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

V.A. Musetto's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Momma's Man
Lowest review score: 0 Nowhere Man
Score distribution:
1,277 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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    Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television.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.
    • 77 Metascore
    • 50 V.A. Musetto
    Uninspired in style, and Joan Allen's narration is dry.
    • 76 Metascore
    • 50 V.A. Musetto
    Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.
    • 76 Metascore
    • 50 V.A. Musetto
    Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.
    • 76 Metascore
    • 50 V.A. Musetto
    There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.
    • 75 Metascore
    • 50 V.A. Musetto
    All this is loads of fun, but after a while sensory overload sets in, dulling the mind. Even in a kung-fu flick, more isn't always better.
    • 75 Metascore
    • 50 V.A. Musetto
    Sadly, with the Soviet Union gone, the art faces a new enemy: Islamic extremists.
    • 75 Metascore
    • 50 V.A. Musetto
    Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 50 V.A. Musetto
    Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.
    • 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.
    • 72 Metascore
    • 50 V.A. Musetto
    Priceless provides lightweight, predictable entertainment that will make you yearn for the Tatou of yesteryear.
    • 72 Metascore
    • 50 V.A. Musetto
    There's little new in Armadillo.
    • 72 Metascore
    • 50 V.A. Musetto
    Sexploitation and art blend uneasily in Crazy Horse.
    • 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.
    • 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.
    • 71 Metascore
    • 50 V.A. Musetto
    A beautiful but empty-headed documentary.
    • 70 Metascore
    • 50 V.A. Musetto
    Ends in a cascade of sentimentality straight out of Hollywood. Not even Chweneyagae's excellent acting or Lance Gewer's dark photography can save the film.
    • 70 Metascore
    • 50 V.A. Musetto
    An example of style over substance. There's lots of slo-mo and jittery hand-held camera work, and references to the French New Wave (especially François Truffaut), but little depth.
    • 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.
    • 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.
    • 70 Metascore
    • 50 V.A. Musetto
    While I have no argument with Leeson's political views, her presentation -- mostly a succession of talking heads -- is dry and uninspired. These women deserve better.
    • 69 Metascore
    • 50 V.A. Musetto
    The actors can't escape the confines of the warmed-over, coming-of-age-in-suburbia script by Mills, from a novel by Walter Kirn.
    • 69 Metascore
    • 50 V.A. Musetto
    An extraordinary woman like Eva Kor deserves a less ordinary biography.
    • 69 Metascore
    • 50 V.A. Musetto
    The presentation is conventional in style but uplifting in spirit, and worth seeing even if you know nothing about basketball.
    • 69 Metascore
    • 50 V.A. Musetto
    As my cat, Audrey, will confirm, I love animals. But I draw the line at having lions, tigers, gigantic snakes, bears and other predators as pets. Other people have different opinions.
    • 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.
    • 68 Metascore
    • 50 V.A. Musetto
    A slim story that becomes schmaltzy at the end.
    • 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."
    • 68 Metascore
    • 50 V.A. Musetto
    It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.
    • 68 Metascore
    • 50 V.A. Musetto
    If you're going to make a documentary about Leonard Cohen, the singer-songwriter, you should have him perform some of his better-known melodies, like "Suzanne."
    • 68 Metascore
    • 50 V.A. Musetto
    That's all laudable - but Perry, a longtime filmmaker, should have given the doc more urgency and punch.
    • 68 Metascore
    • 50 V.A. Musetto
    Things move so swiftly and confusingly that there's little time to explore any of the people in depth. Less style and more substance is definitely called for.
    • 68 Metascore
    • 50 V.A. Musetto
    The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.
    • 68 Metascore
    • 50 V.A. Musetto
    Has some truly touching and funny moments. But it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots.
    • 68 Metascore
    • 50 V.A. Musetto
    Debbie, for better or for worse, is the high point of the entertaining but lightweight film, which is better suited to public TV than the big screen. Oh, yes. If anybody should decide to open another beauty school in Kabul, be sure to leave Debbie in Indiana.
    • 68 Metascore
    • 50 V.A. Musetto
    Mildly diverting, but lacks humor and pathos.
    • 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.
    • 68 Metascore
    • 50 V.A. Musetto
    There's not enough good material to fill the film's overlong 105 minutes. Is there an editor in the house?
    • 68 Metascore
    • 50 V.A. Musetto
    The Inheritance has a promising start but soon becomes preachy and melodramatic.
    • 67 Metascore
    • 50 V.A. Musetto
    The film is generic and uninspired, better suited to public TV than the big screen.
    • 67 Metascore
    • 50 V.A. Musetto
    The contrived script lacks subtlety, rendering most characters as stereotypes.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 50 V.A. Musetto
    Too many cooks spoil the broth, and too many directors spoil the anthology film Paris Je T'aime.
    • 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.
    • 66 Metascore
    • 50 V.A. Musetto
    The script is cliché-ridden and ends on an overly sentimental note.
    • 66 Metascore
    • 50 V.A. Musetto
    If the plot of the Argentine soaper Puzzle seems familiar, that's because it's nearly identical to the story in the French movie "Queen To Play."
    • 65 Metascore
    • 50 V.A. Musetto
    Kekilli delivers a perfectly tuned performance. Too bad the script is often clunky and melodramatic, as the first-time director, Vienna-born Feo Aladag, tries to manipulate viewers' emotions.
    • 65 Metascore
    • 50 V.A. Musetto
    The subject is worth exploring - unfortunately, de Seve does so in a cut-and-dried manner that never explains why these two couples were able to stay together for so long.
    • 65 Metascore
    • 50 V.A. Musetto
    Wavers between (sometimes) brilliant and (mostly) boring. But it would be wrong to call it a failure.
    • 65 Metascore
    • 50 V.A. Musetto
    A downer that too often resorts to melodrama.
    • 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.
    • 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.
    • 65 Metascore
    • 50 V.A. Musetto
    Fails to show indignation that rich white guys are trying to get even richer at the expense of a naive black kid from the ghetto.
    • 65 Metascore
    • 50 V.A. Musetto
    Fox can't decide if Walk on Water is a terrorist thriller or a gay buddy story, and neither can the viewer.
    • 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.
    • 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.
    • 65 Metascore
    • 50 V.A. Musetto
    The film tends to be pretentious and melodramatic; and Grant, better suited to comic roles, gives a heavy-handed performance.
    • 64 Metascore
    • 50 V.A. Musetto
    Carion, in his feature debut, means well, and his characters are lovable. But the plot is so predictable and sentimental that viewers are likely to lose interest before Sandrine and her goats walk off into the sunset.
    • 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.
    • 64 Metascore
    • 50 V.A. Musetto
    You can't help wondering how prisoners who practiced Vipassana fared as free men.
    • 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.
    • 64 Metascore
    • 50 V.A. Musetto
    These were people willing to take chances. Would that Trank had taken chances in telling their stories.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 50 V.A. Musetto
    An interesting debut for director Pesce, although it isn't worth running out to see. Wait for it to hit the small screen.
    • 63 Metascore
    • 50 V.A. Musetto
    If you're thinking of taking the kids to Bear Cub because the title sounds like something they'd enjoy -- don't!
    • 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.
    • 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."
    • 63 Metascore
    • 50 V.A. Musetto
    Not a definitive portrait of the designer, nor does it pretend to be. But it should be of interest to viewers even if there's not a single YSL label in their wardrobes.
    • 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).
    • 62 Metascore
    • 50 V.A. Musetto
    Only marginally interesting.
    • 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.
    • 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.
    • 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?
    • 62 Metascore
    • 50 V.A. Musetto
    The film opens with a disclaimer: "Although based on real events and people, this is a work of fiction." There should be another warning: Unless you're up to date on French politics, a lot of Googling is needed to follow the players.
    • 62 Metascore
    • 50 V.A. Musetto
    The film looks nifty, but the flat and unemotional English-language dialogue lessens its impact.
    • 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.
    • 62 Metascore
    • 50 V.A. Musetto
    As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.
    • 62 Metascore
    • 50 V.A. Musetto
    Overall, however, it's sappy and predictable -- fun to watch, perhaps, but instantly forgettable.
    • 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.
    • 62 Metascore
    • 50 V.A. Musetto
    It pains me to report that his Zebraman is a disappointment.
    • 61 Metascore
    • 50 V.A. Musetto
    Gabizon has a great idea. But he ruins it by devoting too much time to colorful but unnecessary characters.
    • 61 Metascore
    • 50 V.A. Musetto
    It loses direction, turning contrived and sentimental. There's even a touch of Frank Capra.
    • 61 Metascore
    • 50 V.A. Musetto
    Kids will get off on Bugs! and then go home and have nightmares. Adults who accompany them may have to fight off sleep before they get home.
    • 61 Metascore
    • 50 V.A. Musetto
    Yearning for an exciting African adventure? Oka! isn't it.
    • 61 Metascore
    • 50 V.A. Musetto
    The film is loving but shallow.
    • 60 Metascore
    • 50 V.A. Musetto
    It would have been funnier at half that length.
    • New York Post
    • 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.

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