For 31 reviews, this critic has graded:
  • 45% higher than the average critic
  • 6% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.2 points lower than other critics. (0-100 point scale)

Wade Major's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 90 Ajami
Lowest review score: 0 Date Night
Score distribution:
  1. Positive: 14 out of 31
  2. Negative: 3 out of 31
31 movie reviews
    • 82 Metascore
    • 90 Wade Major
    A timely and timeless look at the intersecting lives, fortunes and fates of Jews, Christians and Muslims in the fragile Ajami neighborhood of Jaffa, Israel.
    • 85 Metascore
    • 90 Wade Major
    Aggressively impressionistic and unapologetically spiritual, Malick's long-gestating meditation on the meaning of life is, if nothing else, a singularly original and deeply personal film - a growing rarity in American cinema.
    • 55 Metascore
    • 80 Wade Major
    Not to be overlooked are the film's wealth of fine supporting performances and technical contributions-the always wonderful Emily Mortimer, Martin Ruhe's extraordinary cinematography and Kave Quinn's incisive production design each playing a part in what must be considered one of the very best films of the first half of 2010.
    • 58 Metascore
    • 80 Wade Major
    Uproariously funny.
    • 59 Metascore
    • 80 Wade Major
    A whipsmart twist on a particular kind of romantic comedy.
    • 62 Metascore
    • 80 Wade Major
    Beautiful Boy is a discerning film lover's off-season tonic, regardless of where, when or how it's seen. What matters most is simply that it be seen.
    • 72 Metascore
    • 80 Wade Major
    Compellingly taut and existentially thoughtful, this exceptional Euro-American hybrid is perfectly pitched for the kind of crossover success previously enjoyed by Guillaume Canet's 2006 surprise hit "Tell No One."
    • 95 Metascore
    • 80 Wade Major
    Meticulously thoughtful and economical in its execution, from its camerawork to its editing, Farhadi's carefully wrought narrative and the ways it handles the fragile emotions of its characters truly sets it apart, not only from contemporary Iranian cinema but world cinema in general.
    • 70 Metascore
    • 70 Wade Major
    Though less splashy than "Red Cliff," or for that matter "Hero," or even "Crouching Tiger, Hidden Dragon," the picture nonetheless embraces a classic melodramatic approach to an otherwise familiar Ching Dynasty tale, delivering one of the most bracing Asian period films in many years.
    • 68 Metascore
    • 70 Wade Major
    A powerful and provocative look at the seismology of the Iranian social order and the connective tissue that sustains Iranian women in particular.
    • 60 Metascore
    • 70 Wade Major
    Fans of "Train of Life" will undoubtedly embrace the picture's similarly ragtag collection of clever, lovable misfits.
    • 67 Metascore
    • 70 Wade Major
    A superbly well-crafted film, faithful to its cultural and cinematic heritage, and easily one of the most enjoyable entertainments of a still nascent 2011 post-holiday season.
    • 42 Metascore
    • 70 Wade Major
    Casting is almost uniformly first rate with Cox, Purefoy and the always brilliant Giamatti providing noteworthy standouts.
    • 83 Metascore
    • 70 Wade Major
    It's a mood piece more than a conventional documentary and it should do comfortably above average business on the theatrical documentary circuit, particularly given its location on the list of Oscar nominated documentaries.
    • 67 Metascore
    • 60 Wade Major
    A charming oddity, a character-driven drama with just enough fringe genre elements to both enhance and distract, though ultimately hewing closer to the former to make the latter only a minor annoyance.
    • 82 Metascore
    • 60 Wade Major
    Offers the kind of intimate, naturalistic look at human interaction that recalls the heyday of Eric Rohmer.
    • 74 Metascore
    • 60 Wade Major
    It's hard to watch Farewell without thinking of such '70s classics as "All the Presidents Men" and "Network," mature dramas that Hollywood has since all but abandoned (with intermittent exceptions like The Insider).
    • 57 Metascore
    • 60 Wade Major
    It may be the most glaringly, if unintentionally, personal film that Zhang has made since 1994's "To Live."
    • 40 Metascore
    • 60 Wade Major
    A kind of Ealing Comedy throwback that is arguably her best film since Beckham.
    • 47 Metascore
    • 60 Wade Major
    The real star of the film, however, is Shapiro who, despite treading on marginally derivative subject matter, demonstrates a solid sense of style and a refreshingly delicate hand with actors.
    • 58 Metascore
    • 60 Wade Major
    Despite its ultimate lack of profundity, Gainsbourg is certain to still be a sufficiently engaging and meaningful experience to enthrall the initiated while stimulating the curiosity of the uninitiated.
    • 64 Metascore
    • 50 Wade Major
    Though it fails to live up to its dynamic predecessor in almost every way, District B13: Ultimatum should still be enough to satisfy the earlier film’s small but faithful core of American fans.
    • 59 Metascore
    • 50 Wade Major
    It's certainly a story worth telling, but hardly as pivotal and all-encompassing as they would like to believe, all of which makes the effort far more exhausting than it ever should have been.
    • 27 Metascore
    • 40 Wade Major
    While it never quite rises above the problems inherent in the material, The Spy Next Door does shine in those moments when Jackie and his stunt crew are permitted to do what they do best.
    • 69 Metascore
    • 40 Wade Major
    Notwithstanding Steven Soderbergh's name among the nine credited producers, this is strictly mid-level assembly line product, designed to ride entirely on the modest marquee value of second-tier or past-prime stars.
    • 50 Metascore
    • 40 Wade Major
    Tedious and forgettable.
    • 59 Metascore
    • 40 Wade Major
    To his credit, director Neil Burger either doesn't realize or doesn't care that the material is hokey to the point of unintentional hilarity-if not for the film's intermittent moments of hyper-stylization and its almost crippling sense of self-importance, Limitless might have been a truly unwatchable bore rather than just annoyingly silly and tedious.
    • 32 Metascore
    • 20 Wade Major
    Should be immediately screened in film schools across the world as a shining example of everything that is wrong with the American studio system and the increasingly dreadful junk it produces.
    • 62 Metascore
    • 20 Wade Major
    To say that Marshall's technique is so low-brow it may as well be a moustache is being kind--at best this is the sort of lazy, ambitionless hackery that can lead both filmmakers and audiences to write off a genre for dead--or at least until a more skilled storyteller is able to do it right.
    • 56 Metascore
    • 0 Wade Major
    A broadly promising premise and well-matched stars prove no match for an abominably unfunny screenplay and the work of the poisonously untalented Shawn Levy--arguably the worst director making big-budget studio films today.