For 72 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Xan Brooks' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Master
Lowest review score: 20 A Fantastic Fear of Everything
Score distribution:
  1. Positive: 34 out of 72
  2. Negative: 1 out of 72
72 movie reviews
    • 60 Metascore
    • 80 Xan Brooks
    It’s a work of startling maturity from this incorrigible tearaway, a minor-key dream that finally turns towards darkness.
    • 67 Metascore
    • 80 Xan Brooks
    The Hunger Games is that rarest of beasts: a Hollywood action blockbuster that is smart, taut and knotty. Ably filleted from the Suzanne Collins bestseller, it's a compelling, lightly satirical tale.
    • 76 Metascore
    • 80 Xan Brooks
    A glorious jumping bean comedy that moves from the profane to the poignant in the blink of an eye.
    • 78 Metascore
    • 80 Xan Brooks
    The Dark Knight Rises may be a hammy, portentous affair but Nolan directs it with aplomb. He takes these cod-heroic, costumed elements and whisks them into a tale of heavy-metal fury, full of pain and toil, surging uphill, across the flyovers, in search of a climax.
    • 73 Metascore
    • 60 Xan Brooks
    It's a professional old-school espionage outing, intricate as clockwork and acted with relish by the ever-watchable Hoffman. But it remains an oddly anonymous enterprise from this talented and distinctive director.
    • 72 Metascore
    • 60 Xan Brooks
    [Clint Eastwood's] gripping, incurious film gives the impression of having not so much been directed as dictated. It stares so fixedly down the rifle sight that it is finally guilty of tunnel vision.
    • 72 Metascore
    • 60 Xan Brooks
    Amalric's handling is cool, studied and perhaps a little self-conscious. But he does a good job of showing how adultery is a noose that tightens at the throat even before an actual crime is committed - at which point the film grows altogether less interesting.
    • 81 Metascore
    • 60 Xan Brooks
    All of which works terrifically well up to a point.
    • 57 Metascore
    • 60 Xan Brooks
    Perhaps this tells us nothing new about life on the inside in the US (there are rapes, riots and suicides), but it at least handles its brief with pace and precision.
    • 45 Metascore
    • 60 Xan Brooks
    This hoary, hackneyed old cop-opera...is served with such relish that the fun proves infectious.
    • 69 Metascore
    • 60 Xan Brooks
    Sit in the front – and don't peer too hard – and Chicken With Plums casts an undeniable spell. It is bold, exotic and distinctive, particularly during the animated angel of death sequence.
    • 77 Metascore
    • 60 Xan Brooks
    Full credit to the film-makers, who manage to map their digital bear against his human co-stars and marry Bond’s antique conceit to a high-concept story.
    • 75 Metascore
    • 60 Xan Brooks
    In keeping with the spirit of Sebald's writing, Gee's film is teasing, elegant and perhaps inevitably unresolved: an invitation as opposed to a destination.
    • 62 Metascore
    • 60 Xan Brooks
    A sweet yet suspect romantic drama.
    • 57 Metascore
    • 60 Xan Brooks
    If Rise of the Guardians is finally never more than the sum of its parts, the parts themselves have real appeal.
    • 63 Metascore
    • 60 Xan Brooks
    The Congress contains tricks aplenty and ideas in abundance. The problem comes in herding these scattered, floating elements towards a satisfying whole.
    • 50 Metascore
    • 60 Xan Brooks
    The film has a ragged charm, a Tiggerish bounce, and a certain sweet melancholy that bubbles up near the end.
    • 83 Metascore
    • 60 Xan Brooks
    A gorgeous yet ultimately frustrating tribute to the Japanese airplane designer Jiro Horikoshi.
    • 58 Metascore
    • 60 Xan Brooks
    Satrapi's disreputable little creepshow finally doesn't amount to a hill of beans. Maybe that's fine. The Voices provides an enjoyably trashy antidote to the traditional Sundance fare of soulful drama and crusading documentary.
    • 58 Metascore
    • 60 Xan Brooks
    God Help the Girl comes loose and easy, verging on the slipshod. It's warm and generous, verging on the sentimental; a film that crystallises the best and worst of Belle and Sebastian's songwriting skills.
    • 51 Metascore
    • 60 Xan Brooks
    If the film finally doesn't tell us anything we did not already know, the approach makes a worn-out old tragedy feel supple and urgent.
    • 57 Metascore
    • 60 Xan Brooks
    While Benson treats his characters with care and respect, his depiction of grief can feel studied and not felt.
    • 88 Metascore
    • 60 Xan Brooks
    There’s no doubt it makes for a jubilant ride, a galvanic first blast. But it remains a film which feels deeply thought rather than deeply felt; a brilliant technical exercise as opposed to a flesh-and-blood story.
    • 64 Metascore
    • 60 Xan Brooks
    How ironic to realise that the greatest Mitt Romney campaign ad should arrive too late to save him.
    • 52 Metascore
    • 40 Xan Brooks
    The film is listing, overladen with cheap trinkets. Dogged, heartfelt acting works hard to prop it up.
    • 36 Metascore
    • 40 Xan Brooks
    This is a lazy, trashy film that barely goes through the motions.
    • 50 Metascore
    • 40 Xan Brooks
    Little White Lies unspools as glossy, high-grade tosh, a sun-dappled Big Chill, without the rigour or insight required to make you care about these people and wonder which bed they will eventually wind up in.
    • 54 Metascore
    • 40 Xan Brooks
    Sattler's film leans on its actors too heavily. It heaps too many implausibilities upon their trembling shoulders. After an hour in Camp X-Ray, the strain starts to show.
    • 37 Metascore
    • 40 Xan Brooks
    The spirits fly in and out of The Lone Ranger at random. It's nice to see them come and go. I just wish they'd stay for longer.
    • 57 Metascore
    • 40 Xan Brooks
    It has been converted into a proficient, machine-tooled horror flick, stuffed full of shocks and buttressed with back-story. Mama got so flabby the second time around.

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