For 57 reviews, this critic has graded:
  • 56% higher than the average critic
  • 5% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.6 points higher than other critics. (0-100 point scale)

Ed Frankl's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 A War
Lowest review score: 20 Fifty Shades of Grey
Score distribution:
  1. Positive: 36 out of 57
  2. Negative: 3 out of 57
57 movie reviews
    • 56 Metascore
    • 58 Ed Frankl
    A sterile arthouse drama that rather muddles its conceit. ... Hausner and co-writer Géraldine Bajard never really get to grips with the potential for psychological terror at the center of what remains a genuinely intriguing premise.
    • 80 Metascore
    • 91 Ed Frankl
    This is an especially personal work, anchored by the director’s on-off muse Antonio Banderas in perhaps his greatest performance and sweeps through the Spanish maestro’s recurrent themes: high melodrama and kitsch comedy, piety and carnal lust, sex and death, human pain and transcendent glory.
    • 86 Metascore
    • 83 Ed Frankl
    As an exercise in depicting the disjointed link between national and personal identity, Synonyms is dazzling. As a portrait of displacement in a world becoming both more globalized and more nationalistic, it is a testament.
    • 69 Metascore
    • 75 Ed Frankl
    This is a film that stages itself in non-linear narratives, in severe, clinical long takes, in metaphorical observations, and even extended sequences of Shakespearean re-enactment–a film whose aesthetics may be intensely controlled and yet whose narrative is sprawling with meanings and readings.
    • 44 Metascore
    • 58 Ed Frankl
    Director Adler has made a very talky film, full of interior scenes and far flung from the hard-edged spy thrillers of Bond or Bourne.
    • 28 Metascore
    • 25 Ed Frankl
    Akin has made the true story of a repulsive, grotesque serial killer into a repulsive, grotesque movie, a calamitous misfire for a critical darling of recent German cinema.
    • 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.

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