For 1,277 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

V.A. Musetto's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 Nowhere Man
Score distribution:
1,277 movie reviews
    • 64 Metascore
    • 50 V.A. Musetto
    It's always enjoyable watching Depardieu and Deneuve, but they deserve better material than they've been given by Techine.
    • 51 Metascore
    • 50 V.A. Musetto
    There's a lot happening here, perhaps too much. At times, the movie threatens to implode under its own weight. At others, it's wickedly funny.
    • 67 Metascore
    • 50 V.A. Musetto
    The film is generic and uninspired, better suited to public TV than the big screen.
    • 55 Metascore
    • 50 V.A. Musetto
    When it comes to magnetism, the Rolling Stones have nothing on Amma, the Indian mahatma ("spiritual guide") chronicled in Jan Kounen's handsomely photographed but one-sided documentary.
    • 64 Metascore
    • 50 V.A. Musetto
    Starts as a serious examination of the two women's lives, but it descends into a mushy melodrama complete with schmaltzy music and dewy cinematography.
    • 73 Metascore
    • 50 V.A. Musetto
    Riding Alone features a moving performance by Takakura (often called the Asian Clint Eastwood), as well as pretty cinematography. But the mushy script, co-written by Zhang, never rises above that of a TV soap opera.
    • 60 Metascore
    • 50 V.A. Musetto
    The script falls victim to the stereotypes and clichés so often found in movies about Asian-American families. Still, Lee shows talent, although it might take a feature or two before she finds her own voice.
    • 58 Metascore
    • 50 V.A. Musetto
    Think you're depressed now? Wait till you see Aurora Borealis, which spends almost two hours watching Ronald Shorter, a suicidal old man, die.
    • 65 Metascore
    • 50 V.A. Musetto
    Wavers between (sometimes) brilliant and (mostly) boring. But it would be wrong to call it a failure.
    • 61 Metascore
    • 50 V.A. Musetto
    It loses direction, turning contrived and sentimental. There's even a touch of Frank Capra.
    • 53 Metascore
    • 50 V.A. Musetto
    Brabbee, artistic director of the Nantucket Film Festival, is to be commended for her dedication to this project, but the film isn't hefty enough for a theatrical release. Public TV would be a better showcase.
    • 82 Metascore
    • 50 V.A. Musetto
    Days of Glory has good intentions and a well-executed combat scene, but it could do with more originality.
    • 66 Metascore
    • 50 V.A. Musetto
    After sitting a while in front of my computer trying to come with the right word to describe the Argentine soaper Family Law, I've settled on "diverting." You will be entertained, but you won't tax your brain.
    • 60 Metascore
    • 50 V.A. Musetto
    The psychobabble makes for dry filmmaking until Schreber starts going fem. From that point on, it's every man for himself.
    • 70 Metascore
    • 50 V.A. Musetto
    Curse of the Golden Flower could also be called "Curse of 'Crouching Tiger, Hidden Dragon.' " In other words, it is yet another attempt to cash in on the success of Ang Lee's 2000 martial-arts epic, which will go down in the history books as one of the most overrated films of the decade.
    • 59 Metascore
    • 50 V.A. Musetto
    Pleasant enough, with funny moments.
    • 64 Metascore
    • 50 V.A. Musetto
    At age 76, Chabrol seems to be just going through the motions, but anyone who has helmed 70 films ("Les Bonnes Femmes" and "La Ceremonie," for example) is entitled to an off day. Look for him to dazzle us next time out.
    • 59 Metascore
    • 50 V.A. Musetto
    An overdone sex comedy.
    • 38 Metascore
    • 50 V.A. Musetto
    Burning Annie has funny moments, but it suffers from an overflow of characters.
    • 73 Metascore
    • 50 V.A. Musetto
    Mirikitani is a colorful character and talented artist, and his story tugs at the heart. Problem is, Hattendorf insists on inserting herself in what seems like every other scene, a device that dilutes Jimmy's story.
    • 54 Metascore
    • 50 V.A. Musetto
    Brisseau obviously aims to shock - and he does. Now shocking is A-OK with me - but only if it's part of a something bigger. Exterminating Angels is beautifully lensed and acted, but it lacks substance.
    • 50 Metascore
    • 50 V.A. Musetto
    The result is entertaining but hardly memorable.
    • 38 Metascore
    • 50 V.A. Musetto
    Sweet but not especially original.
    • 66 Metascore
    • 50 V.A. Musetto
    Too many cooks spoil the broth, and too many directors spoil the anthology film Paris Je T'aime.
    • 68 Metascore
    • 50 V.A. Musetto
    You have to wonder just how true to life the melodramatic depiction of these events is, especially since the film was made in partnership with TV's "Masterpiece Theater."
    • 73 Metascore
    • 50 V.A. Musetto
    Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.
    • 63 Metascore
    • 50 V.A. Musetto
    A sappy look at the title character, a 12-year-old boy who's a math and music prodigy.
    • 56 Metascore
    • 50 V.A. Musetto
    Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.
    • 62 Metascore
    • 50 V.A. Musetto
    It pains me to report that his Zebraman is a disappointment.
    • 60 Metascore
    • 50 V.A. Musetto
    Make a movie about depressed people, and what do you get? A depressing movie.
    • 77 Metascore
    • 50 V.A. Musetto
    Uninspired in style, and Joan Allen's narration is dry.
    • 59 Metascore
    • 50 V.A. Musetto
    Delivers an important message, and its underwater photography is breathtaking. But Stewart lessens the impact by focusing much too much on himself. Did he really have to go into detail about his own health problems? This should be a movie about sharks, not Stewart.
    • 62 Metascore
    • 50 V.A. Musetto
    As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.
    • 63 Metascore
    • 50 V.A. Musetto
    Performances are up to par, but the story unfolds conventionally - it lacks the fragmented fury of its predecessor. You might call it "City of God Lite."
    • 58 Metascore
    • 50 V.A. Musetto
    The story is contrived. Would you believe a high-rise window-washer just happening to be cleaning the window of the room where, at that very moment, his wife is being raped by her boss? Didn't think so.
    • 70 Metascore
    • 50 V.A. Musetto
    Caramel, by the way, gets its name from a blend of sugar, lemon juice and water that is boiled until it turns into a paste used to remove unwanted hair in the Middle East.
    • 50 Metascore
    • 50 V.A. Musetto
    You can't quarrel with the lensing and acting, but the overabundance of coincidences keeps Vivere from reaching its full potential.
    • 57 Metascore
    • 50 V.A. Musetto
    Claiming that from Korea to Vietnam to Iraq, the US government has misled the public - and the media - on the reasons for going to war.
    • 72 Metascore
    • 50 V.A. Musetto
    Priceless provides lightweight, predictable entertainment that will make you yearn for the Tatou of yesteryear.
    • 52 Metascore
    • 50 V.A. Musetto
    The biggest problem is Wong's decision to cast Norah Jones as Elizabeth, a New Yorker who hits the road after a love affair goes bad. Jones, in her first movie, can't act. (There, I said it!)
    • 47 Metascore
    • 50 V.A. Musetto
    Pity that the direction and narrative lack passion. If there's anything a story of interracial adultery needs, it's passion.
    • 75 Metascore
    • 50 V.A. Musetto
    Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.
    • 48 Metascore
    • 50 V.A. Musetto
    There is also a fair amount of boy-on-boy sex, which would be the main reason for seeing No Regret, no matter what your sexual orientation might be.
    • 40 Metascore
    • 50 V.A. Musetto
    Gerren's story is fascinating, but Roberts dilutes it by going off on tangents about unsafe cosmetics and phony plastic surgeons. Both topics need exploring - just not here. There's more than enough drama in Gerren's life.
    • 52 Metascore
    • 50 V.A. Musetto
    Good-natured, lightweight fun, although clichéd and more suited to DVD and cable than the big screen.
    • 46 Metascore
    • 50 V.A. Musetto
    Matthews is supposed to be the star here, but it's Englund's hilarious, over-the-top performance that keeps Jack Brooks: Monster Slayer, by director Jon Knautz, from becoming another forgettable exercise in horror.
    • 55 Metascore
    • 50 V.A. Musetto
    Darkly funny (par for the course with Miike), visually stunning and full of references to other films.
    • 72 Metascore
    • 50 V.A. Musetto
    The fractured timeline covers five decades, which Miller weaves together, with the past shot in color and the present in black and white. Still, the soapy climax is unnecessary.
    • 46 Metascore
    • 50 V.A. Musetto
    Director-writer Seth Grossman provides a lazy narrative, with stereotypical characters and plot.
    • 61 Metascore
    • 50 V.A. Musetto
    The film is loving but shallow.
    • 34 Metascore
    • 50 V.A. Musetto
    LaBruce devotees will be tickled pink; others will be perplexed and/or disgusted.
    • 59 Metascore
    • 50 V.A. Musetto
    Mostly We Are Wizards is a loving, if flawed, tribute to creativity and artistic freedom.
    • 65 Metascore
    • 50 V.A. Musetto
    Glosses over the depression and alcoholism that have bedeviled Walker as well as any relationships he might have had. But that doesn't make the film any less interesting.
    • 62 Metascore
    • 50 V.A. Musetto
    At more than two hours, Cherry Blossoms could do with some pruning. And do husband and wife have to have rhyming names?
    • 82 Metascore
    • 50 V.A. Musetto
    Algenis Perez Soto was a baseball player in real life, which helps to explain his sensitive, understated performance as Sugar. But he's let down by a manipulative script recycled from dozens of sports and immigrant movies. At least it dispenses with a Hollywood ending.
    • 49 Metascore
    • 50 V.A. Musetto
    The script doesn't offer anything especially new, but Burman infuses the film with innovative lensing and capable acting.
    • 62 Metascore
    • 50 V.A. Musetto
    At nearly two hours, Big Man Japan is clever (in a sick sort of way) but overlong. It needs judicious editing -- more mockumentary, fewer superhero antics.
    • 82 Metascore
    • 50 V.A. Musetto
    The news footage, so powerful on its own, needs no enhancement. The dramatized scenes only slow the film's momentum.
    • 68 Metascore
    • 50 V.A. Musetto
    Takita could easily trim 30 minutes of flab and oceans of tears from Departures. It still wouldn't merit an Oscar, but it would be a lot more watchable.
    • 54 Metascore
    • 50 V.A. Musetto
    The premise has potential, but there's no follow- through. And there's no actual zombie mayhem; we learn everything secondhand -- from phone calls to the station.
    • 59 Metascore
    • 50 V.A. Musetto
    The film works best when we see N'Dour onstage. He has a great set of pipes and is nothing if not charismatic.
    • 51 Metascore
    • 50 V.A. Musetto
    Stick around till the end. You don't want to miss an unexpected cameo from a filmmaker I won't name. Hint: He's short, likes younger women and isn't Woody Allen.
    • 50 Metascore
    • 50 V.A. Musetto
    It also gives another black eye to Iranian fundamentalists. It is most unfortunate, then, that the film isn't better.
    • 52 Metascore
    • 50 V.A. Musetto
    May be momentarily entertaining, but don't expect anything profound from the lightweight saga.
    • 74 Metascore
    • 50 V.A. Musetto
    As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.
    • 83 Metascore
    • 50 V.A. Musetto
    Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.
    • 62 Metascore
    • 50 V.A. Musetto
    The direction is never more than conventional, with a tear-inducing finale better suited to a TV soap opera.
    • 39 Metascore
    • 50 V.A. Musetto
    Has some witty dialogue and sprightly performances by Karen Black, Andrea Marcovicci, Victoria Tennant and others.
    • 55 Metascore
    • 50 V.A. Musetto
    Unfortunately, Angelou's detached and often superfluous narration lessens the film's impact.
    • 52 Metascore
    • 50 V.A. Musetto
    Less an adventure yarn than a character study of two old guys with fading memories and improbable dreams.
    • 52 Metascore
    • 50 V.A. Musetto
    Medina has taken a series of vignettes and fashioned them into a feature film as aimless as Luciano’s life. There’s no buildup or payoff; still, Hendler’s laid-back performance makes Medina’s film worth seeking out.
    • 67 Metascore
    • 50 V.A. Musetto
    At some two hours, the film is 30 minutes too long. Cutting out the melodrama and sticking with the daring-do is the answer.
    • 77 Metascore
    • 50 V.A. Musetto
    Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television. The acting, on the other hand, is sometimes superb.
    • 41 Metascore
    • 50 V.A. Musetto
    On the plus side, Derek McKane's moody camerawork makes Gotham look grand. Too bad it's wasted on The Last New Yorker.
    • 47 Metascore
    • 50 V.A. Musetto
    It would have been nice to learn as much about Sar the man as about Sar the dancer.
    • 49 Metascore
    • 50 V.A. Musetto
    The film is well-constructed, as one would expect from Gondry, but it offers little reason for anyone outside the family circle to care about dear old Tante Suzette.
    • 54 Metascore
    • 50 V.A. Musetto
    The acting is super -- these guys know how to be sweet and disgusting -- and the story provides its share of laughs. But after a while, the one-note movie, directed by Felix van Groeningen, grows tiresome.
    • 59 Metascore
    • 50 V.A. Musetto
    The film tastefully handles the sensitive subject, but it lacks the bite that a Michael Moore would have provided.
    • 57 Metascore
    • 50 V.A. Musetto
    Borderline clichéd, and it makes getting a US visa seem way too easy. But I can think of much worse ways to spend an hour and a half than watching this absurdist comedy.
    • 57 Metascore
    • 50 V.A. Musetto
    The fine supporting cast includes Steve Buscemi, as a cynical American doctor who at first doesn't get along with Rabe; and Anne Consigny, as the French head of a local school for Chinese girls.
    • 59 Metascore
    • 50 V.A. Musetto
    An interesting but flawed look at the birth of the French New Wave.
    • 72 Metascore
    • 50 V.A. Musetto
    The film has no ready answers, although it becomes abundantly clear that both those for and against charter schools are more concerned with covering their own asses than with helping students get a quality education.
    • 63 Metascore
    • 50 V.A. Musetto
    If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).
    • 35 Metascore
    • 50 V.A. Musetto
    Fails as a detective story, but it does offer an entertaining look at the punk scene in the 1970s.
    • 48 Metascore
    • 50 V.A. Musetto
    Despite strong performances by Gerard Jugnot as the crime-busting prosecutor and Veronica D'Agostino as the adult Rita, The Sicilian Girl never lives up to its potential.
    • 65 Metascore
    • 50 V.A. Musetto
    The writer-director, who goes by the name J Blakeson, keeps the suspense level high for the first hour or so, but he then indulges in a few plot twists that strain credibility.
    • 51 Metascore
    • 50 V.A. Musetto
    If animal slaughter makes you queasy, this movie isn't for you. Along with several cockfights, there's a long scene in which a pig is butchered. The folks at PETA would be most unhappy. People don't fare much better than the animals, with blood flowing in a seemingly unending barrage of violence.
    • 76 Metascore
    • 50 V.A. Musetto
    There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.
    • 43 Metascore
    • 50 V.A. Musetto
    Under writer-helmer Rehana Mirza, the acting and direction are workmanlike, but the plot is full of hackneyed characters and contrived events better suited to TV than the big screen.
    • 59 Metascore
    • 50 V.A. Musetto
    The acting by Seigner, Marina Hands, Karin Viard, Patrick Bruel and other French notables is first-rate, although their characters and what they have to say are trite.
    • 60 Metascore
    • 50 V.A. Musetto
    An affable comedy that, unfortunately, has too many characters and subplots for its own good. The film also could do without the stereotypical character of a gay wedding planner who is supposed to be funny -- but is just embarrassing and clichéd.
    • 68 Metascore
    • 50 V.A. Musetto
    The film is conventional in style and is likely to mean more to the sadly forgotten musician's fans than to others.
    • 65 Metascore
    • 50 V.A. Musetto
    Neil Jordan's Ondine has a split personality. It starts promisingly as a fantasy but ends disappointingly as a thriller.
    • 59 Metascore
    • 50 V.A. Musetto
    If you're looking for great action scenes, you've found them. But if you desire more than eye candy, such as character and plot development and historical accuracy, you'll have to look elsewhere.
    • 49 Metascore
    • 50 V.A. Musetto
    None of its characters is especially interesting.
    • 56 Metascore
    • 50 V.A. Musetto
    The clichéd, heavy-handed script lets them down.
    • 67 Metascore
    • 50 V.A. Musetto
    The longer director Jan Hrebejk's film goes on, the more complex the relationships become, until the film becomes little more than a talkathon.
    • tbd Metascore
    • 50 V.A. Musetto
    Director Michelle Esrick, who followed Wavy around for 10 years, journeys from Manhattan to Woodstock to Nepal to the hills of California to tell Wavy's story. The journey is entertaining, whether you witnessed the 1960s firsthand or heard about it from your grandparents.
    • 68 Metascore
    • 50 V.A. Musetto
    A slim story that becomes schmaltzy at the end.
    • 64 Metascore
    • 50 V.A. Musetto
    Call it "The Doom Generation II." Gregg Araki's Kaboom returns to the trippy ways of his 1995 erotic head trip.

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