Ignatiy Vishnevetsky

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For 749 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

Ignatiy Vishnevetsky's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Nocturama
Lowest review score: 0 Holmes & Watson
Score distribution:
  1. Negative: 75 out of 749
749 movie reviews
    • 69 Metascore
    • 75 Ignatiy Vishnevetsky
    Across the extended, handsomely shot sit-down interviews (with Ma’s daughter and the three other writers), what emerges is a fragmentary oral history of Chinese rural life across several transformative decades of the 20th century: family stories, tragedies, remembered slogans, the particulars of trying to grow crops in alkaline soil or coming of age as the son of a declared “counterrevolutionary.”
    • 81 Metascore
    • 67 Ignatiy Vishnevetsky
    With a running time of 135 minutes, it eventually becomes exhausting—but that is partly the point of a film about a population going through the motions, of a mass event with a hole where the middle should be.
    • 67 Metascore
    • 58 Ignatiy Vishnevetsky
    The film avoids every potential area of deeper interest: the economic conditions in Jan’s tiny ex-coal-mining community; the mid-to-late 2000s period setting; any nitty-gritty details about what it takes to train or race a steeplechase horse.
    • 41 Metascore
    • 58 Ignatiy Vishnevetsky
    Watching the overqualified likes of Adams, Moore, Leigh, Henry, Oldman, et al. get tangled up in this gaslighting mystery is, admittedly, one of the pleasures of The Woman In The Window.
    • 64 Metascore
    • 58 Ignatiy Vishnevetsky
    Every scene in Cliff Walkers will feel familiar: the close calls, the dead drops, the car chases, the poor man’s Hitchcockisms.
    • 44 Metascore
    • 25 Ignatiy Vishnevetsky
    This is supposed to be a world of fighters with bizarre outfits and combat abilities, but a lot of the time, the viewer will just find themselves staring at a screen that’s mostly rocks.
    • 61 Metascore
    • 58 Ignatiy Vishnevetsky
    Donnybrook aside, Sutton has largely devoted his career to mood pieces like Dark Night and Memphis where concept is key. In Funny Face, he puts everything in movie-movie-ish scare quotes—a self-defeating approach for a paean to urban authenticity.
    • 56 Metascore
    • 42 Ignatiy Vishnevetsky
    While Carnahan’s sense of humor has always been juvenile, in Stretch it at least benefitted from a gonzo factor and the crucial quality of having funny parts. Boss Level, however, is clumsy from the jump, with lame gags and a ceaseless, obtrusive voice-over that is always telling us why the next part is funny or what’s happening on screen (in case the viewer is distracted by their phone).
    • 65 Metascore
    • 58 Ignatiy Vishnevetsky
    There are too many montages and musical numbers that seem to be searching for a punchline.
    • 52 Metascore
    • 50 Ignatiy Vishnevetsky
    Day, who’s very good, moves through it with comfort and charisma. Her Billie Holiday is as much a star in the green room as she is onstage, faced with applause or the harsh bathroom-mirror reflection of abuse and addiction. But many of the other characters might as well be reading off of cue cards.
    • 53 Metascore
    • 50 Ignatiy Vishnevetsky
    It’s revealed that the evidence against Salahi, who admits only to training with the formerly CIA-backed Afghan mujahideen in an al-Qaeda camp back in the early ’90s, consists of summaries of reports and confessions, which neither side is supposed to see. But instead of rising to the challenge of such potentially abstract subject matter, the film opts for clichés: file boxes, lawyer talk over fast food, the classic confrontation in a poorly lit parking lot.
    • 82 Metascore
    • 50 Ignatiy Vishnevetsky
    Critics are often accused of reviewing a filmmaker’s politics over the film. But the truth is that, outside of welcome stretches of humor (in the beginning) and tension (towards the end), there isn’t much more to Dear Comrades!. The script is filled with flat, rhetorical speeches that are done no favors by Konchalovsky’s static direction.
    • 53 Metascore
    • 50 Ignatiy Vishnevetsky
    The best thing that can be said about Palmer is that it’s innocuous: overlong and sentimental, but rarely annoying.
    • 75 Metascore
    • 75 Ignatiy Vishnevetsky
    Rosi’s compositions, static and mostly wide angle, are ennobling, albeit ambiguously. Life is going on, but not as usual.
    • 44 Metascore
    • 50 Ignatiy Vishnevetsky
    If one were to diagnose a central problem with The Marksman, it’s that it isn’t actually a Clint Eastwood movie; it lacks the breathing room, the first-take nonchalance that always makes an attractive opposite to the Eastwoodian sense of purpose.
    • 64 Metascore
    • 50 Ignatiy Vishnevetsky
    If a movie has to kill off most of the species in the name of the nuclear family, it should at least do it with some staging and style.
    • 47 Metascore
    • 67 Ignatiy Vishnevetsky
    There’s a couple badass heroes with humongous swords, a few big scaly monstrosities, and frequently not much else. The minimalism is consistent with Anderson’s career-long devotion to delivering caloric content with an unlikely combo of classical unities and pounding, insta-dated electronic beats. The movie’s called Monster Hunter—what more could it reasonably need?
    • 27 Metascore
    • 25 Ignatiy Vishnevetsky
    It becomes clear early on that, despite its cheap thriller trappings, the film is headed only in the blandest direction, basically a love story of the kind traditionally told in commercials for tech companies and phones.
    • 75 Metascore
    • 75 Ignatiy Vishnevetsky
    If Mayor succeeds at conveying some of the awkward cringe comedy of running a community under occupation, it also captures the dread.
    • 35 Metascore
    • 25 Ignatiy Vishnevetsky
    As played by actor-musician Johnny Flynn, the Halloween-costume Bowie we meet in Stardust is a miserable, charmless wannabe. Which is to say that the film fails where a single photo of this most chameleonic of music legends would succeed: It makes Bowie boring.
    • 34 Metascore
    • 58 Ignatiy Vishnevetsky
    Although it isn’t actually a comedy, Iron Mask qualifies, in substantial stretches, as one of the funniest films of the year.
    • 34 Metascore
    • 25 Ignatiy Vishnevetsky
    The move from practical stuns to a discount VFX simulacrum (no real cars appear to have been wrecked in any of these chase scenes) has not flattered Tong’s amateurish direction.
    • 79 Metascore
    • 58 Ignatiy Vishnevetsky
    The problem is that Mank never transcends its borrowed cornball arc, depicting its title character as a genius in eternal conflict with villains and phonies like Hearst (Charles Dance, terrific), Louis B. Mayer (Arliss Howard, even better), and Welles (Tom Burke, blood-curdlingly bad).
    • 73 Metascore
    • 67 Ignatiy Vishnevetsky
    Quiet, slow-moving, ambiguous character studies might be a dime a dozen on the festival circuit, but there are few that remind us that there are things out there that still feel as big as myth.
    • 46 Metascore
    • 42 Ignatiy Vishnevetsky
    Manderley is in part a state of mind. In this Rebecca, that state is exasperating boredom.
    • 67 Metascore
    • 75 Ignatiy Vishnevetsky
    Among the many quirks of this very idiosyncratic comedy is that it really is structured like a thriller or a horror film.
    • 38 Metascore
    • 25 Ignatiy Vishnevetsky
    This is a bad movie, with maybe two good jokes and some of Allen’s clunkiest direction.
    • 70 Metascore
    • 75 Ignatiy Vishnevetsky
    There’s something deeply appealing about an already stripped-down cat-and-mouse scenario that becomes dirtier and more elemental as it goes along, tracing a devolutionary arc from the rules of the road to primeval combat.
    • 59 Metascore
    • 75 Ignatiy Vishnevetsky
    Despite the therapeutic functions ascribed to art by both its creators and its audiences, very few of us actually want to play the therapist. Triet does, handling her characters with an almost diagnostic detachment.
    • 67 Metascore
    • 58 Ignatiy Vishnevetsky
    Far from the flamboyant figure of fantasy and popular myth, this version of the inventor is totally interiorized.

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