Walter Addiego

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For 543 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 0.3 points higher than other critics. (0-100 point scale)

Walter Addiego's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Rescue Dawn
Lowest review score: 0 Deck the Halls
Score distribution:
  1. Negative: 48 out of 543
543 movie reviews
    • 43 Metascore
    • 50 Walter Addiego
    There’s lots of eye candy, and the pace is fast, but somehow the movie falls short. You’re forgiven if you get the idea that “Scorch Trials” suffers from “middle movie” fatigue.
    • 72 Metascore
    • 50 Walter Addiego
    To be sure, Censored Voices can hardly be seen as anything but a political document, one that shares Oz’s views.
    • 63 Metascore
    • 50 Walter Addiego
    A melancholy Spanish drama that’s competently made and checks off all the boxes defining a contemporary art-house movie. But it lacks the spark that separates top-of-the-line films from the pack, and watching it becomes something of a slog.
    • 73 Metascore
    • 50 Walter Addiego
    The film is well acted, with especially strong work by Alonso and Zegers. And director Larraín has a powerful knack for depicting human monsters. But he stacks the deck so heavily that at times the film can seem like simple-minded anti-clericalism, and at least some viewers are bound to resist.
    • 49 Metascore
    • 50 Walter Addiego
    There’s nothing wrong with stretching audience credibility, but, to quote another movie that dabbles in the highly improbable, these things must be done delicately.
    • 80 Metascore
    • 50 Walter Addiego
    So there’s talent on view here, but in service of a questionable proposition, with the whole thing tiptoeing toward the exploitative. It would be nice to see Mascaro try his hand at less volatile material.
    • 84 Metascore
    • 50 Walter Addiego
    What Laika achieves is an effective mixture of hyper-real and hyper-stylized, a combination that keeps “Kubo” appealing to the eye for audiences of all ages. If the film’s plotting and dialogue had measured up, “Kubo” might have been a masterpiece.
    • 75 Metascore
    • 50 Walter Addiego
    In short, a nice, predictable film unlikely to linger in the memory.
    • 69 Metascore
    • 50 Walter Addiego
    It doesn’t really add up, either as a psychological portrait or moral commentary.
    • 59 Metascore
    • 50 Walter Addiego
    The film is sprinkled with “f” bombs, which fails to disguise that the enterprise is based on a surprisingly dated notion of what’s racy. Also, you simply may not find Bridget quite as adorable as the filmmaker’s clearly believe her to be.
    • 47 Metascore
    • 50 Walter Addiego
    Despite highly enjoyable moments and the welcome presence of Kate Winslet, even sympathetic viewers will be put off by the movie’s bewildering variety of genres and tones.
    • 69 Metascore
    • 50 Walter Addiego
    Do Not Resist amounts to little more than a grab bag. Viewers looking for depth will have to find it elsewhere.
    • tbd Metascore
    • 50 Walter Addiego
    Ovation has a self-involved air that may be off-putting to those who don’t feel deeply immersed in that world. You may get the sense you’ve wandered into a super-intense acting class or someone’s therapy session — a hothouse atmosphere that’s oppressive.
    • 50 Metascore
    • 50 Walter Addiego
    It’s always fun to watch the charismatic Bernal.
    • 51 Metascore
    • 50 Walter Addiego
    Far too precious and eager to please to really deserve its self-description as a fairy tale.
    • 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.
    • 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.
    • 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.”
    • 68 Metascore
    • 50 Walter Addiego
    It’s all so heavy-handed that it’s hard to stay engaged with the movie.
    • 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.”
    • 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.
    • 78 Metascore
    • 50 Walter Addiego
    Mainly for those who already know and like Jodorowsky’s work.
    • 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.
    • 49 Metascore
    • 50 Walter Addiego
    A misfire.
    • 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.
    • 43 Metascore
    • 50 Walter Addiego
    A weakly performed rehash of master-slave role-reversal tales.
    • San Francisco Examiner
    • 48 Metascore
    • 50 Walter Addiego
    It seems like another misstep - the story just doesn't hold up to Ritchie's treatment.
    • San Francisco Examiner
    • 73 Metascore
    • 50 Walter Addiego
    Capably made but simplistic story.
    • 54 Metascore
    • 50 Walter Addiego
    By casting model-turned-actress (and his now-estranged wife) Milla Jovovich as the Maid of Orleans, Besson gives us an over-amped spectacle with an annoying, sometimes ridiculous cipher at its heart.
    • 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.

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