James Berardinelli

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For 3,692 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Das Boot
Lowest review score: 0 The Neon Demon
Score distribution:
3692 movie reviews
    • 61 Metascore
    • 75 James Berardinelli
    Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.
    • 79 Metascore
    • 75 James Berardinelli
    There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.
    • 40 Metascore
    • 50 James Berardinelli
    Although Peter Straughan’s stripped-down regurgitation of the story is faithful to Tartt’s narrative in the broadest sense of the word, it lacks elegance and depth. A Dickensian coming-of-age tale, The Goldfinch is at times dull and pretentious and never earns its 2.5-hour running length as an example of either art or entertainment.
    • 58 Metascore
    • 63 James Berardinelli
    At times, the film tends toward meandering and self-indulgence.
    • 51 Metascore
    • 50 James Berardinelli
    Working with time travel is never an easy task and, when a filmmaker doesn’t take a rigorous, consistent approach, it can become a mess. Such is the case with Don’t Let Go.
    • 64 Metascore
    • 75 James Berardinelli
    To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.
    • 45 Metascore
    • 50 James Berardinelli
    Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.
    • 64 Metascore
    • 75 James Berardinelli
    Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.
    • 51 Metascore
    • 63 James Berardinelli
    Certain plot elements that made sense in the original are less logical in this one, especially when one considers the differences in bonds between mothers and children and fathers and children.
    • 60 Metascore
    • 75 James Berardinelli
    The film gets frequent laughs from its raunchiness but, underneath it all, there’s an emotionally resonant story of how children confront the demons of youth that guard the gates to adolescence.
    • 51 Metascore
    • 63 James Berardinelli
    Although Where’d You Go, Bernadette suffers from an ungainly structure and uneven pacing, the production as a whole is engaging and uplifting.
    • 71 Metascore
    • 75 James Berardinelli
    Blinded by the Light is a one-third Bruce Springsteen hagiography, one-third kitschy ‘80s recreation, and one-third feel-good father/son coming together. Surprisingly, however, it works.
    • 60 Metascore
    • 50 James Berardinelli
    Put The Angry Birds Movie 2 into the basket of sequels that no one was asking for.
    • 38 Metascore
    • 50 James Berardinelli
    The film’s depiction of cataplexy is a reasonable representation considering how it’s being used (sufferers may understandably disagree). It’s too bad that so many of the screenplay’s other elements – like its treatment of basic human emotions – are badly mishandled.
    • 61 Metascore
    • 63 James Berardinelli
    Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.
    • 36 Metascore
    • 50 James Berardinelli
    The end result is something that feels like it should have been much better than it is.
    • 60 Metascore
    • 63 James Berardinelli
    Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.
    • 55 Metascore
    • 63 James Berardinelli
    The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.
    • 83 Metascore
    • 88 James Berardinelli
    This is the director’s least violent feature film but it is in every meaningful way evident as a product of the man who made "Pulp Fiction."
    • 47 Metascore
    • 50 James Berardinelli
    Let me admit to loving the premise behind Supervized. The problem is that a movie needs more than a great premise – it needs to grow and nurture that idea, and that’s where Supervized falls short.
    • 90 Metascore
    • 88 James Berardinelli
    It’s probably strange to call a movie about illness and death a “feel good experience,” but Wang has pitched the film perfectly in this regard.
    • 55 Metascore
    • 75 James Berardinelli
    There are no humans in the film and their only participation was doing voiceover work. Of all the recent Disney recreations, that makes The Lion King the most curious.
    • 60 Metascore
    • 63 James Berardinelli
    Crawl is an old-fashioned B-grade monster movie made with 2019 technology. In short, that means plenty of gore and jump-scares to go along with creatures that no longer look like puppets or men in rubber suits.
    • 42 Metascore
    • 50 James Berardinelli
    Stuber is as bland and generic a mismatched buddy action-comedy as you’re likely to find.
    • 84 Metascore
    • 75 James Berardinelli
    It’s a rom-com where one of the participants is the self-described “last black man” and the other is a house.
    • 72 Metascore
    • 75 James Berardinelli
    While "Hereditary" crashed and burned in its final act, Midsommar stays afloat, although the movie is ultimately hampered by a too-long running length (147 minutes) and scenes that teeter perilously close to slipping over a cliff into self-parody.
    • 69 Metascore
    • 75 James Berardinelli
    Spider-Man: Far from Home works best when viewed as an epilogue to "Avengers: Endgame" (and, by extension, the entire MCU multi-film arc to this point) instead of a stand-alone adventure.
    • 60 Metascore
    • 63 James Berardinelli
    Although an intriguing way to deconstruct and reassemble a story familiar to most people who have taken high school English, Ophelia doesn’t live up to its promise perhaps because the lead character, even after having been “expanded,” is still rather flat.
    • 56 Metascore
    • 75 James Berardinelli
    Although the idea behind Yesterday was to craft a love-letter to The Beatles, the end result tastes a lot like a typical Richard Curtis rom-com with a generous helping of John-Paul-George-Ringo gravy.
    • 53 Metascore
    • 38 James Berardinelli
    I can’t say that Annabelle Comes Home, the third feature focused on the creepy girl doll, is the worst (because it has plenty of competition) but it’s easily among the dumbest.

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