Gary Thompson

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For 305 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.4 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: 16 out of 305
305 movie reviews
    • 35 Metascore
    • 38 Gary Thompson
    The internal logic of the movie is complex, confusing, and as a result the movie is not very much fun.
    • 69 Metascore
    • 75 Gary Thompson
    Hamm is in his sweet spot here as a former hotshot now emptied of ideals and passion. Pike plays a woman who trades on being underestimated by men, and supporting pros like Whigham and Norris obviously enjoy working with better-than-average dialogue.
    • 73 Metascore
    • 75 Gary Thompson
    Director Ferenc Török departs from the High Noon arc, and finds a way to end the movie with an invocation of violence, rather than an eruption of it. His final image, gruesome and evocative, is unforgettable.
    • 67 Metascore
    • 75 Gary Thompson
    The ability of political power to impose narratives, says Chappaquiddick, has always been conditional on our willingness to believe them.
    • 69 Metascore
    • 75 Gary Thompson
    Mostly what lurks around the edge of the action isn’t danger, but affection.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Gary Thompson
    At first the flippant tone of some of these scenes seems a bit off, but the movie (full of narrative curves) eventually makes tonal sense. The movie’s epilogue sends us out on a flat note, but Kirke, and her character, make an impression.
    • 73 Metascore
    • 75 Gary Thompson
    Journey’s End makes no attempt to disguise the stage origins of the script. Instead, director Saul Dibb shows the physical dimension of the situation in a new way — much of the action occurs in the tunnels — it’s shot imaginatively in extreme low light,.
    • 64 Metascore
    • 63 Gary Thompson
    Steven Spielberg’s Ready Player One is competent, occasionally rousing entertainment that nonetheless left me a little bummed.
    • 82 Metascore
    • 75 Gary Thompson
    The chief pleasure of Isle of Dogs is admiring its lovably tactile stop-motion creatures (more than 1,000 rendered characters, a stop-motion record) and meticulous backdrops, giving the movie a deep-focus depth of field uncommon to animation.
    • 88 Metascore
    • 75 Gary Thompson
    The movie has metaphors to burn, and those looking for provocative commentary will surely find it. Foxtrot, though, is a slippery thing that resists easy categorization, and will reward viewers who wait until all of its secrets have been revealed.
    • 88 Metascore
    • 88 Gary Thompson
    For Iannucci, who loves to mock the craven, unprincipled pursuit of power, the scenario is an antic delight and plays to his talent for hectic plot turns and (pardon the expression) rapid-fire dialogue.
    • 63 Metascore
    • 75 Gary Thompson
    Foy is quite good in this role.
    • 72 Metascore
    • 63 Gary Thompson
    As we watch this safely-under-the-speed-limit parade of lumpen suburban regularness, though, we begin to wonder if director Greg Berlanti (TV’s Arrow and Riverdale) has emphasized sexuality at the expense of personality. This kid makes Ferris Bueller look like a dangerous radical.
    • 45 Metascore
    • 50 Gary Thompson
    Leisure Seeker leans heavily on the charm of its two veteran leads. Sutherland and Mirren work hard to establish John and Ella as a couple worth pulling for, even as we begin to suspect that what they want is to go out on their own terms.
    • 70 Metascore
    • 75 Gary Thompson
    The actress had legendary power to charm men and women, and we suspect one of them may be Bombshell director Alexandra Dean. Early on, we hear biographers and fans tell us about something that “probably” happened, or that “may be apocryphal,” but it all becomes part of Bombshell‘s print-the-legend approach.
    • 75 Metascore
    • 75 Gary Thompson
    Finley ends with a poetic epilogue that draws themes into focus, and gives voice to them. I’m not sure the movie fully earns it, but it does grab and hold your attention, thanks to the frighteningly good rapport between Taylor-Joy and Cooke.
    • 86 Metascore
    • 75 Gary Thompson
    It’s a tough two hours, but director Zvyagintsev invites engagement by giving us more than a chronicle of dysfunction — he’s searching for its source.
    • 31 Metascore
    • 50 Gary Thompson
    A wishy-washy exploitation movie, which doesn’t show any real verve until the climax.
    • 57 Metascore
    • 50 Gary Thompson
    The movie is swimming with ideas, but it values concept over character to a problematic degree. The Cured maps out an increasingly elaborate set of internal rules that govern its characters without defining or deepening them.
    • 53 Metascore
    • 50 Gary Thompson
    The movie’s distinguishing feature is its inclination to lurid violence. Every so often, a depraved Russian hit man shows up to murder and torture one of the characters, mostly to allow director Francis Lawrence to show yet another naked and brutalized woman splayed on a shower floor, or in a bathtub red with blood.
    • 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.
    • 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.
    • 73 Metascore
    • 75 Gary Thompson
    Potter has assembled a good cast that gives the claustrophobic material some air — the theatrical drama is set in just a few cramped rooms, including the loo. Potter also chooses black and white, suggesting stark contrasts that blend, like the viewpoints of the characters, into shades of gray.
    • 79 Metascore
    • 75 Gary Thompson
    Garland’s alien biodome is a trippy mixture of tactile old school hardware and computer-generated images. It combines to give his brightly ominous new world a sinister sheen, especially when showing how it has consumed/subsumed the old seaside community it has displaced.
    • 88 Metascore
    • 88 Gary Thompson
    Black Panther sticks to Marvel orthodoxy, and yet does so with a nearly all black cast (Martin Freeman and Andy Serkis have small roles), and with strikingly Afro-centric production design. In the process it freshens and enlivens the Marvel brand.
    • 31 Metascore
    • 38 Gary Thompson
    Stories about the way men and women negotiate sex, power, money, work and relationships — Anastasia ends up working for a company Christian owns — should make the Fifty Shades trilogy relevant and exciting. They are, somewhat mysteriously, the opposite of that.
    • 54 Metascore
    • 75 Gary Thompson
    The movie is often whimsical, a tone augmented by clever use of special effects and sudden flourishes of animation. Offbeat soundtrack selections and effective music by composer Andrew Harris help set the mood — ultimately genial and hopeful, and the movie is short and sweet.
    • 45 Metascore
    • 50 Gary Thompson
    The incident on the train accounts for just a few minutes of screen time — for another 90 minutes they’re in a flatlined buddy movie, without much help from Eastwood (he insisted they not train as actors) or the screenplay.

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