Gary Thompson

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For 304 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 Adrift
Score distribution:
  1. Negative: 15 out of 304
304 movie reviews
    • 67 Metascore
    • 50 Gary Thompson
    In Framing John DeLorean, Philadelphia-based documentarians Don Argott and Sheena M. Joyce (The Art of the Steal) mix fact, drama, and speculation to draw an ambitious portrait of the fabled automaker, but within the frame, key questions remain unanswered.
    • 40 Metascore
    • 50 Gary Thompson
    The plot particulars are flimsy and laughable by design — this Shaft has been put together by folks with an instinct for comedy.
    • 38 Metascore
    • 50 Gary Thompson
    No neuralizers needed for Men In Black: International — you’ll forget you’ve seen it not long after walking out.
    • 43 Metascore
    • 50 Gary Thompson
    Dark Phoenix has a cast of lame-duck actors wearing expressions that say, “Check, please,” and the movie has the kind of knotty, suspenseless plotting that makes the veins in your head throb.
    • 52 Metascore
    • 50 Gary Thompson
    Much rides on the actors’ ability to connect as they brush aside the obvious credibility obstacles, and the movie’s pop genericism doesn’t help — half the movie’s running time feels like it’s a pop music montage of the fetching young couple kissing, nuzzling, holding hands, so it often feels less like an ad for Invisaline.
    • 53 Metascore
    • 50 Gary Thompson
    Not long into Pokémon: Detective Pikachu, it becomes clear that the movie is never going to make what you might call sense.
    • 39 Metascore
    • 50 Gary Thompson
    If HGTV and Lifetime had a TV channel baby, it would produce movies like The Intruder.
    • 65 Metascore
    • 50 Gary Thompson
    Fast Color is disciplined and restrained, yet feels a few tweaks away from being the rousing origin story it aspires to be.
    • 43 Metascore
    • 50 Gary Thompson
    As Knightley and Skarsgard wrestle with this material and each other, the movie around them goes plot crazy.
    • 51 Metascore
    • 50 Gary Thompson
    This movie has nearly as high a body count as "Us"...Is this satire? Homage? More like the desperation of a director who’s supplanted “vision” for emotion. The story leaves Dumbo without meaningful links to the human characters, and the scattered story of Farrell’s cohering family falls flat.
    • 52 Metascore
    • 50 Gary Thompson
    In the end, a coherent tone eludes Elba, but he shows promise as a scene-setter, and the movie displays an effective use of color.
    • 56 Metascore
    • 50 Gary Thompson
    Though fact-based movies are often guilty of bending truth to improve a story, Finding Steve McQueen goes in the other direction, downplaying strange-but-true elements that might have helped its saggy narrative.
    • 67 Metascore
    • 50 Gary Thompson
    I wonder if Noe is familiar with the work of Three Dog Night, and their 1970 rumination on a party gone bad, “Mama Told Me Not to Come.” Its lyrics apply here: “I’ve seen so many things I ain’t never seen before. I don’t know what it is, but I don’t want to see no more.”
    • 64 Metascore
    • 50 Gary Thompson
    Years from now, chances are that when people sit around and talk enthusiastically about that movie with Brie Larson and Samuel L. Jackson, the subject is most likely to be Kong: Skull Island.
    • 60 Metascore
    • 50 Gary Thompson
    In conceptual terms, the movie has more in common with Scream, in that it’s an examination of genre clichés (in this case romantic comedies) that both satirizes and embraces them.
    • 41 Metascore
    • 50 Gary Thompson
    The remake, directed by Twilight’s Catherine Hardwicke, makes substantial changes — taking the bare bones of the story and turning into a sort action-fable about female empowerment, starring Jane the Virgin headliner Gina Rodriguez.
    • 55 Metascore
    • 50 Gary Thompson
    At least Aquaman has a different palette, and new shapes to work with. It’s still ultimately silly and dreary, and will test the endurance of fans who then must withstand an even longer credit sequence to get a whiff of the next DC story wrinkle.
    • 59 Metascore
    • 50 Gary Thompson
    Robert's relationship with Elizabeth is actually one of the film's better features – it is here that Pine's low-key charisma is put to its best use, and his chemistry with Pugh is useful in establishing the emotional foundation of their resilient marriage, which held together during the times of defeat, separation, and victory.
    • 64 Metascore
    • 50 Gary Thompson
    The movie seems even longer – replacing Argento's splashy colors with dull, chilly greys, and lengthening the story (Argento clocked in at 96 minutes) with layers that feel over overwrought and overthought.
    • 64 Metascore
    • 50 Gary Thompson
    It finds the right harmonized note of melancholy and humor in its closing moments.
    • 35 Metascore
    • 50 Gary Thompson
    As a symbiote, Brock/Venom is sometimes funny, and for a while the movie finds a rhythm that seems to suit director Ruben Fleischer, best known for Zombieland.
    • 43 Metascore
    • 50 Gary Thompson
    All of this is in Hart's wheelhouse, and Night School might have fared better if it had surrendered completely to random comedy one-offs. It keeps coming back, though, to the desultory story of Teddy's strained romance, the least-compelling feature of the movie.
    • 56 Metascore
    • 50 Gary Thompson
    A Heathers meets The Purge meets Russ Meyer free-for-all that takes elements of the Salem witch trials and transposes them to the age of the internet. That's a lot to take on, and there are diminishing returns by the time the movie reaches its bloody conclusion.
    • 67 Metascore
    • 50 Gary Thompson
    Waters' novel was content to let the evil within Hundreds Hall remain shapeless and nameless. Director Lenny Abrahamson's (Room) movie wants to give it definite shape, and even a name, though the movie is not better for it.
    • 35 Metascore
    • 50 Gary Thompson
    Kin
    Kin positions itself as a B-movie cobbled together from sci-fi favorites of the past, and so we grant the movie wide latitude to be goofy. It's meant to be out there. Even by those lax standards, though, Kin tries the patience.
    • 38 Metascore
    • 50 Gary Thompson
    The action is frantic and brutal, and the movie itself has an ugly tone.
    • 53 Metascore
    • 50 Gary Thompson
    Greenfield makes an ambitious attempt to tie all of these things together as symptoms of capitalism gone wrong in Generation Wealth, although her thesis is weakly argued, and thinly sourced – the movie often turns out to be a curiously insular polling of family, friends, and high school and college classmates.
    • 52 Metascore
    • 50 Gary Thompson
    A bawdy, bloody but only sporadically funny spy spoof and buddy comedy.
    • 51 Metascore
    • 50 Gary Thompson
    OK, so it’s ridiculous, but slightly ridiculous action movies are Johnson’s brand (they’re actually making a sequel to San Andreas), and what fans want in the context of that silliness are reasonably competent action and suspense.
    • 50 Metascore
    • 50 Gary Thompson
    Plummer and Farmiga seem like a potential dream team, but the pairing instantly feels wrong – they don’t scan as father and daughter, and Plummer’s continental bearing seems ill-suited to his character’s backstory.

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