Genevieve Koski

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For 48 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.1 points lower than other critics. (0-100 point scale)

Genevieve Koski's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 90 Gone Girl
Lowest review score: 20 The Divergent Series: Insurgent
Score distribution:
  1. Positive: 23 out of 48
  2. Negative: 3 out of 48
48 movie reviews
    • 46 Metascore
    • 50 Genevieve Koski
    The True Cost’s aim is to make it impossible to ignore fashion’s impact on the world, and it takes an admirably thorough approach to its unwieldy subject. It’s not a particularly cinematic approach, however.
    • 63 Metascore
    • 50 Genevieve Koski
    While there are individual delights within Pitch Perfect 2’s 115 minutes, they don’t add up to a functional, coherent film. There’s no harmony, only loud grandstanding.
    • 55 Metascore
    • 60 Genevieve Koski
    Home feels oddly small-scale for a globe-spanning science-fiction adventure story featuring aliens and flying cars.
    • 67 Metascore
    • 50 Genevieve Koski
    Most of Cinderella’s costuming and production design takes a “glitter first, taste second” approach that embodies the film’s cotton-candy style of filmmaking: a heady sugar-rush in the moment, but empty and a little nauseating over the long haul.
    • 56 Metascore
    • 60 Genevieve Koski
    For all its potential pitfalls, The DUFF manages to keep its head above water, thanks to Whitman, Amell, and a willingness to engage with teen-movie clichés in a relatively thoughtful way.
    • 69 Metascore
    • 60 Genevieve Koski
    As a film, Into The Woods is trapped between the stage and the screen, at odds with both its source material and its adopted medium.
    • 33 Metascore
    • 60 Genevieve Koski
    When Annie isn’t functioning as a showcase for Wallis’ tiny preternatural charm, it’s tonally varied to the point of discombobulation.
    • 52 Metascore
    • 60 Genevieve Koski
    Rudderless’ biggest flaw is that it’s overly committed to its trajectory, creating obvious cause-and-effect scenarios rather than letting its characters simply live and act within the situation the story places them in.
    • 50 Metascore
    • 50 Genevieve Koski
    The misused cast is just one of many examples of the unrealized potential of Life After Beth, a film that has good bones, but not enough meat, guts, or—most damningly for a zombie movie—brains.
    • 60 Metascore
    • 60 Genevieve Koski
    There are a lot of laughs in They Came Together, but few curveballs. The biggest surprise is that the film feels so safe.
    • 68 Metascore
    • 60 Genevieve Koski
    True to its Disney lineage, Bears is a theme-park version of reality, but one built on sincere understanding of and affection for the natural world and all its creatures—especially the really cute ones.
    • 48 Metascore
    • 50 Genevieve Koski
    At 140 minutes, Divergent is too bloated to be consistently exciting, but it’s relatively agile between its many exposition-dumps, at times resembling an actual action movie more than a pro-forma adaptation.
    • 31 Metascore
    • 40 Genevieve Koski
    It’s a greeting card of film, full of platitudes and pleasant imagery, and destined to be thrown in a drawer and forgotten in short order.
    • 65 Metascore
    • 60 Genevieve Koski
    Those willing or prone to buy into the idea of “Disney Magic” are likely to choke up at least once or twice over the course of Saving Mr. Banks, while those who resist it—the Traverses of the world—will choke on the heaping spoonfuls of sugar the film ladles onto its story.
    • 44 Metascore
    • 40 Genevieve Koski
    Delivery Man has sentiment and affability embedded in its DNA, but Scott and Vaughn don’t do enough to nurture the film to its full potential.
    • 50 Metascore
    • 40 Genevieve Koski
    It’s neither consistently funny nor poignant enough to make the most of its impressive cast, all of whom are capable of delivering better than what A.C.O.D. asks of them.
    • 51 Metascore
    • 40 Genevieve Koski
    More of a fawning love letter than a nuanced profile of a woman who surely must be more fascinating than she comes off here.
    • 49 Metascore
    • 40 Genevieve Koski
    Even with all the SFX overlays, it’s questionable whether any of this is entertaining enough to sustain even a svelte 92-minute runtime, but Spurlock and the boys can’t be faulted for holding back.
    • 33 Metascore
    • 40 Genevieve Koski
    There’s a germ of something interesting and different within the film’s narrative tangle, but it’s unfortunately been subsumed by Hollywood’s dedication to replicating previous successes.
    • 44 Metascore
    • 50 Genevieve Koski
    While the setups are often laughably forced—two words: “weed baby”—the script navigates its way out of them relatively gracefully, and sometimes hilariously.
    • 53 Metascore
    • 50 Genevieve Koski
    The Kevin Hart brand is clearly doing well, but Let Me Explain doesn’t seem interested in providing anything more than a surface-level presentation of the product.
    • 44 Metascore
    • 60 Genevieve Koski
    A decent-enough inroad to one of film history’s most respected parodists.

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