Gary Thompson

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For 308 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 2.5 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 The Snowman
Score distribution:
  1. Negative: 16 out of 308
308 movie reviews
    • 69 Metascore
    • 88 Gary Thompson
    There is honest sentiment in the arc of this story, aided by the chemistry between Gottsagen and LaBeouf, and by the warm mood of the film.
    • 74 Metascore
    • 75 Gary Thompson
    The movie sometimes seems (like its title character) to drag its feet. It’s messy, but with the untidiness of real life.
    • 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.
    • 71 Metascore
    • 75 Gary Thompson
    Part of its appeal lies in the truth and specificity behind the clunky presentation.
    • 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.
    • 86 Metascore
    • 88 Gary Thompson
    Like many a good documentary, Honeyland takes us to a faraway land and culture in a way that reveals what is distinctive and what is universal about people.
    • 76 Metascore
    • 63 Gary Thompson
    Its purpose is to make the lives of the oppressed seem real by making their suffering real.
    • 36 Metascore
    • 38 Gary Thompson
    There is mismatch of tone and content throughout The Kitchen, which is never sure how to pair its lurid turns of plot with its intersectional feminist ambitions.
    • 60 Metascore
    • 63 Gary Thompson
    Despite the movie’s emphasis on physical action, it’s this chemistry that keeps the movie going.
    • 83 Metascore
    • 75 Gary Thompson
    There is a lot to like here, a few things to love. Like the fact that someone in Hollywood can still assemble a cast this large and impressive — someone who does not work for Marvel.
    • 55 Metascore
    • 63 Gary Thompson
    The new King is competent, reasonably entertaining, faithful to the original, wholesome, sometimes even enjoyable.
    • 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.
    • 80 Metascore
    • 88 Gary Thompson
    The script is shrewd about the problems that money can and can’t solve. Wild Rose also threads the needle between the genre expectations and its own brand of realism, grounded in the very palpable heartache Rose feels as she tries to survive in the space between her family obligations and her artistic ambitions.
    • 72 Metascore
    • 75 Gary Thompson
    A movie as atmospheric as Hereditary, narratively more satisfying, but much, much longer.
    • 69 Metascore
    • 75 Gary Thompson
    The value and uses of spectacle become part of the story in Far From Home, which can be read as a bit of playful in-house MCU criticism of CGI fatigue.
    • 84 Metascore
    • 75 Gary Thompson
    The movie simply has the best use of music (Talbot is also a musician) that I’ve seen this year, starting with a gorgeous score by Daniel Herskedal , and embellished with the smart, eclectic use of songs that speak to the city’s cultural history.
    • 84 Metascore
    • 75 Gary Thompson
    A funny, freaky, often profound animated adventure that is certainly the best movie ever made about a spork.
    • 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.
    • 54 Metascore
    • 75 Gary Thompson
    Jarmusch, in his droll way, both celebrates and subverts the familiar elements of the genre.
    • 71 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.
    • 40 Metascore
    • 50 Gary Thompson
    The plot particulars are flimsy and laughable by design — this Shaft has been put together by folks with an instinct for comedy.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Gary Thompson
    Dark Phoenix has a cast of lame-duck actors wearing expressions that say, “Check, please,” and the movie has the kind of knotty, suspenseless plotting that makes the veins in your head throb.
    • 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.
    • 84 Metascore
    • 88 Gary Thompson
    The movie clicks, and given the sorry state of movie comedy, its ability to be consistently funny stands out. It is expertly, briskly paced — shout out to the judicious and effective editing of Jamie Gross.
    • 44 Metascore
    • 38 Gary Thompson
    The only creepy things about Brightburn, though, are its labored, derivative narrative, its giddy sadism (it gets off on Brandon’s adolescent power trip, and expects its audience to do the same), and its cynical built-in branding.
    • 51 Metascore
    • 75 Gary Thompson
    A tweak toward conventional drama might have added to the movie’s impact, but it’s scrupulous and straightforward.
    • 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.
    • 74 Metascore
    • 88 Gary Thompson
    Often fascinating, and sometimes even moving. There are lessons here about the cycle of life that can only be driven home by the real, random, and sometimes cruel dictates of fate.

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