Gary Thompson

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For 313 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 2.2 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: 17 out of 313
313 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.
    • 59 Metascore
    • 50 Gary Thompson
    Having unleashed Phoenix, Phillips doesn’t seem to know how to contain or couch the performance. At some point he seems to have surrendered, and when the movie is over you realize Arthur is its only substantial character.
    • 38 Metascore
    • 50 Gary Thompson
    if I want to know what Will Smith looked like in his 20s, I can always return, happily, to Men in Black.
    • 27 Metascore
    • 50 Gary Thompson
    Bay makes a lot of familiar moves here.
    • 51 Metascore
    • 50 Gary Thompson
    The story is ridiculous, the digressions many, but it’s all intended to be part of the fun. Like Besson’s "The Fifth Element," we’re mainly meant to enjoy the sensation of watching wacky green-screen worlds unfold before us.
    • 68 Metascore
    • 50 Gary Thompson
    Gore is his own form of renewable energy. He is tireless, never wavers in his devotion to his crusade — an apt term in “Truth to Power,” which invokes Pope Francis and the Rev. Dr. Martin Luther King Jr. The movie’s money line has Gore (he repeats it in virtually every interview) invoking the Book of Revelation.
    • 56 Metascore
    • 50 Gary Thompson
    The Glass Castle is an unfortunately flat and messy adaptation of Jeannette Walls’ best-selling memoir about growing up with extreme poverty and with parents who both inspired and damaged her.
    • 80 Metascore
    • 50 Gary Thompson
    The movie pitches Connie’s behavior as the spur-of-the-moment improvisations of a hustler out to save his brother, often played for laughs, but a ruthlessness shows through. This adds a toxic tone to scenes that involve immigrants and minorities, though this is probably unintended.
    • 71 Metascore
    • 50 Gary Thompson
    For a movie that presents itself as formally inventive, developments in Brad’s Status are a little too easy to guess.
    • 49 Metascore
    • 50 Gary Thompson
    The movie works reasonably well as a thriller but falls apart in other areas.
    • 54 Metascore
    • 50 Gary Thompson
    I give Goodbye Christopher Robin credit for presenting audiences with a Pooh origins story they might not want to see, but having settled on this subject, the movie seems uncertain how to proceed.
    • 42 Metascore
    • 50 Gary Thompson
    Fans can best enjoy the movie the way the bad moms make the best of the holiday: lots of alcohol, lots of forgiveness.
    • 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.
    • 45 Metascore
    • 50 Gary Thompson
    Flash provides some comic relief...Aquaman some terse tough guy laughs, but the jokes land stiffly, and Wonder Woman, recently the star of her own blockbuster movie, is back to being part of a superhero tag-team, taking turns in the end at beating on Steppenwolf.
    • 85 Metascore
    • 50 Gary Thompson
    Cowriter and director Dee Rees (Pariah, Bessie) does a skillful job making us feel these inequities as they take place over time and become the fabric of lives, the basis of the assumptions people make about race and culture — the way things are.
    • 65 Metascore
    • 50 Gary Thompson
    What is Cooper after here? He seems to want us to gasp at the naturalistic horror of it all, drawn from history and accompanied with the sober denunciation of actual frontier massacres (Blocker is a veteran of Wounded Knee), but the parade of grotesque violence (murders, rapes, suicides) suggests something more surreal, less literal.
    • 36 Metascore
    • 50 Gary Thompson
    The movie also trumpets hometown values, and makes fun of the way Liam’s wealth and fame have insulated him from simple pleasures of small-town life (underlined by director Bethany Ashton Wolf’s cozy visual presentation). The movie pokes fun at his materialism, when it’s not indulging in it.
    • 50 Metascore
    • 50 Gary Thompson
    Director Wes Ball allows nearly every scene to overstay its welcome.
    • 52 Metascore
    • 50 Gary Thompson
    The animators have figured out horses and falcons and snakes, but human body movements are stiff, awkward, and mechanical.
    • 45 Metascore
    • 50 Gary Thompson
    The incident on the train accounts for just a few minutes of screen time — for another 90 minutes they’re in a flatlined buddy movie, without much help from Eastwood (he insisted they not train as actors) or the screenplay.
    • 49 Metascore
    • 50 Gary Thompson
    Graham has crafted some decent monologues for her characters.... But, even at a hair over an hour and a half, the movie would benefit from a good trim, one that might give the movie’s parallel romantic stories more shape and snap.
    • 53 Metascore
    • 50 Gary Thompson
    The movie’s distinguishing feature is its inclination to lurid violence. Every so often, a depraved Russian hit man shows up to murder and torture one of the characters, mostly to allow director Francis Lawrence to show yet another naked and brutalized woman splayed on a shower floor, or in a bathtub red with blood.
    • 57 Metascore
    • 50 Gary Thompson
    The movie is swimming with ideas, but it values concept over character to a problematic degree. The Cured maps out an increasingly elaborate set of internal rules that govern its characters without defining or deepening them.
    • 31 Metascore
    • 50 Gary Thompson
    A wishy-washy exploitation movie, which doesn’t show any real verve until the climax.
    • 45 Metascore
    • 50 Gary Thompson
    Leisure Seeker leans heavily on the charm of its two veteran leads. Sutherland and Mirren work hard to establish John and Ella as a couple worth pulling for, even as we begin to suspect that what they want is to go out on their own terms.
    • 70 Metascore
    • 50 Gary Thompson
    When the creatively blocked Giacometti stares at his canvas, cursing. He is literally watching paint dry, and so are we.
    • 37 Metascore
    • 50 Gary Thompson
    In its last moments...Aardvark finds a groove.
    • 48 Metascore
    • 50 Gary Thompson
    There are a few moments wherein Schumer has a chance to successfully deploy the brash, take-me-as-I-am persona she has cultivated on stage and in her starring debut, Trainwreck, but mostly the script shows signs of having been awkwardly retrofitted to accommodate the star and her brand.
    • 42 Metascore
    • 50 Gary Thompson
    It all adds up to a bicultural comedy that is good-natured if not especially or consistently well-written. The movie takes too long to get moving, stays a tad too long, and efforts to retrofit the movie as a vehicle for Derbez come at the expense of Faris, a talented comedian who has very little to do here.
    • 53 Metascore
    • 50 Gary Thompson
    While the movie serves as a pleasant piece of nostalgia, it’s not very deeply felt, and mostly serves to remind us of other, better movies that have covered similar territory, like Adventureland.

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