Gary Thompson

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For 308 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Gary Thompson's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Lady Bird
Lowest review score: 25 The Snowman
Score distribution:
  1. Negative: 16 out of 308
308 movie reviews
    • 75 Metascore
    • 75 Gary Thompson
    Churchill, by way of Darkest Hour, hands the actor some of the best speeches of his career, and Oldman brings them vividly to life.
    • 75 Metascore
    • 75 Gary Thompson
    Pike plays Colvin as selfless, but also a woman who would have pitched a drink in your face for calling her that. The movie takes Colvin's cue. At no point is her personal drama bigger than the suffering of the people on whom she is reporting, and the concluding events in Syria are particularly well-handled and tactful.
    • 75 Metascore
    • 88 Gary Thompson
    Whitney offers an informed and moving portrait of a complex, talented woman who was poorly understood, and often cruelly judged.
    • 75 Metascore
    • 75 Gary Thompson
    Finley ends with a poetic epilogue that draws themes into focus, and gives voice to them. I’m not sure the movie fully earns it, but it does grab and hold your attention, thanks to the frighteningly good rapport between Taylor-Joy and Cooke.
    • 74 Metascore
    • 63 Gary Thompson
    We're meant to thrill at Colette's emancipation, but when she breaks it off with wild Willy and finds true love (with Denise Gough) for the first time – built on respect and honest affection — it looks dreadfully dull.
    • 74 Metascore
    • 63 Gary Thompson
    The doggedly serious Disobedience might have been a more engaging movie if it had allowed itself to be governed by its own melodramatic passions.
    • 74 Metascore
    • 88 Gary Thompson
    Often fascinating, and sometimes even moving. There are lessons here about the cycle of life that can only be driven home by the real, random, and sometimes cruel dictates of fate.
    • 74 Metascore
    • 100 Gary Thompson
    Kean inherited these subjects from his earlier documentary Swimming in Auschwitz, and has said that gender informs the film – the women are particularly attuned to the emotional nuance of the survival story, which comes through beautifully.
    • 74 Metascore
    • 75 Gary Thompson
    The movie sometimes seems (like its title character) to drag its feet. It’s messy, but with the untidiness of real life.
    • 74 Metascore
    • 75 Gary Thompson
    Crazy Rich Asians is a romantic comedy and a fairy tale, and it helps to keep the latter in mind as you ramp up suspension of disbelief to necessary levels.
    • Philadelphia Daily News
    • 74 Metascore
    • 75 Gary Thompson
    Suffice it to say, there is a good deal for Buckley to do, and she does it. In a year of memorable and unnerving female characters, she makes Moll stand out.
    • 73 Metascore
    • 63 Gary Thompson
    Cathleen’s arc, initially front and center, starts to feel outweighed by the all-in performance of Oscar-winner Leo.
    • 73 Metascore
    • 75 Gary Thompson
    Director Ferenc Török departs from the High Noon arc, and finds a way to end the movie with an invocation of violence, rather than an eruption of it. His final image, gruesome and evocative, is unforgettable.
    • 73 Metascore
    • 75 Gary Thompson
    Potter has assembled a good cast that gives the claustrophobic material some air — the theatrical drama is set in just a few cramped rooms, including the loo. Potter also chooses black and white, suggesting stark contrasts that blend, like the viewpoints of the characters, into shades of gray.
    • 73 Metascore
    • 63 Gary Thompson
    It’s here that Sheridan’s genre instincts get the best of him, and Wind River gives way to lurid exploitation.
    • 73 Metascore
    • 63 Gary Thompson
    The goal for director Stahelski is escalating violence and bloody chaos, pushed to the point of the preposterous and beyond.
    • 73 Metascore
    • 63 Gary Thompson
    As the movie explores Nye’s family history, we do see just how intertwined the threads of thinking and emotion can be.
    • 73 Metascore
    • 75 Gary Thompson
    The movie is as bubbly and eager as Peter himself, but a little more efficient. It designs its actions sequences around character and story and — a rare thing in comic-book blockbusters — lets the actors act during the climactic action piece.
    • 73 Metascore
    • 50 Gary Thompson
    Lanthimos is not Euripides, and not capable of — or interested in — staging a tragedy. And his aim to make something horrifying or at least excruciating out of this scenario gets lost in the iciness of the presentation.
    • 73 Metascore
    • 75 Gary Thompson
    Journey’s End makes no attempt to disguise the stage origins of the script. Instead, director Saul Dibb shows the physical dimension of the situation in a new way — much of the action occurs in the tunnels — it’s shot imaginatively in extreme low light,.
    • 73 Metascore
    • 63 Gary Thompson
    The movie is often clumsily scripted, and given to caricature, which Carell and Stone manage to transcend. The best, most telling dialogue seems to be archival — snippets of Gollum-like broadcaster Howard Cosell, his arm around his female co-commentator, oafishly telling her how pretty she is.
    • 72 Metascore
    • 63 Gary Thompson
    Williams and Plummer are fine, yet for all their efforts the movie endures a strangely listless first hour. The kidnapping and subsequent investigation feel under-plotted, highlighting Wahlberg’s curiously inert presence in the movie.
    • 72 Metascore
    • 63 Gary Thompson
    As we watch this safely-under-the-speed-limit parade of lumpen suburban regularness, though, we begin to wonder if director Greg Berlanti (TV’s Arrow and Riverdale) has emphasized sexuality at the expense of personality. This kid makes Ferris Bueller look like a dangerous radical.
    • 72 Metascore
    • 75 Gary Thompson
    Only the Brave has a respectful and heartfelt regard for its characters, and something more — an unusual sense of their spiritual lives, abetted by the movie’s impressive visual presentation.
    • 72 Metascore
    • 75 Gary Thompson
    [An] informative documentary.
    • 72 Metascore
    • 75 Gary Thompson
    Yeoh’s fantastic as usual, making an impressive series of moves while not disturbing a single hair on her period Joey Heatherton hairdo.
    • 72 Metascore
    • 75 Gary Thompson
    The movie also runs 2 hours, 20 minutes, which is a lot of dead samurai. The violence is often numbing, and the translations — the movie is subtitled — are sometimes as deadly as the swordsmanship. On the other hand, Blade of the Immortal is flat-out gorgeous. Widescreen, lush, beautiful.
    • 72 Metascore
    • 75 Gary Thompson
    A movie as atmospheric as Hereditary, narratively more satisfying, but much, much longer.
    • 72 Metascore
    • 75 Gary Thompson
    Psychologists quoted in the film have a scary-sounding term for one of the ingredients found in most exceptional athletes. It's called a "rage to master."
    • 71 Metascore
    • 63 Gary Thompson
    Wonderstruck, for all of it’s child-in-danger plotting, has a warmth that points (along with the title) to a safe and sentimental conclusion.... When it arrives, though, it lands with a curious lack of emotional impact — perhaps inevitable, given the nature of a story that seeks to connect characters who are rarely and sometimes never on screen together.

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