For 113 reviews, this critic has graded:
  • 32% higher than the average critic
  • 0% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 10.4 points lower than other critics. (0-100 point scale)

Dan Callahan's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Amazing Grace
Lowest review score: 0 Flower
Score distribution:
  1. Positive: 30 out of 113
  2. Negative: 12 out of 113
113 movie reviews
    • tbd Metascore
    • 30 Dan Callahan
    18 ½ attempts to be part cloak-and-dagger thriller, part romantic comedy, part screwball comedy, and part mood piece, and its plotting is slapdash, to say the least.
    • 49 Metascore
    • 50 Dan Callahan
    Unfortunately, the second half of Firebird is far less involving than the first.
    • 66 Metascore
    • 50 Dan Callahan
    The first hour or so of Mothering Sunday can be very enjoyable because Husson (“Girls of the Sun”) does not take what little narrative there is too seriously and instead dedicates herself to making O’Connor into the most attractive possible love object for her camera.
    • 89 Metascore
    • 60 Dan Callahan
    The conclusion of Great Freedom manages to finesse the flaws of the movie, and it winds up feeling genuinely tragic.
    • 66 Metascore
    • 40 Dan Callahan
    The most serious problem in The Sky Is Everywhere is that Nelson’s screenplay has Lennie getting upset with people and generally freaking out in almost every scene, and this becomes irritating and monotonous because she is the central figure in the movie.
    • 47 Metascore
    • 80 Dan Callahan
    Ver Linden never goes the commercial route here with her high-concept idea. Like Palmer, she stays true to her goal but does give the audience several satisfying moments that call for applause.
    • 69 Metascore
    • 70 Dan Callahan
    Gerbase shows talent here, but viewing The Pink Cloud requires nerves of steel that might not be available to even the strongest among us at this particular point in time.
    • 50 Metascore
    • 40 Dan Callahan
    For implausibility, perversity, cluelessness, and sheer silliness, it’s hard to imagine another movie this year that will top Last Words.
    • tbd Metascore
    • 40 Dan Callahan
    Love and Fury itself feels like a commercial that can’t figure out what it is ultimately trying to sell.
    • 85 Metascore
    • 100 Dan Callahan
    All Is Forgiven is engrossing, yet it is only after it is over and there is time to think about it that the film starts to really seem dazzling, as an unfolding portrait of loss that leaves us with many questions.
    • 68 Metascore
    • 60 Dan Callahan
    There is enough here in the first hour to make this memory piece worthwhile, and Levine is clearly someone worth watching and following.
    • 60 Metascore
    • 40 Dan Callahan
    The new characters are all one-dimensional, and we learn nothing new about the old characters from the series.
    • 80 Metascore
    • 80 Dan Callahan
    Lifshitz envelops Sasha and her family in a sort of visual cocoon, as if to cradle them, shooting them in gentle afternoon light when they’re outside and in protective shadows when they are inside their house. His touch here is so delicate that it makes most American talking-heads documentaries look particularly crude and formulaic by comparison.
    • 64 Metascore
    • 60 Dan Callahan
    The Capote Tapes can feel a bit chaotic and lopsided at times, but it makes clear that Capote is a figure who continues to command the public’s attention.
    • 76 Metascore
    • 40 Dan Callahan
    It might be hoped that the passage of time could give him some fond or melancholy distance from such material, but Sorrentino serves up his memories in an unappealingly inert and flat manner.
    • tbd Metascore
    • 60 Dan Callahan
    Dramarama is finally worthwhile mainly because its players are so responsive to each other and to the idea of friendship that they make large sections of the movie come alive.
    • 76 Metascore
    • 80 Dan Callahan
    Stolakis is not afraid of complication.
    • 66 Metascore
    • 70 Dan Callahan
    The more commercial way of doing this story would have been to make Pat into a flinty and sassy guy no matter what, but Stephens chooses the more realistic path of making him into a person with flaws and a great deal of vulnerability, almost to a fault.
    • 64 Metascore
    • 80 Dan Callahan
    The most impressive element of Wolfgang is the amount of ground it manages to cover in 78 minutes without ever seeming to rush over anything.
    • 70 Metascore
    • 70 Dan Callahan
    Lady Boss offers the story of a woman with a lot going against her who struck a blow against the sexual double standard and struck a blow for women seeking pleasure for its own sake. Her fight to achieve that goal often makes for a compelling story in its own right.
    • 77 Metascore
    • 80 Dan Callahan
    Changing the Game is that rare documentary about a social issue that is not preaching to the choir. If someone is uncertain or on the fence about this issue, this movie should allow them to make a logical conclusion about it, and that is not only a positive thing but also a stimulating one.
    • 42 Metascore
    • 40 Dan Callahan
    Almost Love is one of those ultra-mild movies that is reliant almost entirely on the likability of its large cast.
    • 64 Metascore
    • 70 Dan Callahan
    Directors Roman Chimienti and Tyler Jensen have packed the film with as much social context as possible, and they view as many sides of this story as they can in a fast-paced, engaging style. There are interviews with academics and drag queens and fans of the horror genre, and this gives the movie a wide-ranging perspective that helps us better understand the moving personal story at its core.
    • 69 Metascore
    • 40 Dan Callahan
    The Times of Bill Cunningham is more frustrating than Cunningham’s memoir and the earlier movie about him because it feels like he might want to talk somewhat more directly about his life experience, but the old-time prison of the closet is allowed to win out in the end, and what we’re left with here is choppy and insubstantial.
    • 35 Metascore
    • 40 Dan Callahan
    The Turning is not a total loss. There are some stylish, nearly giallo-like sequences and sensitive performances from both Wolfhard and Prince, both of whom look like they could go further with their roles if the script didn’t eventually limit them to reactions in the second half.
    • 83 Metascore
    • 70 Dan Callahan
    Cunningham is valuable as an introduction to the work of this major artist, who is sometimes seen dancing himself in archival footage, unfurling his long legs and arms and exploring the most eccentric movements without fear or physical roadblocks of any kind.
    • 74 Metascore
    • 60 Dan Callahan
    Pollack’s focus on what can be done in his daughter Meadow’s name becomes more admirable as the film goes on, and his attention to specifics might have been adopted to the benefit of this well-meaning, touching, but sometimes evasive film.
    • 64 Metascore
    • 90 Dan Callahan
    This cut makes a film that felt like a failure into one of Coppola’s very best pictures. This movie is a feast with all the trimmings, and then some.
    • 66 Metascore
    • 60 Dan Callahan
    There are the expected clichés voiced here about how music can transform hearts and minds, but Gay Chorus Deep South is most useful as a way of seeing how intolerance hides behind evasive Southern hospitality and how it might be vanquished with what that hospitality seeks to avoid: direct confrontation.
    • 65 Metascore
    • 40 Dan Callahan
    The structure here is haphazard, to say the least, and there is a serious lack of concentration and follow-through. Too much ground is covered too quickly, and often confusingly.

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