Elizabeth Kerr

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For 36 reviews, this critic has graded:
  • 27% higher than the average critic
  • 33% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Elizabeth Kerr's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 80 One Cut of the Dead
Lowest review score: 20 The Professor and the Madman
Score distribution:
  1. Positive: 13 out of 36
  2. Negative: 3 out of 36
36 movie reviews
    • tbd Metascore
    • 50 Elizabeth Kerr
    Too many endings and romantic subplots that do nothing but bloat the running time and detract from the snowy action could easily have been jettisoned by editors Tang Man To and Li Lin for a leaner, loftier final product.
    • tbd Metascore
    • 70 Elizabeth Kerr
    As a director Teng isn’t a standout stylist, and the film’s technical specs are perfectly adequate, not flashy. Similarly Send Me to the Clouds doesn’t go out of its way to be overly confrontational.
    • tbd Metascore
    • 60 Elizabeth Kerr
    A relatively run-of-the-mill cops-and-robbers thriller with few surprises.
    • tbd Metascore
    • 40 Elizabeth Kerr
    It’s the entertaining scenery-chewing by the top-flight cast that carries the picture; each of the main actors far better than the material they’re working with.
    • 25 Metascore
    • 20 Elizabeth Kerr
    The film’s only real draws are Gibson and Penn, who come at the material from opposite ends of the acting philosophy spectrum...It's simply confounding, much like the rest of the movie.
    • 26 Metascore
    • 30 Elizabeth Kerr
    Quickly paced and based on a novel, and creepy, idea, the film fritters away its potential by delivering only a modicum of horror and compounding that disappointment with some creaky performances.
    • 79 Metascore
    • 80 Elizabeth Kerr
    Sensitive, keenly observed and unflinchingly honest. ... House of Hummingbird can be a little too deliberate in its contemplations and contextualizing Eunhee in her solitude and search for intimacy can be bloated at times, but ultimately it's an assured and affecting portrait of teenaged uncertainty and insecurity.
    • 72 Metascore
    • 80 Elizabeth Kerr
    The lush production design by Raymond Chan, Joyce Chan’s swanky ’60s costuming and some astoundingly clever set pieces — a duel between Tin-chi and one of Kit’s thugs atop of a strip of neon signs, a brilliantly old-school four-way fight at Cheung Kok’s offices, a whiskey glass tango with Yeoh — more than make up for any plot flaws, with the exception of the shameful underuse of Tony Jaa as a mysterious assassin.
    • 79 Metascore
    • 80 Elizabeth Kerr
    The picture is a slow-burning but ultimately empowering drama that works despite a lack of the bigger, louder, more outwardly emotional moments it could have succumbed to.
    • 57 Metascore
    • 50 Elizabeth Kerr
    The visuals prove crucial, as Qi makes for a weak central character.
    • tbd Metascore
    • 70 Elizabeth Kerr
    Pang’s cast of regulars is a well-oiled machine, and he and co-writer Sunny Lam are as fond of their characters as the characters are of each other.
    • 85 Metascore
    • 80 Elizabeth Kerr
    One Cut wears its cheapness as a badge of honor, a tricky endeavor given its actual production polish; make-up effects by Kazuhide Simohata and Jyunko Hirabayashi go a long way to supplying the film-within-the-film its guerilla feel. But the pic's best effect is its ability to ensure the same jokes land just as well in their second contexts.
    • tbd Metascore
    • 60 Elizabeth Kerr
    Last Letter walks a fine line between bittersweet and saccharine, and too often topples onto the wrong side of that divide.
    • tbd Metascore
    • 50 Elizabeth Kerr
    For all its slapsticky action and heightened reality (the subtitles could use a quick review as well), Cool Fish marries often uncomfortable, dead-serious drama to its hijinks, and it doesn’t always work.
    • tbd Metascore
    • 40 Elizabeth Kerr
    Rampant is a little all over the map, with its biggest flaw securely rooted in its inability to maintain consistency in its mythology — an unforgivable genre crime.
    • tbd Metascore
    • 50 Elizabeth Kerr
    Despite the general bloat, The Last 49 Days has its share of little pleasures.
    • 51 Metascore
    • 60 Elizabeth Kerr
    Cheang does his able best to balance a love story with the heightened fantasy action expected of the previous two films, and after a rocky start he largely succeeds.
    • tbd Metascore
    • 60 Elizabeth Kerr
    In fairness, this is unapologetically emotional stuff (call your mother), and Kim harbors no ambitions to anything else.
    • 56 Metascore
    • 50 Elizabeth Kerr
    The three-hour runtime seems justified when Iwai lets his characters fragile, burgeoning relationships develop at a leisurely pace and revel in the little details. At other times the pic is simply self-indulgent, allowing scenes to slip from emotionally naked to embarrassingly overwrought in a flash. Iwai served as his own editor and it shows.
    • 47 Metascore
    • 50 Elizabeth Kerr
    The normally charismatic cast doesn’t get much to chew on and thus can’t really lift the film beyond its modest, self-aware station.
    • tbd Metascore
    • 60 Elizabeth Kerr
    The pic ends with a sermon on self-determination, and the dialogue tends toward the on-the-nose instead of the kind that allows viewers to draw their own inferences.
    • tbd Metascore
    • 40 Elizabeth Kerr
    Warrior’s Gate has its own ridiculous internal logic, but lacks the goofy glee that accommodates suspension of disbelief to go with it.
    • tbd Metascore
    • 60 Elizabeth Kerr
    The latest schlocky actioner by B-master Herman Yau, Shock Wave is a workmanlike (yet protracted) genre entertainment that benefits from knowing precisely what it is and its place in the cinematic hierarchy.
    • tbd Metascore
    • 80 Elizabeth Kerr
    Love Off the Cuff’s little parts add up to a much greater whole.
    • tbd Metascore
    • 60 Elizabeth Kerr
    Throwing in a natural catastrophe in the form of an earthquake as well as a nuclear power generator meltdown for good measure, Pandora ticks off all the current societal scares and packs them into one slightly bloated, often-shrieking action drama that nevertheless gets the job done despite its worst narrative instincts.
    • 67 Metascore
    • 70 Elizabeth Kerr
    The mother of all allegorical monsters takes on new meaning in a talky, vaguely nationalistic reboot that slips on like a comfortable sweater, even if it’s a sweater with some holes in it.
    • tbd Metascore
    • 80 Elizabeth Kerr
    Challenging and richly realized, the drama about a cop wrestling with guilt over his young daughter’s disappearance effortlessly and effectively weaves together fantasy and reality, melding the tension of cop thrillers with the introspection of a psychological drama.
    • 73 Metascore
    • 70 Elizabeth Kerr
    Far from being the convoluted mess it could have been, incoming director Cheang Pou-soi (Yip serves as a producer) crafts a tight, swiftly paced action yarn that ensures viewers won’t be pining for the presence of the first film’s stars, Donnie Yen and Sammo Hung.
    • 52 Metascore
    • 50 Elizabeth Kerr
    The trouble with Chongqing Hot Pot is that despite its brief running time, it takes too long to bring its various threads together.
    • 62 Metascore
    • 70 Elizabeth Kerr
    While Chow and Taiwanese star Eddie Peng aren’t going to make anyone forget Tsui Hark and Jet Li’s defining Once Upon a Time in China, or for that matter Jackie Chan’s earlier spin on Wong in Drunken Master, they do a frequently thrilling job with a familiar story.

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