Brianna Zigler

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For 28 reviews, this critic has graded:
  • 28% higher than the average critic
  • 0% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Brianna Zigler's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 90 The Green Knight
Lowest review score: 15 He's All That
Score distribution:
  1. Positive: 14 out of 28
  2. Negative: 7 out of 28
28 movie reviews
    • 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.
    • 43 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.
    • 68 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.
    • 63 Metascore
    • 60 Brianna Zigler
    The Electrical Life of Louis Wain can’t quite live up to its magnetic subject, but it’s still a warm celebration of a renegade artist and revolutionary forbearer of the funny cat video.
    • 57 Metascore
    • 45 Brianna Zigler
    Antlers is a film that, not unlike most of its ilk, wants to be an overstuffed analogy for hot-button issues first, and a horror film second. Unfortunately, it can’t seem to get either right.
    • 67 Metascore
    • 88 Brianna Zigler
    Ridley Scott directing a grand, riveting medieval epic that doubles as an analysis of gender dynamics might be unexpected, but The Last Duel manages to effortlessly combine Scott’s action sensibilities with an empathetic thread between the past and present.
    • 85 Metascore
    • 70 Brianna Zigler
    What Do We See When We Look at the Sky? is an apt, simple fable that feels somewhat hopeful for our modern world—one where evil wins, but love overcomes.
    • 93 Metascore
    • 80 Brianna Zigler
    With a gentle touch, Sciamma crafts a profound, easily digestible film that takes heavy themes and makes them bite-sized. She looks at the way we speak to one another, and to ourselves, at every age, and how these conversations are inevitably dulled in the schism between a child and their parent.
    • 89 Metascore
    • 75 Brianna Zigler
    It’s easy to find yourself so wrapped up in the austere unease of Campion’s first feature in over a decade that one might fully overlook the obviousness laden in Peter’s opening words, and uncertainty as to the film’s overt approach to its subject material is recurrent.
    • 74 Metascore
    • 85 Brianna Zigler
    The film becomes a wry showcase for the director’s evolution as a creative who has been refining an unparalleled style for over two decades, with a sharper humor but without the more deeply felt pulse of films like The Darjeeling Limited, Fantastic Mr. Fox or most recently, and most effectively, The Grand Budapest Hotel.
    • 87 Metascore
    • 70 Brianna Zigler
    The Velvet Underground will leave one less acquainted with the band with an incomplete picture in mind, but it’s unfair to say that the film is only for true enthusiasts. Instead, Haynes is interested in capturing a mood: A feeling of creative interconnectedness, of change, innovation and of a revolving door of people and art that will never again be replicated.
    • 82 Metascore
    • 55 Brianna Zigler
    Vortex, while visually captivating, only functions as a window through which to look at death detached from the beauty of life.
    • 90 Metascore
    • 80 Brianna Zigler
    Joachim Trier’s The Worst Person in the World is as indecisive as its endlessly curious heroine, but it is an invigorating, exceedingly kind portrait conveying that the journey is just as—if not more—crucial as the place we end up.
    • 75 Metascore
    • 85 Brianna Zigler
    Titane is not just 108 bloody minutes of bodily mutilation and perversion, but of blazing chaos inherent in our human need for acceptance. Ducournau has wrapped up this simple conceit in a narrative that only serves to establish her voice as one which demands our attention, even as we feel compelled to look away.
    • 36 Metascore
    • 15 Brianna Zigler
    He’s All That is, yes, a nightmarish, joyless commentary on influencer-beholden adolescence told through the crutch of nostalgia and starring a charisma-less TikTok star, but it’s hard to know if one is merely an example of “Old Man Yells at Cloud” or if the teenagers of today are truly living in a Hell on Earth
    • 73 Metascore
    • 70 Brianna Zigler
    Val
    As can be said of its real-life subject, Val is moving, inspiring, funny and fractured. It’s a look at the man and an expansion of the myth, revealing just as much as it continues to obscure.
    • 61 Metascore
    • 35 Brianna Zigler
    A completely detached exercise in bewilderment that’s enigmatic nature comes off less Lynchian and more “unfinished scriptian,” director Pascual Sisto’s feature debut aims for intrigue but settles comfortably in mediocrity.
    • 85 Metascore
    • 90 Brianna Zigler
    David Lowery’s The Green Knight is a modern reckoning with a medieval fable. It’s a haunting, confounding, surprisingly erotic fantasy epic; a confrontation between man and nature, nature and religion, man and himself.
    • 55 Metascore
    • 72 Brianna Zigler
    Old
    Old is not Shyamalan’s best film, nor is it the best film so far this summer, but it’s both a chilling summer escape and an empathetic reminder that other people are working against us as just as quickly as time, when all we have in our time left is each other.
    • 36 Metascore
    • 25 Brianna Zigler
    The story isn’t necessarily awful, but it’s mostly boring, stretching itself out to an unwieldy 115 minutes.
    • 76 Metascore
    • 60 Brianna Zigler
    Regardless of whether or not Soderbergh once again made iPhone filmmaking look more visually elegant than most modern Hollywood blockbusters, No Sudden Move suffers from low stakes and a disconnect from the world of our characters.
    • 38 Metascore
    • 15 Brianna Zigler
    It is obnoxious, overlong, annoying and, above all, deeply unfunny.

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