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 points higher than other critics. (0-100 point scale)

V.A. Musetto's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Fifty-Fifty
Lowest review score: 0 The Grudge 2
Score distribution:
1277 movie reviews
    • 65 Metascore
    • 50 V.A. Musetto
    Has a sexy cast and is gorgeous to watch -- but it takes more than that to make a movie worth seeking out.
    • 71 Metascore
    • 50 V.A. Musetto
    A beautiful but empty-headed documentary.
    • 33 Metascore
    • 50 V.A. Musetto
    Green's odd little movie is clever -- too clever, as it turns out.
    • 34 Metascore
    • 50 V.A. Musetto
    LaBruce devotees will be tickled pink; others will be perplexed and/or disgusted.
    • 66 Metascore
    • 50 V.A. Musetto
    It's rather sweet and life-affirming, although the transformation from sophisticate to peasant happens too conveniently and quickly.
    • 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.
    • 62 Metascore
    • 50 V.A. Musetto
    The classical music is soothing, the cinematography handsome and the acting strong, but the Swedish coming-of-age saga Simon and the Oaks is burdened with a sappy, soap-opera-ish script.
    • 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    Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television.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.
    • 56 Metascore
    • 50 V.A. Musetto
    The result is anti-Army propaganda rather than a balanced piece of reporting.
    • 62 Metascore
    • 50 V.A. Musetto
    Strained and mildly amusing. The real reason to see the movie is the delightful performance by Sara Forestier, who rightly won the French version of the Oscar for her portrayal of the carefree Baya.
    • 44 Metascore
    • 50 V.A. Musetto
    Makes a convincing argument that the decades-old Cuban blockade has outlived its usefulness.
    • 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.
    • 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.
    • 22 Metascore
    • 50 V.A. Musetto
    Levy's innovative movie should appeal to mumblecore fans while perplexing mainstream audiences.
    • 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.
    • 53 Metascore
    • 50 V.A. Musetto
    This new movie features stylishly filmed and choreographed battles. But in between the set pieces is a lot of sentimental blather that slows down the film. More action, less talk should be the order of the day, but it isn't.
    • 62 Metascore
    • 50 V.A. Musetto
    Only marginally interesting.
    • 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.
    • 52 Metascore
    • 50 V.A. Musetto
    Fails to deliver the dramatic punch.
    • New York Post
    • 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.
    • 53 Metascore
    • 50 V.A. Musetto
    A melodramatic import from Algeria, is so relevant in this age of global terrorism, it's a shame it isn't much better.
    • 57 Metascore
    • 50 V.A. Musetto
    Best advice: Wait for Two Men Went to War to go to the small screen.
    • 59 Metascore
    • 50 V.A. Musetto
    Juliette Binoche and Benoit Magimel have great chemistry together as the lovers, and the scenes of their lovemaking and frequent battles bring the movie to life. Outside of those moments, however, the film is too stagey, talky - and long - for its own good.
    • 58 Metascore
    • 50 V.A. Musetto
    It's mindless entertainment, so take it or leave it.
    • 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.
    • 52 Metascore
    • 50 V.A. Musetto
    The siblings react with humor and horror to what they discover. So will many viewers of this self-indulgent but engaging work.
    • 72 Metascore
    • 50 V.A. Musetto
    Sexploitation and art blend uneasily in Crazy Horse.
    • tbd Metascore
    • 50 V.A. Musetto
    Technically competent. What it needs is an original script.
    • 67 Metascore
    • 50 V.A. Musetto
    The contrived script lacks subtlety, rendering most characters as stereotypes.
    • 59 Metascore
    • 50 V.A. Musetto
    Can't decide if it's a martial-arts thriller or a sappy soap opera.
    • 55 Metascore
    • 50 V.A. Musetto
    Gets off to a worthy start, but falls apart about halfway through.
    • 49 Metascore
    • 50 V.A. Musetto
    Mawkish and manipulative, the film isn't worthy of its widely praised German director.
    • 47 Metascore
    • 50 V.A. Musetto
    Unpretentious, TV-style documentary.
    • 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.
    • 56 Metascore
    • 50 V.A. Musetto
    Nunez gets nice performances from his cast, but his narrative is cluttered.
    • 54 Metascore
    • 50 V.A. Musetto
    Strictly generic, it does little more than regurgitate the J-horror hits "Ringu" and "Ju-on."
    • 45 Metascore
    • 50 V.A. Musetto
    Never rises above the level of a soap opera, although the steamy sex and Lo's abundant nudity might make it worthwhile for some viewers.
    • 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.
    • 64 Metascore
    • 50 V.A. Musetto
    Despite the title, there is no nudity in the Chinese rom-com Love in the Buff, although there is a lot of risqué language.
    • 50 Metascore
    • 50 V.A. Musetto
    This is Ebiri's first feature after directing four shorts. He shows talent, but shouldn't give up his day job just yet.
    • 50 Metascore
    • 50 V.A. Musetto
    Szumowska provides lurid scenes of perverted sex, but she offers no new insight into the sordid world of prostitution and the dangers sex workers face. Nor does she flesh out Charlotte and Alicja. The result is a superficial and voyeuristic film.
    • 34 Metascore
    • 50 V.A. Musetto
    The movies of prolific and popular Japanese director Takashi Miike evoke many emotions -- nausea, excitement, awe, amazement, shock. One emotion they don't often evoke is boredom. Sad to say,Dead or Alive: Final is boring.
    • 55 Metascore
    • 50 V.A. Musetto
    All are subjects worthy of discussion, but tackling them in one film disrupts the movie's momentum and shortchanges viewers. Baichwal could have devoted a single film to just BP's disgraceful behavior.
    • 53 Metascore
    • 50 V.A. Musetto
    The opening credits of Gangster's Paradise note that it was "inspired by real events." It would be more accurate to say that the film was inspired by Brian De Palma's "Scarface" and similar fare.
    • 66 Metascore
    • 50 V.A. Musetto
    At 132 minutes, the film is at least half an hour too long. Nobody asked me, but the best solution would be to keep the action sequences (such as the robbery of a horse-drawn steam train, an homage to Sergio Leone's "Once Upon a Time in the West''), and scrap the allegedly "witty'' dialogue and difficult-to-follow plot twists.
    • 56 Metascore
    • 50 V.A. Musetto
    The film's strong point is its stylish, arty look, carefully chosen composition and shadowy lighting.
    • 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.
    • 49 Metascore
    • 50 V.A. Musetto
    Too bad it lacks a substantial story to go along with the kick-ass combat scenes.
    • 55 Metascore
    • 50 V.A. Musetto
    3
    Tykwer exhibits a fondness for split screens and other eye candy but no interest in formalities like character and plot development. By the time we reach the kitchy final scene, we've had our fill of visual tricks.
    • 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."
    • 71 Metascore
    • 50 V.A. Musetto
    It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.
    • 60 Metascore
    • 50 V.A. Musetto
    It would have been funnier at half that length.
    • New York Post
    • 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.

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