Walter Addiego

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For 557 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 0.2 points higher than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Gimme Shelter (re-release)
Lowest review score: 0 Deck the Halls
Score distribution:
  1. Negative: 49 out of 557
557 movie reviews
    • 62 Metascore
    • 50 Walter Addiego
    Painfully sincere but tired.
    • 44 Metascore
    • 50 Walter Addiego
    Despite its worthy subject, this feature by veteran Brazilian director Bruno Barreto has a bluntness that's at odds with Bishop's personality and work.
    • 48 Metascore
    • 50 Walter Addiego
    It seems like another misstep - the story just doesn't hold up to Ritchie's treatment.
    • San Francisco Examiner
    • 42 Metascore
    • 50 Walter Addiego
    The picture is a relentless blast of color and movement that's based on the old TV show, but boils down to a supercharged version of old-time Saturday-afternoon movie serials.
    • 36 Metascore
    • 50 Walter Addiego
    No-one's-home acting by Bierko and Mol doesn't help, while the talented D'Onofrio ("The End of the World") and Mueller-Stahl (a veteran of European pictures) are better than the material.
    • 47 Metascore
    • 50 Walter Addiego
    Its examination of identity and loneliness begins to feel like a soap opera season boiled down into one very long episode with too much happening.
    • 41 Metascore
    • 50 Walter Addiego
    That's the real problem with this melodrama. Whether or not you agree with the pacifist message, the presentation is often overwrought and maudlin.
    • 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.
    • 68 Metascore
    • 50 Walter Addiego
    The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.
    • 55 Metascore
    • 50 Walter Addiego
    Good chemistry between the lead actors and nice supporting performances help Friends With Kids survive a formulaic story and just-OK filmmaking.
    • 64 Metascore
    • 50 Walter Addiego
    The idea is intriguing - an inflatable sex doll comes alive and experiences the world with wide-eyed innocence - but Hirokazu Kore-eda's "Air Doll" is only partly successful. The film's poignant depiction of human loneliness is undercut by saccharine notes and a drifting tone.
    • 38 Metascore
    • 50 Walter Addiego
    These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.
    • 45 Metascore
    • 50 Walter Addiego
    Hawke has created a standard-issue, Sundance-friendly indie film that's full of the predictable angst suffered by Manhattan artistic types, but unfortunately the lead characters are both so callow that you finally don't care much about them.
    • 55 Metascore
    • 50 Walter Addiego
    The Eye of the Storm is performed with zest by a fine cast and offers some nicely biting moments but, in the end, falls short of its large ambitions.
    • 65 Metascore
    • 50 Walter Addiego
    There are some compelling performance moments, and it's sad to watch these talented and basically nice people drift apart. But overall the film seems like a collection of bits and pieces, and it's hard to see how it could have much resonance for non-fans.
    • 55 Metascore
    • 50 Walter Addiego
    Congratulations to director Mick Jackson and writers Jerome Armstrong and Billy Ray for liberating themselves from the tedious demands of believability.
    • 70 Metascore
    • 50 Walter Addiego
    It's an apocalyptic ghost story with some eerie images and a surprising turn toward the end, but it bogs down considerably between the good scenes.
    • 45 Metascore
    • 50 Walter Addiego
    Campbell's admirers will probably enjoy the documentary, but I don't think it will do much for anyone else.
    • 69 Metascore
    • 50 Walter Addiego
    It doesn’t really add up, either as a psychological portrait or moral commentary.
    • 55 Metascore
    • 50 Walter Addiego
    Nostalgia for the groves of academe weighs heavily on Liberal Arts, which both exploits and undermines romanticized memories of campus life.
    • 60 Metascore
    • 50 Walter Addiego
    Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.
    • 40 Metascore
    • 50 Walter Addiego
    Never gets the mixture right, lurching between bullet-happy shootouts and overwrought domestic content.
    • 65 Metascore
    • 50 Walter Addiego
    Because he made "Eternal Sunshine of the Spotless Mind" (2004), there will always be high expectations for a new film by Michel Gondry. But while his new movie The We and the I, is intriguing in fits and starts, it isn't in the same league.
    • 57 Metascore
    • 50 Walter Addiego
    Linklater has less success telling a story; time passes amiably, but the film has no center.
    • 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.
    • 62 Metascore
    • 50 Walter Addiego
    It serves up a broad humanistic lesson with absurdism and black comedy more sad than barbed.
    • 76 Metascore
    • 50 Walter Addiego
    Well made, but it's a talkfest that wears its stage origins on its sleeve.
    • 54 Metascore
    • 50 Walter Addiego
    Has an impressive cast and captures some of that era's fuzzy rebelliousness and humanism, but taken on its own the picture is finally thin stuff.
    • 62 Metascore
    • 50 Walter Addiego
    By showing so many examples of his art, the film attests to Giger’s real gift for startling images. But it’s hard not to see, in addition, elements of repetitive adolescent provocation.
    • 62 Metascore
    • 50 Walter Addiego
    You may experience Visitors as more of a sedative than a punch in the guts.

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