For 355 reviews, this critic has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 9.9 points lower than other critics. (0-100 point scale)

Benjamin Lee's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Moonlight
Lowest review score: 20 The Girl in the Photographs
Score distribution:
  1. Positive: 75 out of 355
  2. Negative: 27 out of 355
355 movie reviews
    • 58 Metascore
    • 80 Benjamin Lee
    Fall is the rare three-drinks-in “what if?” elevator pitch that somehow survived the journey to the big screen, made with unusual precision and punch.
    • 71 Metascore
    • 60 Benjamin Lee
    We didn’t need a Predator prequel (have we ever really needed any prequel?) but Prey is a nimble beast, far nimbler than it could have been and while it’s not quite enough to make us crave more from a franchise that’s already given us too much, it’s enough to justify the journey way back.
    • 69 Metascore
    • 60 Benjamin Lee
    Whodunnits require so many moving parts to be expertly placed and played with, and, ultimately, the script isn’t as sleek as it needs to be with a board as ambitious as this. The game is a fun one, but you might feel a little cheated once it’s over.
    • 66 Metascore
    • 40 Benjamin Lee
    When a writer-director of some undeniable talent throws so much at the wall, it’s inevitable that elements will stick and in Vengeance, there’s just about enough to make us curious to see what happens when Novak learns to tighten his focus. Vengeance is less the film we need right now and more the one he thinks we do but hopefully next time, he’ll figure out how to make something we want instead.
    • 54 Metascore
    • 40 Benjamin Lee
    Even before the dramatic left turn, all the way over the cliff and into flames, this ho-hum road trip comedy drama was already hard to like, an unspecific sitcom of eye-rolls and finger-wagging.
    • 70 Metascore
    • 80 Benjamin Lee
    While Mrs Harris Goes to Paris is far lighter fare and at times so light that it threatens to drift away, Manville is determined to keep it grounded, a deft balance of dramatic heft and comic levity that not many other actors could employ quite so seamlessly.
    • 52 Metascore
    • 40 Benjamin Lee
    There’s a whiff of the plane movie emanating from ho-hum Paramount+ comedy Jerry and Marge Go Large, an acceptable half-awake diversion when one has run out of other, better options in the sky but something that’s a little harder to justify on the ground.
    • 65 Metascore
    • 60 Benjamin Lee
    There’s nothing particularly remarkable about Father of the Bride 2022 (was there ever really going to be?) but it’s a far better, and smoother, film than one would expect from the outset, a streaming premiere made with such confidence that it surely deserved a big-screen run.
    • 51 Metascore
    • 60 Benjamin Lee
    While it’s not going to make a star of Pataky or anyone watching a sudden convert to Netflix’s mockbuster oeuvre, it’ll make for a decent summer snack until something better lands.
    • 66 Metascore
    • 60 Benjamin Lee
    It’s not quite on par with Who Framed Roger Rabbit?, the film it undoubtedly wants to be likened to, but it’s infinitely better than it had any right to be.
    • 32 Metascore
    • 20 Benjamin Lee
    No one here seems to know what they’re doing and, more importantly, why. A strong contender for 2022’s most pointless movie.
    • 47 Metascore
    • 40 Benjamin Lee
    Tonally, it’s all over the place, that aforementioned sap curdled together with Wilson’s trademark crudeness, an R-rated comedy that wants to be both sweet and salty, a balance it never manages to perfect.
    • 43 Metascore
    • 40 Benjamin Lee
    [Toby Meakins] doesn’t quite take enough advantage of his reality-shifting game sequences (the Englund voice cameo serves to remind us just how wild Wes Craven made those nightmares way back when) but it’s a cut above the average Netflix genre guff.
    • 52 Metascore
    • 40 Benjamin Lee
    There’s never really enough for the underserved trio of actors to sink their teeth into, although they all manage to coast comfortably enough.
    • 83 Metascore
    • 60 Benjamin Lee
    The journey is slick and diverting, and at times incisive, but Turning Red is yet another Pixar film that coasts rather than glides. Hopefully its next offering can turn into something more.
    • 49 Metascore
    • 60 Benjamin Lee
    Against the Ice is a Danish story flattened for a global audience.
    • 54 Metascore
    • 40 Benjamin Lee
    It’s an airport novel that’s now an airplane movie.
    • 34 Metascore
    • 60 Benjamin Lee
    Against considerable odds, a very, very low bar has been met and then shuffled over with this mostly effective and incredibly nasty update, a jolting little slasher that should repulse and satisfy those with a suitably depraved idea of what they are clicking into.
    • 61 Metascore
    • 40 Benjamin Lee
    Dog
    Dog lovers eager for a dog movie primarily about a dog will be reassured by the knowledge that Dog does feature plenty of dog but they might be a little surprised about what else the film has to offer, an odd and atonal ramble across the US where the dog comes first and plotting comes a long way after.
    • 62 Metascore
    • 60 Benjamin Lee
    It’s a far better version of a romantic comedy than we’re used to streaming of late.
    • 70 Metascore
    • 40 Benjamin Lee
    It has the feeling of a short film stretched beyond its limit, with all that early tension dissipating, and while there’s certainly something jolting about the gonzo violence in the finale, it’s otherwise ineffectual.
    • 79 Metascore
    • 100 Benjamin Lee
    It’s a deft and thrilling conceit, experiencing the highs and lows of life through different people. Stolevski, in a film that feels less like a debut and more a late-stage magnum opus, has found an ingenious vessel to make profound observations on gender, sex and being.
    • 75 Metascore
    • 80 Benjamin Lee
    Ford has a knack for making us sweat without relying on an over-egged score or over-stacked stakes. It’s a genre movie with its feet firmly on the ground, small in scale and tight in focus.
    • 69 Metascore
    • 40 Benjamin Lee
    At a young age, Raiff still remains an exciting up-and-coming film-maker of note and even in his sophomoric slump, there’s enough, coupled with his standout debut, to suggest that better things will come. Hopefully better titles too.
    • 67 Metascore
    • 80 Benjamin Lee
    For those who like their dating movies with a bit of gristle, Fresh is a perfect match.
    • 64 Metascore
    • 40 Benjamin Lee
    It’s a film of people telling themselves they’re making a difference without really doing much of anything and it’s hard not to feel similarly unmoved by the time it’s all over.
    • 40 Metascore
    • 40 Benjamin Lee
    Films such as The 355 live and die by the quality of their action set pieces and while there’s a propulsive pace to the proceedings, there’s never quite enough genuine excitement.
    • 71 Metascore
    • 60 Benjamin Lee
    It’s flawed for sure but still moves with more deftness than most (arriving after Eternals is a blessing for any Marvel film) and there’s an ending that suggests an awareness of its roots (post-credits scene aside), hinting at a promising way forward rather than back. Consider the curse of sorts sort of broken.
    • 70 Metascore
    • 60 Benjamin Lee
    It’s [Del Toro’s] most strikingly beautiful film yet, a velvety, precisely styled noir with the year’s most impressively stacked cast (two Oscar winners and six nominees, all bringing their A game) but its sleek shell is sadly as duplicitous as its untrustworthy conman protagonist, blinding us with dazzle but leaving us tricked.
    • 49 Metascore
    • 40 Benjamin Lee
    It’s pure mass market Christmas cookie cutter stuff that’s only made vaguely interesting in very short bursts because of its queerness.

Top Trailers