Brianna Zigler

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For 49 reviews, this critic has graded:
  • 26% higher than the average critic
  • 2% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

Brianna Zigler's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 90 Showing Up
Lowest review score: 15 He's All That
Score distribution:
  1. Positive: 22 out of 49
  2. Negative: 11 out of 49
49 movie reviews
    • tbd Metascore
    • 50 Brianna Zigler
    For a directorial debut, Aloners showcases Hong Sung-eun as an exciting new voice—hopefully next go around she’ll give us a little more to chew on.
    • 83 Metascore
    • 45 Brianna Zigler
    There’s a reason that Satter knew Winner’s transcript would succeed as a play, but she brings very little that’s new and exciting as a film director of that same narrative.
    • 39 Metascore
    • 25 Brianna Zigler
    Beyond the tepid cultural commentary, the film has few other redeeming qualities.
    • 67 Metascore
    • 45 Brianna Zigler
    Victim/Suspect manages to be at once fascinating, improperly focused and somewhat redundant.
    • 67 Metascore
    • 70 Brianna Zigler
    Ultimately, Sanctuary’s psychology—which I found a bit muddled at times—is less persuasive than the artistry of shifting, gendered dynamics between Hal and Rebecca, and less enthralling than watching Abbott and Qualley play off of one another.
    • 27 Metascore
    • 55 Brianna Zigler
    Fool’s Paradise doesn’t come close to clearing the self-imposed hurdle of matching a Chaplin classic or an Ashby satire. But it does sometimes work as a breezy comedy and a satire-lite of vacuous Hollywood, articulated tenfold by the modern Superhero Franchise Industrial Complex.
    • 61 Metascore
    • 35 Brianna Zigler
    I can’t imagine any child actually enjoying this film, let alone a child who is familiar with and fond of the original animated adaptation.
    • 53 Metascore
    • 40 Brianna Zigler
    It’s not willing to be goofy and gonzo enough for the inanity of its concept, not cool enough for the slick fight scenes it wants to impress you with, and not worthy enough of Cage as Dracula (the real star of this show).
    • 63 Metascore
    • 75 Brianna Zigler
    Beau Is Afraid is very much a black comedy that utilizes well-placed horror techniques–Aster has a solid command of tension and loves to swing his camera to and fro to create a sense of vulnerability. Aster’s direction and sense of humor, the latter of which emerged more prominently in Midsommar, just seem more at home in a comedy.
    • 45 Metascore
    • 20 Brianna Zigler
    Paint is interested in the meme of the man. As the old proverb goes: A funny meme does not a feature film make.
    • 53 Metascore
    • 45 Brianna Zigler
    Inside‘s concept holds creative possibility, yes, but without much, if any, applied, it’s just a guy stuck in an apartment for 105 minutes, going through various stages of disbelief, acceptance, mania, determination and setback as days, weeks and months go by, and desperation becomes more of a necessity than a last resort.
    • 40 Metascore
    • 35 Brianna Zigler
    Beck and Woods seem to have an entirely misguided conception of what people love about B-movies in the first place and, like A Quiet Place, 65 flounders in this middle ground because it won’t commit to being a genre film.
    • 63 Metascore
    • 85 Brianna Zigler
    Released a little under two years since Shyamalan’s previous film, Knock at the Cabin plays like an old dog who learned new tricks. It’s a sharper, more propulsive and formally exciting dramatic thriller that has far fewer disappointments in storytelling and visuals than 2021’s Old while revisiting and expanding upon familiar themes of family that Shyamalan has explored his entire career.
    • 79 Metascore
    • 58 Brianna Zigler
    Since the quality of documentaries tends to hinge on how compelling its subject matter is, A House Made of Splinters is further complicated by the fact that Wilmont’s filmmaking is largely perfunctory. Thus its draw leans almost entirely on the children and their tattered lives. In this way it does feel a touch exploitative, even if the goal is to shine light on an overlooked, ongoing tragedy.
    • 74 Metascore
    • 82 Brianna Zigler
    Armageddon Time is a thoughtful examination of one’s own limited perspective of whiteness, expounding upon how a young child’s naivete can be as dangerous as a direct act of prejudice.
    • 84 Metascore
    • 73 Brianna Zigler
    While not Park’s best work, nor a masterpiece, Decision to Leave is an extravagant and hopelessly romantic thriller that weaves past and present into something entirely its own.
    • 74 Metascore
    • 56 Brianna Zigler
    Bones and All is a heart-tugging portrait of wayward spirits searching for belonging that deadens the genre of cannibal horror into digestible, prestige-glossy arthouse.
    • 80 Metascore
    • 75 Brianna Zigler
    As a story about a mother and daughter trying to move on from old wounds and contextualize their relationship, the film is perfectly adequate. But as a film watched on a chilly, damp fall day—not unlike the day I write this review—with a mug of hot cider, the coziest pajamas and Halloween just a few weeks away, I could not ask for anything better.
    • 63 Metascore
    • 53 Brianna Zigler
    In reality, Triangle of Sadness is neither as smart nor as interesting as it clearly thinks it is.
    • 84 Metascore
    • 90 Brianna Zigler
    In her fourth collaboration with Reichardt, Williams is better than ever. Possibly overdone in beleaguered, regular-woman makeup this time around, Williams still best showcases just how lived-in of an actress she can be in Reichardt’s work.
    • 78 Metascore
    • 67 Brianna Zigler
    Girl Picture is sweet, tender, and frequently amusing: a love letter to that time we ache to leave in the rearview mirror but which shapes who we are and how we love more than anything else.
    • 66 Metascore
    • 75 Brianna Zigler
    While countered by a throughline which is a bit on-the-nose—that loss comes for us all, and that what matters is how we choose to live with it—Mothering Sunday still succeeds as a moving, beautifully crafted and sensual period picture.
    • 28 Metascore
    • 50 Brianna Zigler
    While Mother Schmuckers may hit a sweet spot for fans of the delightfully vulgar and distasteful, it reads mostly as a film aiming only to provoke.
    • 30 Metascore
    • 25 Brianna Zigler
    A far cry from Bates’ elegant 2012 bloodbath Excision, King Knight is a mostly insipid, overlong sitcom episode not worth tuning in for.
    • 70 Metascore
    • 65 Brianna Zigler
    Sundown is not a sunny film, it’s true. It’s deeply nihilistic and unpleasant, and even a bit silly. But Franco’s film is nonetheless a warped and fascinating take on class as it ties to egotism.
    • 44 Metascore
    • 25 Brianna Zigler
    Clean is irrefutably, deliciously bad. But there is something unironically beautiful about movies that are just plain awful, movies that dare to provoke your senses at all instead of simply sating them with something pleasant and “competent enough.”
    • 44 Metascore
    • 35 Brianna Zigler
    The King’s Man is an off-putting installment in a series that should have already ended.
    • 49 Metascore
    • 45 Brianna Zigler
    As is, Don’t Look Up is an exhausting and meandering “What if? But also, what now?” If the world really is going to end in my lifetime, these were 145 minutes that I’m never getting back.
    • 59 Metascore
    • 70 Brianna Zigler
    Still, House of Gucci would not be what it is without the sheer weight of Lady Gaga’s portrayal of Patrizia, a woman who wants to “have it all” and then some.
    • 63 Metascore
    • 60 Brianna Zigler
    Jones suffuses slow-burn tension, disturbing visual elements and murky folk horror into a film that’s foundation rests on creeping uncertainties—making The Feast pleasantly obscure and occasionally quite upsetting.

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