Andrew Barker

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For 212 reviews, this critic has graded:
  • 40% higher than the average critic
  • 8% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 9.6 points lower than other critics. (0-100 point scale)

Andrew Barker's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Never Rarely Sometimes Always
Lowest review score: 0 Mother's Day
Score distribution:
  1. Positive: 73 out of 212
  2. Negative: 33 out of 212
212 movie reviews
    • 72 Metascore
    • 80 Andrew Barker
    The eighth entry in Disney’s eco-minded Disneynature series, Monkey Kingdom may well be its cheekiest, funniest and most purely entertaining.
    • 69 Metascore
    • 70 Andrew Barker
    Boyle keeps the wheels churning nicely for the most part, and the climax ratchets up the pic’s sense of urgency without loosening its bearings.
    • 62 Metascore
    • 80 Andrew Barker
    At times there’s a genuine sense of daring to the film’s freewheeling anarchy, its refusal to stick to a central theme or impart any sort of lesson.
    • tbd Metascore
    • 30 Andrew Barker
    It’s easy to see a skewed argument in the making.
    • 30 Metascore
    • 30 Andrew Barker
    The film’s initial formulaic competence gives way to outright preposterousness rather quickly, hinging on idiot-plot character motivations.
    • 68 Metascore
    • 60 Andrew Barker
    The film is an intriguing story passionately told, shot through and through with activist zeal, although a greater deal of distance might have allowed it to make a stronger case.
    • 73 Metascore
    • 60 Andrew Barker
    This tart, sexually frank portrait of a disintegrating relationship — and its long, bitter aftermath — packs plenty of punch in its best scenes, but it also frequently tests audience patience with its relentless deadpan affectlessness and insistence on leaving no Brooklyn cliche unmined.
    • 36 Metascore
    • 50 Andrew Barker
    Sporadically very funny, mostly very tedious, and sometimes truly vile, this 18-years-too-late sequel nonetheless exhibits a certain puerile purity of purpose.
    • 72 Metascore
    • 70 Andrew Barker
    Thoroughly modern without being ostentatious about it, and featuring excellent performances from Kate Lyn Sheil and John Gallagher Jr., the film boasts pleasures more formal than narrative.
    • 56 Metascore
    • 60 Andrew Barker
    While the film’s last two acts begin to deepen its characters in generally satisfying ways, You’re Not You throws down its initial gauntlet with an off-putting lack of subtlety.
    • 12 Metascore
    • 10 Andrew Barker
    With a “Sharknado”-inspired visual style and a deeply weary lead performance from Nicolas Cage, Left Behind is cheap-looking, overwrought kitsch of the most unintentionally hilarious order.
    • 60 Metascore
    • 80 Andrew Barker
    The film taps into far deeper, richer veins of material than it has the time to properly mine. It’s nonetheless a flinty, brainy, continually engrossing work that straddles the lines between biopic, political thriller and journalistic cautionary tale, driven by Jeremy Renner’s most complete performance since The Hurt Locker.
    • 66 Metascore
    • 70 Andrew Barker
    Unsatisfying on a musical level, it’s nonetheless a well-acted, sporadically impressive piece of filmmaking.
    • 57 Metascore
    • 60 Andrew Barker
    Too formally well crafted to be dismissed, but too straightforward and uncurious to be particularly exciting or insightful.
    • 80 Metascore
    • 90 Andrew Barker
    A wonderfully innervating cure for the common musical biopic, Bill Pohlad’s Love & Mercy vibrantly illuminates two major breakthroughs — one artistic, one personal — in the life of the Beach Boys’ Brian Wilson.
    • 81 Metascore
    • 80 Andrew Barker
    Hansen-Love, who co-wrote the script along with her former-DJ brother Sven, zeroes in on the signature experiences of ’90s club life with expert precision.
    • 23 Metascore
    • 20 Andrew Barker
    The result is a slow-motion zeppelin crash that starts as a dull-edged fable, and then spirals further and further out of control without ever growing more exciting or interesting.
    • 52 Metascore
    • 50 Andrew Barker
    Its translation from stage to screen looks to have been a bit rocky, and the film never manages to transcend its actors-workshop aura and develop into something deeper.
    • 18 Metascore
    • 10 Andrew Barker
    [A] ruthlessly unfunny misfire.
    • 19 Metascore
    • 30 Andrew Barker
    The action sequences are competently directed, but exhibit virtually no flair or invention.
    • 38 Metascore
    • 30 Andrew Barker
    Runs through spy-movie cliches with such dogged obligation that it often plays like a YouTube compilation of scenes from older, better thrillers, generating little overall tension and only occasionally approaching basic coherence.
    • 51 Metascore
    • 50 Andrew Barker
    Maria Sole Tognazzi’s ultra-sedate romantic comedy A Five Star Life is full of aesthetic sophistication and luxurious ambiance, but its pleasures are all secondhand, and the whole endeavor is too starved of incident to really stick in the memory.
    • 30 Metascore
    • 30 Andrew Barker
    A splashy-looking yet depressingly empty exercise that is never more shallow than the times when it tries to go deep.
    • 40 Metascore
    • 40 Andrew Barker
    Deliver Us From Evil is a professionally assembled genre mashup that’s too silly to be scary, and a bit too dull to be a midnight-movie guilty pleasure.
    • 54 Metascore
    • 50 Andrew Barker
    As handsome as his compositions are, Eastwood’s filmmaking simply doesn’t have the snap or the feel for rhythm that the script’s rapid-fire theatrical patter requires, and the relative dearth of prominent musical performances turns what could have been a dancing-in-the-aisles romp into a bit of a slog.
    • 43 Metascore
    • 50 Andrew Barker
    Muniz uncovers a raft of intriguing people and stories, with subjects ranging from sports to astrophysics, gender politics, history and developmental psychology, but he never sits still with them long enough to ask any probing questions, and the film never arrives at any real point.
    • tbd Metascore
    • 70 Andrew Barker
    The footage on display here is voluminous and intimate, briskly edited together in a sort of studiously haphazard way that syncs up perfectly with Madlib’s far-reaching soundtrack mix.
    • 69 Metascore
    • 70 Andrew Barker
    Director Josh Boone is hardly the most distinctive cinematic stylist, but he’s smart enough to let his scenes linger for a few beats longer than most mainstream directors would, and seems to trust his actors to carry their own dramatic weight.
    • 56 Metascore
    • 50 Andrew Barker
    Uncertain of tone, and bearing visible scarring from what one imagines were multiple rewrites, the film fails to probe the psychology of its subject or set up a satisfying alternate history, but it sure is nice to look at for 97 minutes.
    • 31 Metascore
    • 40 Andrew Barker
    Blended suffers from a fundamental lack of trust in its audience, following every unexpectedly smart exchange with a numbskull pratfall or one-liner, and every instance of genuine sincerity with an avalanche of schmaltz.

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