Charles Bramesco

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For 109 reviews, this critic has graded:
  • 33% higher than the average critic
  • 0% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 13.2 points lower than other critics. (0-100 point scale)

Charles Bramesco's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 High Life
Lowest review score: 0 Jersey Shore Massacre
Score distribution:
  1. Positive: 29 out of 109
  2. Negative: 28 out of 109
109 movie reviews
    • 62 Metascore
    • 20 Charles Bramesco
    Here, we can find a damning summary of modern Hollywood’s default mode – a nostalgia object, drained of personality and fitted into a dully palatable mold, custom-made for a fandom that worships everything and respects nothing.
    • 68 Metascore
    • 67 Charles Bramesco
    There’s a system incompatibility error with the dominant bestie metaphor that leaves the film’s stance on Big Gizmo garbled.
    • 80 Metascore
    • 80 Charles Bramesco
    Campbell’s fearlessness, in both her abrasion and the fragile humanity behind her chaos, helps strike this delicate balance.
    • 40 Metascore
    • 35 Charles Bramesco
    On film, this story’s foundation of cynical button-pushing is laid bare.
    • 61 Metascore
    • 42 Charles Bramesco
    Never lacking in earnestness or vigor, she nonetheless teeters over the lines separating introspection from navel-gazing and the raw from the simply underdone.
    • 61 Metascore
    • 83 Charles Bramesco
    Carnahan’s formal proficiency makes for a more sharpened and accomplished piece of work than many modern counterparts attempting to draw from the same well of cheap-o homage. That sense of precision doesn’t detract from the down-and-dirty fun, either; everyone on screen appears to be having the time of their lives gnawing on the rare slab of beef they’ve been thrown.
    • 70 Metascore
    • 75 Charles Bramesco
    Frammartino handles the collision between a vanishing then and the encroaching now with a light touch, mournful yet not quite damning.
    • 51 Metascore
    • 60 Charles Bramesco
    If only they’d put fuller faith in the true nature of their premise, and leaned all the way into the kookier side of body horror. Instead of trying for the sophistication of Cronenberg and coming up short, they’d be better off embracing the near-absurdity of lower-rent cult objects like Basket Case from the start.
    • 54 Metascore
    • 80 Charles Bramesco
    Mohan handles his audience with care, diligence, attentiveness, creativity, smoldering passion – the mind positively swims with sexual metaphors. That’s the headspace in which this film leaves us: a well-made gutter we haven’t had the chance to visit for far too long.
    • 47 Metascore
    • 33 Charles Bramesco
    Even if the combat choreography that made this vein of cinema so popular is up to snuff, and Winstead does handle her steps ably even as her character breaks down, this film should aspire to be more than a delivery system for a few solid shootouts.
    • 72 Metascore
    • 75 Charles Bramesco
    The thread connecting the finest shorts — Panahi, Poitras, and Joe — is adaptation, the willingness to alter form to match the challenge at hand. Those able to refit their already-developed technique to a new set of standards don’t just get the best results. In their undaunted, humble determination to continue, they embody the present zeitgeist with more fidelity than a thousand post-mortems.
    • 36 Metascore
    • 42 Charles Bramesco
    While Blomkamp does have one impressive CGI trick up his sleeve, he totally drops the ball on the narrative end of things.
    • 61 Metascore
    • 40 Charles Bramesco
    In the leading role as the queen of soul, Jennifer Hudson comports herself as well as could be hoped considering the material she’s been given, which demands that she reinvigorate a rote character arc with her own passions.
    • 48 Metascore
    • 42 Charles Bramesco
    The quality of the fight sequences, the main criterion by which we judge a Van Damme picture, tops out at competency; only a showdown incorporating a whipped wet towel recalls the inventive creativity of his strongest work.
    • 85 Metascore
    • 80 Charles Bramesco
    David Lowery’s complex, visually sumptuous and uncommercial tale of Arthurian legend revels in upending expectations.
    • 43 Metascore
    • 40 Charles Bramesco
    The script’s attempts at wisdom amount to little more than dime-store platitudes, and the internecine turmoil of the Arashikage clan never comes close to anything like emotional heft.
    • 72 Metascore
    • 83 Charles Bramesco
    He’s not quite deconstructing the gangster picture, but he succeeds in draining all its allure.
    • 36 Metascore
    • 20 Charles Bramesco
    The core issues of the film – its numbing swirls of rainbow light popping out every which way, the excruciating pop-culture catchphrases passed off as humor, LeBron’s stilted, if game, acting, the half-assedness with which it delivers the dusty moral to be yourself, the fact that it is unaccountably one half-hour longer than its predecessor – all seem minor in comparison with the insidious ulterior intentions that power this fandom dynamo.
    • 73 Metascore
    • 58 Charles Bramesco
    Scott and Poo have seized on one substantive idea in their portraiture of a singular personality reduced to a caricature of himself by posterity and duly reveal the sensitive artiste who always aspired to more than “Top Gun.” If only they did so with less straightforwardness and more authorial license.
    • 76 Metascore
    • 80 Charles Bramesco
    The overstuffed, better-keep-up narrative suits the film’s purposes, occupying audience attentions to leave them unprepared for the nimble writing’s assorted baits and switches.
    • 38 Metascore
    • 40 Charles Bramesco
    Under Callaham’s inelegant pen, the characters all speak in this overexcited 13-year-old’s vernacular, prone to F-bombs and dick-talk.
    • 53 Metascore
    • 40 Charles Bramesco
    Hart comports himself with a more dialed-back version of the jittery everyman affability he’s developed over decades in the comedy circuit, a schtick that reads as just that – a pose, a well-honed affectation. There is an immense and documentable falseness at the core of his performance that drags down the salvageable movie all around it, far from the redemption arc clincher his handlers may have had in mind.
    • 81 Metascore
    • 58 Charles Bramesco
    A scattered but likable jumble, the film has a thoughtful manner more than it has actual thoughts, much like the trio of quasi-intellectuals joining forces with Markus.
    • 49 Metascore
    • 40 Charles Bramesco
    Berman and Pulcini bank on suspense, despite a queasy inevitability being the strongest thing this retread of the familiar has going for it.
    • 87 Metascore
    • 83 Charles Bramesco
    While Andersson has continued in his signature style for this coda, erecting pallid beige-and-grey backlot dioramas with a painterly eye for crowded composition, he repurposes the technique toward a newfound elegiac, gentle register.
    • tbd Metascore
    • 0 Charles Bramesco
    Loeb mostly tamped down the lunacy endemic to an obscure corner of choir-preaching moviedom, and for what? No critical mind runs the risk of mistaking this partisan broadside for innocent edutainment.
    • 46 Metascore
    • 50 Charles Bramesco
    The difficult negotiations of childrearing might have been a fine subtext—something to occupy the attention of parents in the audience—for a comedy so unmistakably family-oriented in tone. But in Yes Day, that element of the story is less of a side dish served for a more mature palate than the whole entrée.
    • 71 Metascore
    • 42 Charles Bramesco
    The lackluster Little Fish banks on the automatic pathos of its subject matter, unaware that such delicate material actually requires greater skill and finesse to pull off, now more than ever. Rather than imbuing this unintended commentary with a cathartic charge, its proximity to reality accentuates the air of inauthenticity.
    • 85 Metascore
    • 80 Charles Bramesco
    Business as usual has largely resumed in Wuhan, but Wang’s film contends that that’s just the problem. The same apparatuses of messaging and censorship are still in operation, ensuring that the full extent of the malfeasance may never be fully known
    • 77 Metascore
    • 91 Charles Bramesco
    Rankin’s ambitious thesis on how idiocy, horny neuroses, and pure chance come to sculpt the geopolitical narrative never gets bogged down by the social-studies minutia. He throws one dazzling diversion after another at his audience.

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