Elisabeth Vincentelli

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For 23 reviews, this critic has graded:
  • 34% higher than the average critic
  • 0% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Elisabeth Vincentelli's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 90 One Cut of the Dead
Lowest review score: 20 Awake
Score distribution:
  1. Positive: 7 out of 23
  2. Negative: 4 out of 23
23 movie reviews
    • 59 Metascore
    • 50 Elisabeth Vincentelli
    It’s unclear what Mandico is trying to say, if anything, and the film overstays its welcome — even the wildest visuals lose their power to stun after a while — but “After Blue” certainly is sui generis.
    • 72 Metascore
    • 60 Elisabeth Vincentelli
    The pace is slacker than it should be, but still, “Fire Island” fits neatly alongside Kristen Stewart’s lesbian Christmas movie “Happiest Season” on Hulu’s rom-com shelf.
    • 43 Metascore
    • 30 Elisabeth Vincentelli
    Even the sight of the two frenemies wiping out racist goons is not enough to make up for the desperately frantic action scenes (hope you like interminable car chases), joyless jokes and hackneyed clichés.
    • 56 Metascore
    • 30 Elisabeth Vincentelli
    Maggio ends his story in the early 1980s, even though Stigwood lived until 2016. He is thinking small about a man who used to dream big.
    • 42 Metascore
    • 30 Elisabeth Vincentelli
    [A] sluggish, blandly slick time-travel romance.
    • 62 Metascore
    • 70 Elisabeth Vincentelli
    Jonathan Butterell’s film, now streaming on Amazon, is a charmer, every bit as sunny, confident and ultimately compelling as Jamie himself.
    • 83 Metascore
    • 60 Elisabeth Vincentelli
    This amiable production’s temperature never rises above lukewarm: good sentiments are, unfortunately, difficult to dramatize, an issue compounded by a score that can feel like aural wallpaper.
    • 65 Metascore
    • 60 Elisabeth Vincentelli
    Charbonier and Powell, themselves childhood friends from Detroit, focus on the boys’ allegiance to each other with an unwavering focus. This intent minimalism is also why the movie does not transcend its virtuosic, almost abstractly taut storytelling.
    • 73 Metascore
    • 80 Elisabeth Vincentelli
    Much of the footage is hair-raising, especially the women being groped and the mobs of young white men whipping themselves into a frenzy of aggressive stupidity, aimless anger and turbo-boosted misogyny. This is these dudes’ coming-of-age as an aggrieved demographic, and it’s frightening.
    • 35 Metascore
    • 20 Elisabeth Vincentelli
    There is no getting around it: Mark Raso’s Awake is bad. But at least it’s so bad that it’s often ludicrously laughable: Netflix may well have a cult turkey on its hands.
    • 56 Metascore
    • 50 Elisabeth Vincentelli
    Roy grows as a killer over the course of the movie, which involves an increasingly tedious amount of repetitive violence played for laughs — he’s like Wile E. Coyote, brushing himself off after falling off a cliff or being blown up.
    • 53 Metascore
    • 40 Elisabeth Vincentelli
    Shook is done in by its final reveal, which manages to be simultaneously improbable and conventional. For engagement, we’ll have to look somewhere else.
    • 82 Metascore
    • 90 Elisabeth Vincentelli
    In & Of Itself reframes familiar tropes like card tricks, vanishing objects and stupendous feats of mentalism to new ends. It is not often that a magic show makes you ponder not just the how, but the why.
    • tbd Metascore
    • 40 Elisabeth Vincentelli
    Violent, law-defying cops would be a tough sell at any time, but “Rogue City” is oblivious to the changed context surrounding their stories. They don’t hold much romantic allure nowadays.
    • 87 Metascore
    • 90 Elisabeth Vincentelli
    Schreck succeeds in widening her autobiographical play into a paean for basic fairness: The American Constitution, admired as it is, fails to protect all of us from violence and discrimination.
    • 64 Metascore
    • 60 Elisabeth Vincentelli
    After a dillydallying slow start, Brown ratchets up the tension efficiently, summoning a mix of gross-out body invasion, eco-mutation and large-scale cosmic dread on a small budget.
    • 78 Metascore
    • 90 Elisabeth Vincentelli
    This impressively lean French thriller wastes nothing in its quest to deliver the goods.
    • The New York Times
    • 63 Metascore
    • 60 Elisabeth Vincentelli
    Unfortunately, the film emulates many of its genre brethren’s inability to convert a promising start into a solid second act. . . . though a haunting finale almost redeems the flabby midsection.
    • tbd Metascore
    • 50 Elisabeth Vincentelli
    A pulsating rage at the way society neglects women in particular, its weakest members in general, courses through the movie. More than the displays of flayed flesh, it’s what sticks.
    • 49 Metascore
    • 70 Elisabeth Vincentelli
    The prospect of spending more time with this crew is not a bad one.
    • 86 Metascore
    • 90 Elisabeth Vincentelli
    Ueda’s wonderfully tight script is divided into three acts, with the second and third parts casting the opener in an entirely new light — so much so that I rewatched it as soon as the movie ended.
    • 48 Metascore
    • 50 Elisabeth Vincentelli
    The movie is middle-of-the-road rather than bad — hard to hate and harder to love.
    • 59 Metascore
    • 40 Elisabeth Vincentelli
    The charismatic Nyong’o is easily the best part of this feeble Australian horror comedy.

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