo
    At its best, the movie is provocative, sleekly assured, and a legit showcase for its intriguingly deep ensemble
    • 55 Metascore
    • 50 Tom Russo
    The movie would benefit from spending even more quiet moments with Glover.
    • 23 Metascore
    • 50 Tom Russo
    Too well-meaning and too infused with genuine poignancy from Smith and Harris for the film to be dismissed as just a trigger for our snark reflex. But it’s a shame that the tears Smith sheds aren’t serving a better conceived story.
    • 50 Metascore
    • 50 Tom Russo
    The movie’s best bits come when Tong’s script eases up on banter and clunky Indy homages and instead simply indulges in random zaniness.
    • 37 Metascore
    • 50 Tom Russo
    The movie works best when it finds a balance between flatly familiar and over-aggressively unexpected.
    • 40 Metascore
    • 50 Tom Russo
    Entertainment so generically gentle, it doesn’t compare to last year’s similarly themed, tonally looser “Trolls.”
    • 49 Metascore
    • 50 Tom Russo
    Too glossy to truly immerse audiences in the horrors it depicts.
    • 37 Metascore
    • 50 Tom Russo
    The result is a scattershot comedy that only intermittently nails either tone, finally just bogging down in flatly choreographed mayhem in the late going.
    • 52 Metascore
    • 50 Tom Russo
    Not that the movie’s various shortcomings are all on Moore. British genre director and co-writer Johannes Roberts (“Storage 24”) gives her nothing but trite drama to work with in setting up the story, and an overload of distracting, reductive prattle once she hits the water.
    • 48 Metascore
    • 50 Tom Russo
    As an orphan who dreams of joining the Paris Opera Ballet in the animated feature Leap!, Elle Fanning really hears it about the artistry and precision required to become a prima ballerina. The makers of this cheery but subpar confection probably should have been taking notes in addition to scripting them.
    • 45 Metascore
    • 50 Tom Russo
    Trouble is, the movie’s dopiness isn’t in fact something you can get past. “American Assasinine” is frequently more like it.

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