Dominick Suzanne-Mayer

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For 171 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Dominick Suzanne-Mayer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Shirkers
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Negative: 26 out of 171
171 movie reviews
    • 44 Metascore
    • 33 Dominick Suzanne-Mayer
    As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.
    • 87 Metascore
    • 91 Dominick Suzanne-Mayer
    There’s a breathless sense of discovery and play that makes the film seem new, even as it’s tap-dancing through the imprints of so many sci-fi stories throughout the years. Simply put, superhero movies don’t often carry this sense of possibility anymore.
    • 32 Metascore
    • 25 Dominick Suzanne-Mayer
    There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.
    • 61 Metascore
    • 42 Dominick Suzanne-Mayer
    The Front Runner is a naively misguided product of panicked, desperate modern times. But perhaps even worse, at least for the type of film it wants to be, it lands somewhere between irrelevant and a woeful misreading of the room.
    • 71 Metascore
    • 67 Dominick Suzanne-Mayer
    There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts.
    • 71 Metascore
    • 83 Dominick Suzanne-Mayer
    Boy Erased finds its best stuff when it matches the unabashed earnestness of Jared, and of Hedges’ performance. The film isn’t so much preaching to the converted as begging the ones who aren’t yet to finally come over and stand on the right side of history.
    • 90 Metascore
    • 91 Dominick Suzanne-Mayer
    This is despairing filmmaking, but also the kind that arrests the eye from its first moments. Lee has made something rare here: a portrait of poverty that treats its subjects not as victims or as aggressors, but simply as pawns of a far grander social scheme than any of them can possibly comprehend.
    • 88 Metascore
    • 100 Dominick Suzanne-Mayer
    It’s about how reality invades our dreams, and how the people we trust teach us to be less trusting as we get older. Tan plays these themes out with a rare emotional honesty, never allowing the fact that it’s a deeply personal work to prevent her from indicting herself alongside any of the other key players involved.
    • 69 Metascore
    • 83 Dominick Suzanne-Mayer
    What They Had is an indie drama of a familiar cut, delivered so well that you’ll forgive its smaller inconsistencies.
    • 62 Metascore
    • 83 Dominick Suzanne-Mayer
    This is punishing filmmaking, both in its sense of overwhelming despair and in its all-too-physical violence, but what sets Apostle apart from being an especially well-shot exploitation feature is its interest in the ideals behind the violence we perform on one another.
    • 72 Metascore
    • 67 Dominick Suzanne-Mayer
    As a fish-out-of-water comedy, it’s effectively funny more often than it isn’t, and as an ode to the unlikely communities that arise around black metal, it’s entirely sincere in its intentions.
    • 88 Metascore
    • 83 Dominick Suzanne-Mayer
    A Star is Born isn’t a new love story, or even an especially unique one. But it’s a traditional love story told supremely well, and sometimes that’s exactly what audiences go to the movies to see.
    • 78 Metascore
    • 75 Dominick Suzanne-Mayer
    There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer.
    • 81 Metascore
    • 83 Dominick Suzanne-Mayer
    Mandy is destined to live forever as a cult favorite, but what’s going to set it apart from so many others is the way in which Cosmatos sustains the emotional stakes of Red’s quest through the entire film.
    • 59 Metascore
    • 50 Dominick Suzanne-Mayer
    White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.
    • 60 Metascore
    • 67 Dominick Suzanne-Mayer
    Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.
    • 29 Metascore
    • 25 Dominick Suzanne-Mayer
    If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.
    • 67 Metascore
    • 67 Dominick Suzanne-Mayer
    The Little Stranger slowly mutates into a harrowing treatise on the ways in which absolute privilege can corrupt absolutely.
    • 85 Metascore
    • 75 Dominick Suzanne-Mayer
    Support the Girls is the kind of film that sneaks up on you as it’s going along.
    • 74 Metascore
    • 75 Dominick Suzanne-Mayer
    The romantic comedy beats are familiar enough, but the ways in which the film attacks them gives it a subversive shade that nicely compliments an otherwise straightforward fish-out-of-water story.
    • 30 Metascore
    • 33 Dominick Suzanne-Mayer
    The first major problem with Slender Man is that it’s not anywhere near as scary as many of the fan-made mockups that can be found online right now, but the second and arguably bigger one is that it’s barely a Slender Man story.
    • 46 Metascore
    • 75 Dominick Suzanne-Mayer
    It’s not reinventing the wheel by any stretch of the imagination, but The Meg is a perfect outing for a balmy late-summer evening at the movies. It’s a little preposterous, a little moving, and a lot entertaining.
    • 75 Metascore
    • 75 Dominick Suzanne-Mayer
    By the time Whitney reaches the point it inevitably must, Macdonald’s film stands as an archive of how preventable Houston’s passing truly was.
    • 51 Metascore
    • 67 Dominick Suzanne-Mayer
    Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.
    • 51 Metascore
    • 42 Dominick Suzanne-Mayer
    The film may deliver the spectacle of dinosaurs body-slamming other dinosaurs with their mouths, but that’s about all that connects Fallen Kingdom to the wonder and fright of the original film. As a horror movie, it’s diverting enough when it’s not continuously shooting itself in the foot with ideas it can’t explain and doesn’t care to.
    • 24 Metascore
    • 16 Dominick Suzanne-Mayer
    When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.
    • 36 Metascore
    • 50 Dominick Suzanne-Mayer
    The movie is reasonably successful in its own modest way; its interests go no further than offering a handful of pratfall-driven laughs, and a few lessons about kicking back and cutting loose before you miss out on the simpler pleasures of life.
    • 73 Metascore
    • 75 Dominick Suzanne-Mayer
    Filmworker makes a compelling argument that the Kubrick who lives in cinematic legend may not have become the man he’s remembered for being without Vitali around.
    • 66 Metascore
    • 58 Dominick Suzanne-Mayer
    Deadpool 2 likes to situate itself as the subversive alternative to so many bloated X-Men films, with all their grave self-importance and bombastic action, but even more of this go-around resembles those movies than its predecessor, and if it reads to you as more than a bit hypocritical, just know you’re hardly alone.
    • 60 Metascore
    • 83 Dominick Suzanne-Mayer
    It’s intelligent, frequently resonant, and even wryly funny at points in its own weary way. This is sci-fi which trusts its audience to fill in the blanks and do just a little bit of the heavy lifting, and it’s better off for it.

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