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
    • 66 Metascore
    • 75 Gary Thompson
    Game Night is not the greatest comedy in the world, but it has a great grasp of the ingredient that makes comedy work, identified centuries ago as brevity.
    • 60 Metascore
    • 63 Gary Thompson
    Ronan is good (as usual) as the spirited and rather haughty Mary, making the most of what, to be fair, is the plum role.
    • 44 Metascore
    • 63 Gary Thompson
    While the movie is often dazzling, it’s also frequently dull.
    • 40 Metascore
    • 63 Gary Thompson
    The movie works best when it falls back on plain old acting. Merritt Wever is sweet presence as the hobby shop worker and gentle soul who understands Mark’s obsessions, and appreciates his art. Her scenes with Carell are the movie’s least technological, and its best.
    • 53 Metascore
    • 63 Gary Thompson
    It’s a story with too many influences, no cohesion, no apparent narrative purpose.
    • 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.
    • 65 Metascore
    • 63 Gary Thompson
    Last Flag Flying lacks the casual, lived-in realism you usually find in a Linklater film. You don’t buy the men as long-separated pals, and so you don’t really buy the premise — the connection that caused Doc to seek out these men is not visible on screen.
    • 60 Metascore
    • 63 Gary Thompson
    Despite the movie’s emphasis on physical action, it’s this chemistry that keeps the movie going.
    • 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.
    • 67 Metascore
    • 63 Gary Thompson
    It’s a funny concept, helped by Marshall-Green’s blended look of pleasure and consternation at being the vessel for an invincibility that he enjoys but cannot control.
    • 77 Metascore
    • 63 Gary Thompson
    High Life has the trippy profundity of 2001, the human treachery of Aliens, and it also includes an Orgasmatron.
    • 68 Metascore
    • 63 Gary Thompson
    Result[s] in pleasant but forgettable results.
    • 82 Metascore
    • 63 Gary Thompson
    Krasinski makes suspension of disbelief easy, and the movie mostly works — I can’t remember the last time I was in a movie theater so quiet.
    • 62 Metascore
    • 63 Gary Thompson
    Solo eventually finds its feet, and the movie gets better as it goes, but we feel throughout the tension between conflicting visions of Howard and original directors Lord and Miller.
    • 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.
    • 68 Metascore
    • 63 Gary Thompson
    Characters overflow on the screen, crowding out emotional investment, and there is a severely misplaced emphasis on the power of special effects — many characters appear to be entirely digitized, and none has much screen impact.
    • 71 Metascore
    • 63 Gary Thompson
    The movie really soars when the dragons do the same — as in previous installments, the best shots are of dragons maneuvering through the clouds.
    • 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.
    • 61 Metascore
    • 63 Gary Thompson
    A more nuanced Bale portrait of a man enamored of secrecy, strong-arming, militarism, and vigilante impulses can be found in The Dark Knight.
    • 53 Metascore
    • 63 Gary Thompson
    In some ways the movie’s crazy fictions suit today’s modern mash-up sensibilities, and its cast reflects the patterns of modern migration that are creating a whole new world.
    • 60 Metascore
    • 63 Gary Thompson
    The movie is antic, bouncing frantically from one story element to another, and poor Stevens, looking electrocuted and sleep-deprived, plays Dickens like the Man Who Invented Meth.
    • 58 Metascore
    • 63 Gary Thompson
    What does work is Washington’s subtle, authentic, meticulous work as a walled-off, neurodiverse man.
    • 63 Metascore
    • 63 Gary Thompson
    Atomic Blonde is what fans of the Clash used to call a poser.
    • 64 Metascore
    • 63 Gary Thompson
    Steven Spielberg’s Ready Player One is competent, occasionally rousing entertainment that nonetheless left me a little bummed.
    • 84 Metascore
    • 63 Gary Thompson
    It’s not very deeply felt. Phoenix gives his all, but Ramsay plops us down in the middle of Joe’s breakdown, before we can get our emotional bearings. We figure out who he was — abused child, traumatized soldier – before we get a sense of who he is.
    • 57 Metascore
    • 63 Gary Thompson
    His script is good-natured, more genial than funny, though director (and Philadelphian) Charles Stone III does get some good work from star Irving, who proves surprisingly adept at playing low-key comedy.
    • 69 Metascore
    • 63 Gary Thompson
    It
    You almost wish the movie had jettisoned the horror elements entirely, and converted It into what it feels like it wants to be — something more like King’s Stand By Me, with a teen girl in the mix.
    • 42 Metascore
    • 63 Gary Thompson
    Stuber and Shaft are the kind of movies Hollywood made every month back in the ’80s and ’90s, until audiences — after a half dozen or so Lethal Weapons — grew tired of them. Stuber serves to remind us of why we liked them, and also that they wore out their welcome.
    • 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.
    • 84 Metascore
    • 63 Gary Thompson
    Well, the movie is trippy and almost willfully opaque — all I can say for sure is I left A Ghost Story feeling full.

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