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
    • 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.
    • 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.
    • 46 Metascore
    • 63 Gary Thompson
    Even if you haven’t seen The Intouchables, you have a pretty good idea where the drama is headed. Still, The Upside nonetheless does an amiable job of taking you there, thanks to hard work by the two leads.
    • 43 Metascore
    • 63 Gary Thompson
    There is a lot of plot in those final minutes, and don’t bother trying to outguess the magician. He pulls a rabbit out of a hat, just to distract you from the next rabbit.
    • 53 Metascore
    • 63 Gary Thompson
    It’s a story with too many influences, no cohesion, no apparent narrative purpose.
    • 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.
    • 54 Metascore
    • 63 Gary Thompson
    Neil Jordan gives us a fancier version of the Lifetime staple in Greta.
    • 61 Metascore
    • 63 Gary Thompson
    Though it’s been many years in development, it remains a timely look at the dangers of our increasingly outsourced, privatized military-intelligence network.
    • 53 Metascore
    • 63 Gary Thompson
    The movie is actually not bad, until it goes full Lifetime Channel crazy in the third act.
    • 58 Metascore
    • 63 Gary Thompson
    Though mired in arcane subject matter, the movie is always lucid and reasonably engaging.
    • 62 Metascore
    • 63 Gary Thompson
    Hotel Mumbai sometimes surrenders to melodrama and action-genre imperatives, and it mixes actual people like Oberoi with fictional composites in a way that strays from the stringent just-the-facts discipline of a docudrama like United 93. But there is value, too, in its subjective approach.
    • 57 Metascore
    • 63 Gary Thompson
    The direction by Kevin Kölsch and Dennis Widmyer, is competent and efficient, if not especially stylish or ambitious, and the squeamish should know the movie is backloaded with stabby, graphic, slasher-movie content.
    • 49 Metascore
    • 63 Gary Thompson
    The idea that “little” Jordan’s response to attractive older men is guided by her inner adult yields some creepy-funny laughs that many will find mostly creepy.
    • 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.
    • 48 Metascore
    • 63 Gary Thompson
    Yes, Tolkien is a little on-the-nose. But there is also an undeniable appeal to the life-art allusions that drive this earnest movie, which is handsomely mounted, well-cast, and well-acted.
    • 56 Metascore
    • 63 Gary Thompson
    The movie is at its best when the women are focused on the common enemy: getting older.
    • 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.
    • 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.
    • 70 Metascore
    • 63 Gary Thompson
    The movie mainly rides on the chemistry and charm of its two leads, and writer Kaling has given Thompson a substantial character to play.
    • 51 Metascore
    • 63 Gary Thompson
    Linklater is a naturally empathetic filmmaker, and you can feel him trying to find something he can latch onto in the Desperate Housewives cat-fighting that dominates the movie in the early going. He’s helped ultimately by the story, and by the performances of Blanchett and Wiig, who are given room to embellish their characters and relationships.
    • 58 Metascore
    • 63 Gary Thompson
    Your fear that the movie will never end is the most palpable fear offered by Chapter Two, which substitutes spectacle for the creeping, escalating dread the story is meant to have, and that the first movie had in modest amounts.
    • 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.

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