For 157 reviews, this critic has graded:
  • 59% higher than the average critic
  • 1% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Jack Kroll's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Marquise of O
Lowest review score: 20 Capricorn One
Score distribution:
  1. Positive: 92 out of 157
  2. Negative: 15 out of 157
157 movie reviews
    • 54 Metascore
    • 70 Jack Kroll
    Murphy raw is better than the well-done ego served up in Beverly Hills Cop II. But he's become a brilliant wise guy, unlike his hero Richard Pryor, who can turn profanity into poetry and hipness into humanity. [11 Jan 1988, p.57]
    • Newsweek
    • 67 Metascore
    • 80 Jack Kroll
    Almost certainly Joplin's friends, associates and many of her old fans will accuse The Rose of distortion, sentimentality, vulgarization andother crimes. They will not be entirely wrong, and yet Mark Rydell's film has a certain coarse, splashy integrity. And it has a remarkable, going-all-the-way performance by Bette Midler in her first movie. [12 Nov 1979, p.107]
    • Newsweek
    • 87 Metascore
    • 100 Jack Kroll
    The smartest, sweetest, funniest comedy in many summers. [08 July 1985, p.76]
    • Newsweek
    • 50 Metascore
    • 50 Jack Kroll
    The movie, half camp, half straight, has its moments, but Australian director Russell Mulcahy lacks the loopy flair of Batman's Tim Burton. Still, the art deco -- 1930s New York, Miller's silvery dresses -- is gorgeous. [11 Jul 1994, p.50]
    • Newsweek
    • 69 Metascore
    • 80 Jack Kroll
    Eating Raoul is only one of the many outrageous things that Paul and Mary Bland do in this outrageous black comedy that's almost certain to be the up-from-underground movie of the year. [11 Oct 1982, p.103]
    • Newsweek
    • 55 Metascore
    • 40 Jack Kroll
    This is state-of-the-art stuff, and clearly Landis is as proud of it as those kid prodigies who build computers out of Q-Tips. Landis also out-palms Brian De Palma, not only giving you nightmares about massacres but double nightmares that go on to meta-massacres just when you think they're over. But despite all of this super-sophistication the movie is finally just as silly as the old horror pictures it ambiguously kids. There's nothing like a rotting, wisecracking corpse to embody the bubble-gum nihilism of the Wise-Guy Wave. [7 Sept 1981, p.82]
    • Newsweek
    • 63 Metascore
    • 60 Jack Kroll
    Lowe and Spader are quite good as alter egos of the moral shallows. But the film goes from shallow to callow. Director Curtis Hanson and writer David Koepp have turned out a glossy but hollow film noir that makes virtue and decadence equally vapid. [26 Mar 1990, p.53]
    • Newsweek
    • 62 Metascore
    • 90 Jack Kroll
    Greystoke is entertaining, intelligent, even touching in its broad-scale treatment of a story that has always provided common ground for children and grown-ups. The main problem with this movie is that it's too short. [26 Mar 1984, p.74]
    • Newsweek
    • 53 Metascore
    • 40 Jack Kroll
    The film is too dumb to work as patriotic exhortation and too mawkish to work as blood-and-guts exploitation. It's a long commercial in which the Marlboro Man has become the American Guerrilla, with his good buddies, good guns and a bottomless case of Coors. [03 Sep 1984, p.73]
    • Newsweek
    • 67 Metascore
    • 80 Jack Kroll
    At times veering toward the portentous, the film nonetheless has the relentless rhythm of a juggernaut. The acting is first-rate American realism -- gutsy, funny and scary as the occasion demands. [09 June 1986, p.79]
    • Newsweek
    • 49 Metascore
    • 40 Jack Kroll
    This would be acceptable, even powerful, if it were a genuinely tragic vision. But there's no true tragic sense here, not even the effective blend of entertainment and social perception of cop movies like "Serpico" and "The Onion Field." [16 Feb 1981, p.81]
    • Newsweek
    • 31 Metascore
    • 30 Jack Kroll
    Leonard's tight, vivid brushstrokes have been turned into cinematic graffiti. [6 May 1985, p.73]
    • Newsweek
    • 42 Metascore
    • 30 Jack Kroll
    There's nothing sadder than a movie that tries to be adorable and isn't. Author! Author! tries so hard that the screen seems to sweat. [05 Jul 1982, p.72]
    • Newsweek
    • 11 Metascore
    • 30 Jack Kroll
    Pseudo-lush but crummy flick. [15 Mar 1982, p.78]
    • Newsweek
    • 63 Metascore
    • 80 Jack Kroll
    An absorbing, well-crafted, honorable movie that seems almost as ambitious as the original operation itself. [20 Jun 1977, p.65]
    • Newsweek
    • 69 Metascore
    • 80 Jack Kroll
    Central America has become a kind of hell on earth, and "Salvador" scorches us with this infernal truth. [17 March 1986, p.81]
    • Newsweek
    • 80 Metascore
    • 100 Jack Kroll
    Matlin's performance in her first major role in her first movie is so good -- sensitive, sharp, funny -- that she's likely to be the first deaf actress to get an Oscar nomination. [20 Oct 1986, p.77]
    • Newsweek
    • 49 Metascore
    • 70 Jack Kroll
    Screenwriter Charles Edward Pogue and director Rob Cohen have reasonably literate fun subverting the knight genre. [10 Jun 1996, p.91]
    • Newsweek
    • 83 Metascore
    • 90 Jack Kroll
    And as Lucy, 19-year-old newcomer Helena Bonham Carter (whose great grandfather was British Prime Minister Herbert Asquith) is like a charming, flustered Alice grown up into the more dangerous wonderland of reality. [10 March 1986, p.74]
    • Newsweek
    • 58 Metascore
    • 70 Jack Kroll
    A high-gloss, light-fingered flick that deftly picks your pocket of a few bucks and in return slips you two hours of neatly killed time. [30 June 1980, p.62]
    • Newsweek
    • 53 Metascore
    • 60 Jack Kroll
    Paradise Alley lacks Rocky's primal simplicity: It's a parade of outrageous ploys that come pelting at you from all angles. [13 Nov 1978, p.106]
    • Newsweek
    • 64 Metascore
    • 90 Jack Kroll
    Looking for Mr. Goodbar could have been just another sensationalist movie version of a shocking best seller. But Richard Brooks has filmed it with power, seriousness and integrity. [24 Oct 1977, p.126]
    • Newsweek
    • 57 Metascore
    • 70 Jack Kroll
    The best thing about Black Sunday is its pulsating rhythm of suspense and the glittering texture of details it assembles as it drives its way toward its climax. [04 Apr 1977, p.73]
    • Newsweek
    • 68 Metascore
    • 70 Jack Kroll
    Bringing together Steve Martin and Lily Tomlin is a fairly inspired idea. And bringing them together in the same body is like heaping whipped cream atop inspiration. [17 Sep 1984, p.89]
    • Newsweek
    • 34 Metascore
    • 30 Jack Kroll
    The Clan of the Cave Bear is dog. [27 Jan 1986, p.69]
    • Newsweek
    • 66 Metascore
    • 50 Jack Kroll
    Moonraker's only real imaginative surge comes in a rousing pre-credit sequence in which Bond is pushed out of an airplane and survives by deftly sky-diving to a parachutist and swiping his chute. After this, a bizarre blandness takes over. [2 July 1979, p.68]
    • Newsweek
    • 72 Metascore
    • 70 Jack Kroll
    An offbeat, engaging little movie about the mad mad world of bodybuilders. [24 Jan 1977, p.61]
    • Newsweek
    • 44 Metascore
    • 30 Jack Kroll
    This is one of those films where lots of things happen but there's no real excitement. [28 June 1982, p.73B]
    • Newsweek
    • 55 Metascore
    • 70 Jack Kroll
    Faye Dunaway's performance has its own Gothic energy and insight. She catches the behavioral details of Joan Crawford--the throaty voice, dropping its "g's" with tough-guy casualness, the Venus' flytrap seductiveness. In her nightly chin strap, her sweat suit as she works out like a fighter, in Irene Sharaff|s brilliant period gowns and rings-of-Saturn hats, Dunaway catches the star's driving ambition, her obsession with a perverse ideal of perfection that turns human feeling into cruelty. She makes Crawford a fearsome portrait of the pathology of stardom. [21 Sept 1981, p.97A]
    • Newsweek
    • 60 Metascore
    • 50 Jack Kroll
    In a way it's silly to review a movie like this; it's like reviewing a case of acne. John G. Avildsen, the checkered-career director who made Rocky, has made this one a kind of Pebbly -- a Rocky for teenychoppers, about a semi-wimpy kid named Daniel (Ralph Macchio) who's constantly being clobbered by the creeps in his high school until he's taught karate by his janitor, Mr. Miyagi (Noriyuki [Pat] Morita). [25 June 1984, p.69]
    • Newsweek

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