Deborah Young

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For 332 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Deborah Young's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Past
Lowest review score: 30 Father and Son
Score distribution:
  1. Negative: 5 out of 332
332 movie reviews
    • 64 Metascore
    • 70 Deborah Young
    Funny and always on-topic without going overboard, it’s an engaging film.
    • 57 Metascore
    • 70 Deborah Young
    Southpaw sticks to tried-and-tested genre rules, yet an edgy cast — led by formidable leading man Jake Gyllenhaal — keeps the story in sharp focus.
    • 80 Metascore
    • 80 Deborah Young
    Its bursts of lightning-fast swordplay interrupt long, still stretches of misty moonlit landscapes and follow a pure literary style more than current genre expectations.
    • 55 Metascore
    • 60 Deborah Young
    Writer and director Portman's film seems conflicted over whether it is about young Amos or his mother, whom she portrays as a beautiful, cultured woman with a head full of romantic fantasies.
    • 72 Metascore
    • 80 Deborah Young
    Tale of Tales combines the wildly imaginative world of kings, queens and ogres with the kind of lush production values for which Italian cinema was once famous. The result is a dreamy, fresh take on the kind of dark and gory yarns that have come down to us from the Brothers Grimm and Charles Perrault, only here they're pleasingly new and unfamiliar.
    • tbd Metascore
    • 70 Deborah Young
    It’s a timely topic shot around picnic tables with friends and tramping through vineyards from Tuscany to Piedmont, as thought-provoking as it is informal.
    • 58 Metascore
    • 60 Deborah Young
    The overwritten script has so many subplots it’s hard to keep the stories straight, especially when the ending throws a truly unexpected twist. But little matter; the exceptional tech work gives the film plenty of energy and excitement.
    • 70 Metascore
    • 70 Deborah Young
    Simplicity and maturity of vision are the virtues here, good qualities but perhaps a little too understated for major attention-grabbing.
    • 59 Metascore
    • 80 Deborah Young
    It’s a remarkable film experience in several ways.
    • 76 Metascore
    • 50 Deborah Young
    The story itself avoids the complicated structure of Matteo Garrone’s arty Gomorra, suggesting audiences will have an easier time digesting the tragedy of three brothers. But though it doesn't have Gomorra's comprehension problems, it also lacks that film's iconic cinematic imagery and seems ultimately far less memorable.
    • 32 Metascore
    • 50 Deborah Young
    The awkwardly titled Every Thing Will Be Fine seems more like a showcase for expressive camerawork pushing the limits of cinematography than anything else. Actors the caliber of James Franco and Charlotte Gainsbourg get the short end of the stick in this angst-ridden drama.
    • 91 Metascore
    • 90 Deborah Young
    Amazingly, Panahi turns the utterly simple, economical format of a camera inside a car into something relevant to his own artistic state and full of eye-opening insights into Iranian society.
    • 90 Metascore
    • 70 Deborah Young
    While there are implicit references to the horrors of the Soviet and post-Soviet state and to the 20th century in general, this monstrously overflowing film seems to aim even higher.
    • 51 Metascore
    • 50 Deborah Young
    It's a wonderful idea with good crowd-pleasing potential and, had the story-telling been more credible, this could have been a major coup for all concerned.
    • 89 Metascore
    • 100 Deborah Young
    An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.
    • 34 Metascore
    • 50 Deborah Young
    In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.
    • 57 Metascore
    • 60 Deborah Young
    A film whose very surreal, disturbing first hour dissolves in disappointing B-movie nonsense at the end. Still it’s hard to remember a film about S&M as funny as this one, or one as beautifully and weirdly imagined.
    • tbd Metascore
    • 50 Deborah Young
    All the actors know how to turn on the charm and director Johnnie To hits the laugh buttons, but the main aim seems to be playing on women’s fantasies about three very hot guys who are dying to drop everything and fall in love.
    • 63 Metascore
    • 80 Deborah Young
    The film is more than just a chic thriller. Alongside its clear -- at times overly so -- depiction the pain and vanity of social inequality, Virzi and the fine cast explore the unhappiness of rich and poor alike in a society that measures a person’s value in terms of euros.
    • 87 Metascore
    • 90 Deborah Young
    A taut, involving drama centered around the mysterious disappearance of a young woman, About Elly confirms director Asghar Farhadi as a major talent in Iranian cinema whose ability to chronicle the middle-class malaise of his society is practically unrivaled.
    • 58 Metascore
    • 50 Deborah Young
    Complexly plotted, elegantly shot and orchestrated, this is the kind of long-winded, intermittently involving festival package that will earn the director of Tokyo Sonata more critical appreciation but will struggle to find a theatrical audience. For a film that requires nearly five hours of viewing investment, it feels terribly stingy on the emotional payoff.
    • 36 Metascore
    • 40 Deborah Young
    In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.
    • 61 Metascore
    • 70 Deborah Young
    The story of Mohamed, who leaves behind his normal life for the money and excitement of piracy, is illuminating, even if he is never a terribly sympathetic character that the viewer can warm up to.
    • 77 Metascore
    • 70 Deborah Young
    The last sequence takes the esoterism one step farther, in a beautiful ending that seems to link European wealth to those long-ago events in Latin America.
    • 72 Metascore
    • 90 Deborah Young
    The toll the disease takes on the life of a brilliant linguistics professor is superbly detailed by Julianne Moore in a career-high performance, driving straight to the terror of the disease and its power to wipe out personal certainties and identity.
    • 81 Metascore
    • 80 Deborah Young
    Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails.
    • 55 Metascore
    • 70 Deborah Young
    The sunny, soap-and-water characters and thoroughly upbeat message may not be the stuff great films are made of, but in Jackie & Ryan the modesty of the story, the simple story-telling and honest emotions all come together in a satisfying whole.
    • 48 Metascore
    • 50 Deborah Young
    The idea is original enough to pique curiosity, and the small cast, led by Alba Rohrwacher and the up-and-coming Adam Driver of HBO’s Girls fame, digs gamely into the material, but something is missing.
    • 59 Metascore
    • 70 Deborah Young
    Once Pacino is surrounded by other characters, the comedy comes thick and fast and the material begins to come together in an absurd sort of way.
    • 92 Metascore
    • 90 Deborah Young
    The Look of Silence is perhaps even more riveting for focusing on one man’s personal search for answers as he bravely confronts his brother’s killers.

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