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 After Auschwitz
Lowest review score: 25 The Snowman
Score distribution:
  1. Negative: 17 out of 313
313 movie reviews
    • 79 Metascore
    • 75 Gary Thompson
    Sometimes these anecdotes show courageous and admirable striving, and a genuine love of science. Sometimes they show something less inspiring – the way systems can be gamed by competitors whose specialized knowledge of rules combine with tactics and strategies that give them an advantage, so what's being measured and honored is not always aptitude and innate genius.
    • 88 Metascore
    • 75 Gary Thompson
    You see that Cooper has taken the frayed ends of American culture and knitted them together — male and female, urban and rural, folksy and hip, rich and poor, finding common ground through music. You see songs move through different musical idioms, and you see the power that can have, as long as people are willing to listen.
    • 81 Metascore
    • 75 Gary Thompson
    At every turn, Starr's situation gets more nuanced and more engrossing, and in the hands of director George Tillman Jr., the movie maintains a confident, sweeping scope without every losing command, or its nerve.
    • 78 Metascore
    • 75 Gary Thompson
    Phoenix has a way of drawing most of the camera's energy toward him, but Reilly, in his own mysterious and quiet way, can hold his own with anyone, be it Ricky Bobby or King Kong.
    • 80 Metascore
    • 75 Gary Thompson
    It's a nice gesture that he's chosen The Old Man and the Gun as his exit vehicle, gifting fans with heaping helpings of his relaxed charm, making a nod to the Sundance Kid, and even the flimflam fun of The Sting.
    • 84 Metascore
    • 75 Gary Thompson
    He's not an easy man to read, and he's not meant to be (Foy carries most of the emotional load). First Man relies on Gosling's own low-rev screen presence to hold the viewer's interest. Not until we reach the surface of the moon does the movie really venture into his head (almost literally in terms of camera point of view).
    • 58 Metascore
    • 75 Gary Thompson
    There are a number of movies about addiction scheduled to be released this fall, and although The Oath isn't mentioned as being among them, maybe it should be.
    • 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."
    • 76 Metascore
    • 75 Gary Thompson
    Kahn surveys artists, dealers, auctioneers, and gallery operators to provide a synopsis of the New York art world, and is at its most interesting when profiling artists who represent differing attitudes toward the way money affects their work.
    • 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.
    • 69 Metascore
    • 75 Gary Thompson
    Hedges is an efficient, expressive actor, and has the knack for conveying complex information with a look or a gesture, as he does here, suggesting the turmoil within his character on the night when his parents assign him to undergo therapy.
    • 61 Metascore
    • 75 Gary Thompson
    As played by Jackman, he's imperious, self-righteous, and humorless, and it's hard to imagine such a figure capturing the imagination of the public, policy acumen notwithstanding. The movie is better at showing Rice (Sara Paxton) as a woman trampled by the press stampede — ditto Hart's wife Lee, played elegantly by Farmiga.
    • 84 Metascore
    • 75 Gary Thompson
    The premise is a borderline gimmick, but director Steve McQueen (12 Years a Slave) invests the movie with enough grit — it's set in the world of hardboiled Chicago politics — to draw us in.
    • 78 Metascore
    • 75 Gary Thompson
    The elegiac air that surfaces here and there in Bathtubs blends nicely with Young’s own final days on Late Show, reading his separation papers and wondering how to look for a job in his 50s.
    • 66 Metascore
    • 75 Gary Thompson
    Ben is Back, operating with the flexibility of fiction, flirts with the idea that a mother’s intuition and love can be decisive, even as it acknowledges the pitiless, relentless nature of the disease. Or maybe all the movie wants to propose is that miracles — rare as they are — can happen.
    • 62 Metascore
    • 75 Gary Thompson
    The story circles cleverly back on itself, putting an original spin on the familiar tale of the burned-out investigator reckoning with the defining event in a checkered career.
    • 75 Metascore
    • 75 Gary Thompson
    This is a funny, affectionate and surprisingly touching film.
    • 75 Metascore
    • 75 Gary Thompson
    The acting is fine throughout, and director Labaki (she plays Zain's lawyer) has a genius for handling untutored performers like Al Rafeea.
    • 68 Metascore
    • 75 Gary Thompson
    It’s easy enough to guess where this is going, but the movie gets the details right, and the relationships play out in a satisfying way, aided by Merchant’s consistently funny writing and light touch.
    • 81 Metascore
    • 75 Gary Thompson
    Us
    What Peele conjures here in the final moments is clever enough to remind us that he was telling an intricate story all along, and not just piling up bodies.
    • 79 Metascore
    • 75 Gary Thompson
    The title character in Gloria Bell is a fiftysomething divorcée, and the movie is uncommonly generous to her by the sometimes standards of contemporary Hollywood.
    • 70 Metascore
    • 75 Gary Thompson
    The movie itself is chill. The filmmakers were going for (and mostly achieve) the 1980s Amblin Entertainment feel of a movie out to have an unpretentious good time — a welcome throwback to days before comic books movies became gargantuan and grim.
    • 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.
    • 66 Metascore
    • 75 Gary Thompson
    It’s a movie touching on labor issues that some may find a bit labored, but for the patient viewer there are insights — Leigh is giving us a history lesson that makes some pointed nods toward the current Brexit debate.
    • 78 Metascore
    • 75 Gary Thompson
    I wasn’t sure, after the tedium of Infinity War, that Marvel could wrap this up in a satisfying way. Turns out, it was a snap.
    • 80 Metascore
    • 75 Gary Thompson
    Their personal stories are just as interesting, and taken together, they add insight into our nation’s unusual political moment, equal parts instability and possibility.
    • 67 Metascore
    • 75 Gary Thompson
    This is an intriguingly weird, gender inversion of the Cinderella fantasy at the root of Pretty Woman.
    • 81 Metascore
    • 75 Gary Thompson
    The movie is romantic and sexy, and its exploration of the masculine and feminine (fire and water, yin and yang) is inventive and playful.
    • 51 Metascore
    • 75 Gary Thompson
    A tweak toward conventional drama might have added to the movie’s impact, but it’s scrupulous and straightforward.
    • 66 Metascore
    • 75 Gary Thompson
    Developments give Erskine a chance to play hurt and wounded, and she handles this as beautifully as she does the light comedy. She’s the plus in Plus One.

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