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 Adrift
Score distribution:
  1. Negative: 17 out of 313
313 movie reviews
    • 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.
    • 61 Metascore
    • 50 Gary Thompson
    Chemistry among the women is smooth, maybe excessively so. In movies about hustlers and confidence games, there is usually the scent of underlying treachery, the possibility of dishonor among thieves. In The Sting, for instance, we wonder: Is Redford conning Newman? Is the movie conning us? That kind of tension is missing here.
    • 64 Metascore
    • 50 Gary Thompson
    It finds the right harmonized note of melancholy and humor in its closing moments.
    • 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.
    • 54 Metascore
    • 50 Gary Thompson
    This is the culmination of DeMonaco’s seething Purge scenarios, which have become increasingly focused on polarization and rage.
    • 31 Metascore
    • 50 Gary Thompson
    A wishy-washy exploitation movie, which doesn’t show any real verve until the climax.
    • 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.
    • 37 Metascore
    • 50 Gary Thompson
    In its last moments...Aardvark finds a groove.
    • 52 Metascore
    • 50 Gary Thompson
    The animators have figured out horses and falcons and snakes, but human body movements are stiff, awkward, and mechanical.
    • 64 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.
    • 52 Metascore
    • 50 Gary Thompson
    A bawdy, bloody but only sporadically funny spy spoof and buddy comedy.
    • 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.
    • 43 Metascore
    • 50 Gary Thompson
    As Knightley and Skarsgard wrestle with this material and each other, the movie around them goes plot crazy.
    • 49 Metascore
    • 50 Gary Thompson
    The movie works reasonably well as a thriller but falls apart in other areas.
    • 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.
    • 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.
    • 39 Metascore
    • 50 Gary Thompson
    If HGTV and Lifetime had a TV channel baby, it would produce movies like The Intruder.
    • 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.
    • 58 Metascore
    • 50 Gary Thompson
    There’s nothing especially striking about the movie’s visual presentation – the Artemis is threadbare and creaky, a purposely anachronistic blend of the future tech and throwback furnishings. The actions is competent, the performers game.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 50 Metascore
    • 50 Gary Thompson
    Director Wes Ball allows nearly every scene to overstay its welcome.
    • 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.
    • 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.

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