Hoai-Tran Bui

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For 102 reviews, this critic has graded:
  • 58% higher than the average critic
  • 6% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Hoai-Tran Bui's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The Green Knight
Lowest review score: 10 Artemis Fowl
Score distribution:
  1. Positive: 70 out of 102
  2. Negative: 3 out of 102
102 movie reviews
    • 40 Metascore
    • 20 Hoai-Tran Bui
    Every joke in Easter Sunday lands with a thud, every emotional beat falls flat. It has the sense of humor of a bad TikTok video, and the emotional resonance of that TikTok commercial playing right now where wide-eyed people declare, "I learned it from TikTok!" Visually, it looks like a network TV reject or that one Netflix movie that you put on in the background while doing laundry.
    • 48 Metascore
    • 55 Hoai-Tran Bui
    The premise of Luck — what if good and bad luck were engineered? — is too thin to make either element feel fulfilling. Instead, the film's most imaginative qualities feel flattened, while its attempts to lend a fresh, modern edge to these old-age concepts feel unsharpened and bland.
    • 58 Metascore
    • 60 Hoai-Tran Bui
    While there are some truly jaw-droppingly beautiful visuals that speak to a greater imagination on Ando and Miyaji's part — they were animation directors for several acclaimed projects and have a keen eye for how to make things look good — the soul is missing. The Deer King can't help but feel like a paint-by-the-numbers riff on greater films before it.
    • 49 Metascore
    • 50 Hoai-Tran Bui
    The Gray Man exists "in the gray" of Hollywood action movies — not jaw-droppingly incredibly, not astoundingly bad, just there. It's a movie that's made to be half-watched on Netflix while scrolling on your phone. Its greatest disappointment is that it knows what it has — Gosling, a great cast, a lot of money — and it still ends up being less than the sum of its parts.
    • 43 Metascore
    • 60 Hoai-Tran Bui
    The film is a self-serious, but consciously aesthetically pleasing, adaptation of a, frankly, silly soap opera. It doesn't rock the boat, but it doesn't plunge into the depths of womanhood, poverty, and classism as much as it thinks it does.
    • 42 Metascore
    • 50 Hoai-Tran Bui
    The problem with "Persuasion" is it doesn't know what it wants to be. Is it a bold, revisionist take on Austen with progressive colorblind casting and cutesy contemporary slang? Or is it a sentimental period romance that wants to get its audience's hearts fluttering as they sigh over the pining glances shared between Johnson's Anne and Cosmo Jarvis' (an endearingly awkward bright spot in the film) Wentworth? The result is a half-assed attempt at both, which only makes it all the more insulting.
    • 67 Metascore
    • 70 Hoai-Tran Bui
    It's romantic escapism at its finest, a brief diversion from our grim reality that is just novel enough to make it worth our time.
    • 66 Metascore
    • 70 Hoai-Tran Bui
    Vengeance manages to balance its self-effacing and sentimental tones in a way that is extremely satisfying and entertaining to watch.
    • tbd Metascore
    • 50 Hoai-Tran Bui
    This is a glorified OVA (Original Video Animation) with an accelerated recap of the show and a few cute Kyo-Tohru scenes stuck on to justify the feature film designation — but the thing is, they only serve to make the whole thing weaker. Because buried in between that messy recap and nostalgia-baiting prologue scene is an imperfect adaptation of one of the best things Natsuki Takaya has written.
    • 58 Metascore
    • 70 Hoai-Tran Bui
    Next Exit is a moody and haunting character exercise, centering around the terrific central performances by Katie Parker and Rahul Kohli, but a little underbaked otherwise.
    • 52 Metascore
    • 60 Hoai-Tran Bui
    It's really a movie about a couple reconnecting with each other and with their kids through the power of the lottery. It's very silly, yes, but the movie at least seems to sincerely believe in this.
    • 54 Metascore
    • 80 Hoai-Tran Bui
    Don't Make Me Go is at its strongest when Cho and Isaac are onscreen together, reflecting back the kind of tense, but loving, father-daughter dynamic which is so lovingly familiar and relatable to many of us.
    • 60 Metascore
    • 70 Hoai-Tran Bui
    Lightyear may not reach the heights of the great sci-fi movies that it pays tribute to, or even the "Toy Story" movies themselves. But it's a visually impressive, escapist riff on the sci-fi epic that, at the very least, might become the favorite movie of some kid, somewhere.
    • 76 Metascore
    • 80 Hoai-Tran Bui
    Cruz is the film's MVP as Lola, kookier than she's ever been, and playing well into the character's question mark of a persona — is she a true auteur or a hack? You never really find out, but watching Lola become increasingly disillusioned with the whole project makes her the closest we get to a relatable character in this whole heightened satire.
    • 75 Metascore
    • 70 Hoai-Tran Bui
    The Bob's Burgers Movie is a little overlong. It takes a while for the plot to kick in, and by the time it does, it drags out the conflict, heightening the stakes to ludicrous degrees. And while it could've just been an episode of the show, it justifies its existence with its surplus of joyful musical songs and its surprisingly dark turns — which really only emerge in the last half hour of the movie. But mostly, it justifies itself by reaffirming why we always come back to the Belcher family. They're the sweet, emotional core of the movie, the meat of this mystery burger that we want to order over and over again.
    • 60 Metascore
    • 75 Hoai-Tran Bui
    Paired with Danny Elfman's fizzy score, Raimi elevates "Multiverse of Madness" from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the "madness" that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done.
    • 64 Metascore
    • 65 Hoai-Tran Bui
    Marvelous and the Black Hole is a satisfying showcase from Tsang, who really draws from her animation background to show these moments of intense emotion from Sammy, but its broad strokes are a little...broad.
    • 82 Metascore
    • 85 Hoai-Tran Bui
    It's when the film meets between these two modes — the mythic and the realistic — that it's at its most thrilling.
    • 60 Metascore
    • 75 Hoai-Tran Bui
    There's a goofy sincerity to the movie even as it sends up better movies that came before it (complete with corny needle drops), and it retains that old Hollywood screwball spirit that gives it a timeless feeling. It's nothing new, and lord knows it's nothing groundbreaking, but boy, is it fun.
    • 69 Metascore
    • 70 Hoai-Tran Bui
    Despite its many twists, The Outfit is a fairly straightforward thriller, buoyed by its sharp narrative turns and a quietly subversive Rylance.
    • 83 Metascore
    • 80 Hoai-Tran Bui
    Turning Red" is another Pixar homerun, a low-stakes adventure turned high-stakes thanks to its heightened emotions and envelope-pushing animation style. It's loud and unapologetic, and while that frenzy of stuff can sometimes turn frantic, it's one of the most accurate cinematic depictions of what it was like to be a hormonal teenage girl.
    • 54 Metascore
    • 65 Hoai-Tran Bui
    While competently performed — Liu in particular is exceptional, lending a fraught likability to Darby; Haysbert exudes a natural warmth; and Dickey gives a good frayed performance despite a disappointing characterization — and decently directed, it feels like there's something missing from No Exit.
    • 45 Metascore
    • 50 Hoai-Tran Bui
    Uncharted has fun moments . . . but its overreliance on unfunny quips and uninspired retreads of the action-adventure genre makes it another disappointing non-MCU outing for Holland, and another spiritless adaptation of a beloved video game.
    • 51 Metascore
    • 50 Hoai-Tran Bui
    Marry Me feels like a satirical movie that missed the joke. It doesn't have a plot as much as a collection of rom-com tropes — Fake marriage! Reverse "Notting Hill"! Evil exes! School mathalons? — and is strung together by the whisper of a narrative structure. But while "Marry Me" is silly, poorly made, and inarguably a bad movie, I had dumb fun.
    • 49 Metascore
    • 50 Hoai-Tran Bui
    Sing 2 feels like a relic from another era. And oddly, a relic that really wants to sell you on U2 songs.
    • 44 Metascore
    • 50 Hoai-Tran Bui
    As charismatic as its stars are, and as refreshing as its period setting is, the wildly inconsistent tone and overstuffed runtime loses whatever was left of the shine of the first "Kingsman."
    • 71 Metascore
    • 70 Hoai-Tran Bui
    If you poke too many holes in the narrative, Spider-Man: No Way Home starts to become undone. But if you take it at face value, it's a sweet, moving swing of a "Spider-Man" film that (mostly) manages to land.
    • 83 Metascore
    • 90 Hoai-Tran Bui
    I Was a Simple Man is a slow-burning walk toward the light, a paean for life, and the land and people that shaped it. It's the kind of love letter that only a lifelong resident of Hawaii like Yogi could make, to a resilient land whose scars will take long to heal.
    • 82 Metascore
    • 85 Hoai-Tran Bui
    There's something about a Mike Mills film that feels like it's gently caressing the hair out of your face and kissing you on the forehead: a softness, a wistfulness that acknowledges how hard reality can be while tucking you into bed. While "C'mon C'mon" can't protect you from the world, it can at the very least hold your hand as it tries to figure out the path forward too.
    • 93 Metascore
    • 90 Hoai-Tran Bui
    Petite Maman is richer in its simplicity; a lovely slice-of-life tale that knows that loss is so enormous and monumental that we can only linger with it for brief moments.

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