For 51 reviews, this critic has graded:
  • 52% higher than the average critic
  • 5% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.2 points higher than other critics. (0-100 point scale)

Ed Frankl's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 A War
Lowest review score: 20 Transformers: Age Of Extinction
Score distribution:
  1. Positive: 33 out of 51
  2. Negative: 2 out of 51
51 movie reviews
    • 79 Metascore
    • 75 Ed Frankl
    Here is a film littered with off-piste humor and featuring a memorable, warm-hearted ending that argues being open to serendipitous new experiences beats comforting certainties in life.
    • 92 Metascore
    • 83 Ed Frankl
    Zhao’s combination of the visual palette of Terrence Malick, the social backbone of Kelly Reichardt, and the spontaneity of John Cassavetes creates cinema verité in the American plains.
    • 69 Metascore
    • 83 Ed Frankl
    Garrel has the touch of a wiser man not taking judgment on his characters’ youthful foibles, where setbacks are to be embraced and learned from rather than experiences discarded from memory.
    • 80 Metascore
    • 83 Ed Frankl
    This is a strangely believable dystopia, and all the more brilliant for it.
    • 75 Metascore
    • 83 Ed Frankl
    There’s much to interest the Lynch fan here, but it also might be an unparalleled assessment of the artistic learning of a great American filmmaker.
    • 48 Metascore
    • 58 Ed Frankl
    Set in the picturesque Portuguese city of the title, the film demonstrates first-time fiction director Gabe Klinger’s eye for visual storytelling, but his script, co-written by Larry Gross, feels undeveloped for anything further than glib, Instagram-like testaments to cherished moments in time.
    • 64 Metascore
    • 83 Ed Frankl
    It’s a spiritual, ambiguously plotted journey through the Atlas Mountains, and those willing to give in to its mystical embrace and gorgeous visuals should find it a sensual, engrossing watch.
    • 75 Metascore
    • 83 Ed Frankl
    This is a formally complex work, too long perhaps and occasionally opaque in its meaning, but a daring ride to those wanting to glimpse the best of African cinema.
    • 49 Metascore
    • 67 Ed Frankl
    While Kateb is a fine presence, Colmar (a co-writer of the far superior Of Gods and Men) directs with none of his protagonist’s thrilling pizazz, and his and Salatko’s script plods without any of jazz’s syncopated rhythms
    • 86 Metascore
    • 83 Ed Frankl
    Timely issues of transgender rights both in Latin and North America help make A Fantastic Woman a bolder, brasher film, fiery in comparison with Gloria’s relatively tenderness, but anchored once more by a stellar central performance
    • 54 Metascore
    • 50 Ed Frankl
    It’s a generational drama anchored by three great performances, but it feels rather distinctly average — and it’s hard to make Isabelle Huppert look average.
    • 67 Metascore
    • 67 Ed Frankl
    Boyle’s verve as a director means there’s still plenty of vibrant imagery, alongside a script that, although lacking any of the electricity of the original’s state-of-the-nation wisecracks (“Scotland is a nation colonized by wankers”), is funny and disarmingly melancholic.
    • 85 Metascore
    • 91 Ed Frankl
    The chemistry between these two men is inescapable, their relationship growing almost imperceptibly, composed expertly in a nuanced script by Lee and unfussily filmed by director of photography Joshua James Richards (Songs My Brothers Taught Me).
    • 72 Metascore
    • 80 Ed Frankl
    A luscious, strangely enchanting watch and terrific fun for those who'll launch themselves into it.
    • 85 Metascore
    • 83 Ed Frankl
    Its child’s viewpoint and pastel-colored animation belies a cruel melancholy at the heart of My Life as a Courgette, as all its children lust for a life that is different from their own.
    • 64 Metascore
    • 67 Ed Frankl
    Mifune: The Last Samurai, the well-assembled documentary on the life of actor Toshirô Mifune, the long-time Akira Kurosawa collaborator, should be a worthy introduction to one of Japanese cinema’s greatest icons, if a little light on more revelatory findings.
    • 65 Metascore
    • 75 Ed Frankl
    Øvredal gives us B-movie thrills better than most of his peers, creating a campy, nasty, tremendously fun horror experience in which death proves not the ending we might expect.
    • 83 Metascore
    • 83 Ed Frankl
    Guatemala’s first-ever entry for the foreign language Oscar is an absorbing, beautifully-shot drama of cultural ritual and the drive of one young woman to escape a rudimentary social system.
    • 78 Metascore
    • 91 Ed Frankl
    The final sequences about loss, and art as a “cure” (in Jodorowsky’s own words), are heart-wrenchingly powerful.
    • 68 Metascore
    • 67 Ed Frankl
    Equity is more nuanced, if not as ferociously confidant as that 1987 Oliver Stone film, here focusing on the nitty gritty of a market launch of a social media-style security company.
    • 52 Metascore
    • 67 Ed Frankl
    Many will find the film’s final twist hard to take, especially after an unnecessary coda, but Remember remains a thought-provoking revenge drama that questions the ethics of violence so many years later, when memory, let alone hatred and guilt, has long gone.
    • 51 Metascore
    • 42 Ed Frankl
    The film’s pitfalls lie in the style-over-substance route that has befallen many films that have such an annoyingly gimmicky framing device at its center.
    • 67 Metascore
    • 75 Ed Frankl
    Kelly’s earnest, reportedly auto-biographical film has a lot of laughs and is best when it’s most deeply personal.
    • 55 Metascore
    • 75 Ed Frankl
    It’s only frustrating that however funny Fundamentals is, the dynamic is something we’ve seen many times before.
    • 56 Metascore
    • 83 Ed Frankl
    Carried by two accomplished performance, and despite a tight 87-minute running time, this is a rich saga, bathed in atmosphere that disturbs as much as it engrosses.
    • 81 Metascore
    • 100 Ed Frankl
    Asbæk is towering as Claus, never less than believable as the leader of his platoon, and standout as he comes to terms with the cracks in his own story.
    • 74 Metascore
    • 80 Ed Frankl
    Quemada-Díez filmed The Golden Dream chronologically using natural light and real locations, utilising Super 16 film to give his first feature a documentary shimmer. He also worked as a camera operator on Alejandro González Iñárritu's 21 Grams (2003), with whom he shares his penchant for opulent landscapes and narratives, and a sense of beauty amidst unforgiving reality.
    • 58 Metascore
    • 40 Ed Frankl
    It feels more that Gemma Bovery goes through the motions of the novel, restricted by its own pretensions to meet high-brow literature.
    • 67 Metascore
    • 60 Ed Frankl
    Its stately pace doesn't preclude Mr. Holmes (2015) from being a delightful romp all the same.
    • 57 Metascore
    • 60 Ed Frankl
    The dark heart of In the Courtyard makes its comedy ever more piquant, while Deneuve and Kervern are exceptional as two lonely souls finding solace in each other's company during the twilight years of their lives.

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