Walter Addiego

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For 555 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Ida
Lowest review score: 0 Deck the Halls
Score distribution:
  1. Negative: 49 out of 555
555 movie reviews
    • 84 Metascore
    • 75 Walter Addiego
    What sticks with us in the end is something beyond the black humor and even Khaled’s sorrows — it’s the touching relationship between the two principals, and the Finnish man’s quiet commitment to doing what’s right.
    • 75 Metascore
    • 75 Walter Addiego
    The film is honest enough not to exaggerate the beneficial results of Parvana’s courageous act.
    • 67 Metascore
    • 50 Walter Addiego
    Short on complexity and depth, The Divine Order gives us a parade of heroines and villains. Instead of raising questions, it seems to want to induce in viewers a sense of smugness.
    • 73 Metascore
    • 75 Walter Addiego
    Nye’s focus on work has had a deleterious effect on his social life. Some of Nye’s issues are no doubt the result of lifelong fears that he may be struck by a neurological condition called Ataxia that runs in his family, but which so far has not affected him.
    • 47 Metascore
    • 50 Walter Addiego
    The film was clearly a labor of love, for good or ill. At one point, Galinsky jokingly refers to the production as “semi-unprofessional.” This is unusual and welcome frankness from a moviemaker.
    • 95 Metascore
    • 75 Walter Addiego
    Because of age and illness, Varda is losing her sight, and Faces Places, which she co-directed, could be her last film. If so, she’s going out on a high note.
    • 75 Metascore
    • 75 Walter Addiego
    Sex is a persistent theme in the movie, and it’s handled forthrightly.
    • 57 Metascore
    • 25 Walter Addiego
    Despite its sometimes bloody content, the mood of Happy Death Day is remarkably sappy, aimed at the broadest possible audience for a film of its genre. Think of it as “slasher lite” and an acceptable date movie for unadventurous types, and you have the gist of it.
    • 79 Metascore
    • 100 Walter Addiego
    A couple of other odd moments to savor: Lucky, seeking a crossword answer, reads a dictionary definition of “realism” that’s perfectly to the point. And listen as he plays “Red River Valley” on the harmonica. Either one is a great way to remember Harry Dean Stanton.
    • 64 Metascore
    • 75 Walter Addiego
    Haakon VII is a hero in Norway, and The King’s Choice tells us why.
    • 74 Metascore
    • 75 Walter Addiego
    Aronofky gets exactly what he needs from his top-notch cast. Lawrence is appealing and never allows herself to be reduced simply to a howling victim. Bardem, Harris and Pfeiffer are menacing in their own varying ways, with Bardem capable of turning on the charm at key times that makes us wonder if we haven’t misjudged him.
    • 41 Metascore
    • 25 Walter Addiego
    Home Again is plain vanilla, from start to finish.
    • 69 Metascore
    • 75 Walter Addiego
    Gook is at its best when detailing the interactions of the three in the shoe store, but it strikes a more urgent note when the riots break out and the store comes under threat.
    • 66 Metascore
    • 75 Walter Addiego
    The Trip to Spain, perhaps isn’t quite up to the series’ opener (“The Trip,” 2010), it’s certainly a healthy cut above the second film (“The Trip to Italy,” 2014).
    • 62 Metascore
    • 50 Walter Addiego
    There are “gotcha” jolts that definitely got me, but for each of those, there must be a half-dozen scares telegraphed in very large letters. I think Annabelle: Creation is suffering from sequelitis.
    • 81 Metascore
    • 75 Walter Addiego
    It’s a lot to cover in 83 minutes, and you might wish for a little more depth in the girls’ back stories. Then again, the brisk pace is part of what makes the movie a crowdpleaser.
    • 78 Metascore
    • 50 Walter Addiego
    Mainly for those who already know and like Jodorowsky’s work.
    • 72 Metascore
    • 50 Walter Addiego
    There’s something to be said for simply watching Blanchett at work. Without the contribution of this exceptionally talented actress, Manifesto would be rough going indeed. With it, the film rises — barely — above the category of “enough already.”
    • 60 Metascore
    • 75 Walter Addiego
    Despite some cumbersome moments, the film delivers a to-the-point message about how the sins of the parents can be visited on the children.
    • 68 Metascore
    • 50 Walter Addiego
    It’s all so heavy-handed that it’s hard to stay engaged with the movie.
    • 58 Metascore
    • 50 Walter Addiego
    Kline is good in a role that suits him perfectly, and his scenes with Steenburgen are among the film’s most affecting. Jacobs is pretty good, too, really pouring on the Southern California “charm.”
    • 66 Metascore
    • 75 Walter Addiego
    A dead woman tells her own harrowing story in the documentary God Knows Where I Am. It’s the kind of movie you need to be prepared for — its most intense moments have echoes of tragic literature.
    • 77 Metascore
    • 50 Walter Addiego
    The film refuses to soft-pedal Dickinson’s heartbreaking descent into bitterness and near-misanthropy, but sometimes operates with a heavy-handedness that’s certainly at odds with her poetry.
    • 70 Metascore
    • 75 Walter Addiego
    It’s a complicated tale, and at 92 minutes, the film is a very brief summary.
    • 75 Metascore
    • 75 Walter Addiego
    For some viewers, it will be more than they want to know, but for Lynch’s many partisans, it’s required watching.
    • 63 Metascore
    • 75 Walter Addiego
    Quibbling aside, Free Fire mainly works, as an indulgence in cinematic overkill for moviegoers who realize that sometimes too much is just enough.
    • 71 Metascore
    • 75 Walter Addiego
    The film urges decentralization and bottom-up decision making as tools in remedying problems of global warming, food production and the like. The tone is more upbeat than you might expect, and there’s a certain glossiness to the movie that’s a refreshing change from some of its more dour documentary siblings.
    • 39 Metascore
    • 50 Walter Addiego
    It’s a great story, but the movie has a flatness that can’t be denied. Who’d have expected a Herzog film to invoke thoughts of “Masterpiece Theater” and Merchant-Ivory productions at their most stiff and formal? I surely did not.
    • 51 Metascore
    • 50 Walter Addiego
    Far too precious and eager to please to really deserve its self-description as a fairy tale.
    • 85 Metascore
    • 75 Walter Addiego
    It’s moving but not maudlin, and there’s humor in addition to compassion.

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