Jeannette Catsoulis

Select another critic »
For 1,481 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 6.2 points lower than other critics. (0-100 point scale)

Jeannette Catsoulis' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Last Circus
Lowest review score: 0 Alien Girl
Score distribution:
1481 movie reviews
    • 68 Metascore
    • 80 Jeannette Catsoulis
    The result is an exceedingly well-made first feature, a simple genre movie elevated by strong visuals, potent performances and a mood that falls somewhere between resignation and guttering hope.
    • 75 Metascore
    • 60 Jeannette Catsoulis
    More curious and combative than the movie around her, Kennedy is as much anthropologist as chef, her deep love for her adopted country palpable.
    • 32 Metascore
    • 30 Jeannette Catsoulis
    Despite the ripeness and flammability of its material, the movie feels oddly distant, the screenplay marred by weak scares, graceless plotting and dashed-off characters.
    • 53 Metascore
    • 40 Jeannette Catsoulis
    We’ve seen it before: Faces, substances and locations may change, but the self-destructive behavior and dreary vibe are pretty much constants.
    • 37 Metascore
    • 30 Jeannette Catsoulis
    As derivative as its title and as implacable as its declining hero, Blood and Money suffers from near-calamitous narrative lapses.
    • 65 Metascore
    • 70 Jeannette Catsoulis
    While the movie barrels toward a final act that’s more feminist fantasy than credible conclusion, Bolger’s phenomenal performance locks us tightly on Sarah’s side.
    • 70 Metascore
    • 80 Jeannette Catsoulis
    Like a stone skipping on water, How to Build a Girl leaps from raunchy to charming, vulgar to sweet, earthy to airy-fairy without allowing any one to settle. Yet it’s so wonderfully funny and deeply embedded in class-consciousness . . . that it’s tonal incontinence is easily forgiven.
    • 83 Metascore
    • 80 Jeannette Catsoulis
    Slow and sweet and unassuming, Driveways, the second feature from the Korean-American director Andrew Ahn, tackles major themes in a minor key.
    • 65 Metascore
    • 60 Jeannette Catsoulis
    A demented fetish comedy that escalates to startlingly nonchalant violence, Deerskin (written and directed by Quentin Dupieux) flickers tantalizingly between awful and awesome.
    • 65 Metascore
    • 50 Jeannette Catsoulis
    While Silverstein’s commitment to authenticity is admirable (she spent years visiting backyard rodeos across Texas, talking with the participants), her narrative is too tamped-down and languorous to catch hold.
    • 61 Metascore
    • 70 Jeannette Catsoulis
    Blessed with shivery setups and freaky effects — here, skin-crawling is literal — The Wretched transforms common familial anxieties into flesh, albeit crepey and creeping.
    • 42 Metascore
    • 50 Jeannette Catsoulis
    There’s a pleasing humility and introspection to this Bruce — a ruler no longer sure if his patriotic purpose is worth the carnage. His joints may be stiffer than his resolve; but, in placing the warrior temporarily aside, Macfadyen and his director have helped us more clearly to see the man.
    • 55 Metascore
    • 40 Jeannette Catsoulis
    This admiring yet sluggish movie mostly drowns its political revelations in sticky sentiment.
    • 57 Metascore
    • 50 Jeannette Catsoulis
    1BR
    Drawing on a fascination with cults and utopian communities, the director and co-writer, David Marmor, has created a mildly entertaining survival story whose depiction of psychological indoctrination far outstrips its generic dips into torture.
    • 41 Metascore
    • 50 Jeannette Catsoulis
    The writing might be a tangle of limp clichés, but the actors — especially Woodley and the terrific Wendie Malick as Daphne’s mother — sweat to sell every line.
    • 56 Metascore
    • 80 Jeannette Catsoulis
    Maybe it’s the hell we’re all living through right now, but Tyler Cornack’s orificial fantasy struck me as a hilariously bawdy, intermittently inspired act of vivacious vulgarity.
    • 58 Metascore
    • 50 Jeannette Catsoulis
    Despite its sense of dead-end desperation, Stray Dolls is made worthwhile by the richness of Shane Sigler’s nighttime cinematography and the consistent empathy of its tone. Sinha, herself a first-generation immigrant, isn’t about to judge anyone for reaching.
    • 65 Metascore
    • 50 Jeannette Catsoulis
    Existing outside of time and place, The Other Lamb is a gorgeous revenge fable with an excess of atmosphere and zero subtlety — a mallet wrapped in gauze and girlish laughter.
    • 48 Metascore
    • 20 Jeannette Catsoulis
    Tape, in short, is a terrible movie about appalling behavior.
    • 55 Metascore
    • 40 Jeannette Catsoulis
    Resistance feels disjointed and dated.
    • 57 Metascore
    • 50 Jeannette Catsoulis
    Though the themes of Burden feel uncomfortably current, their execution is leaden and dismayingly artless.
    • 83 Metascore
    • 70 Jeannette Catsoulis
    With a warm heart and a nonjudgmental mind, Saint Frances weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.
    • 63 Metascore
    • 60 Jeannette Catsoulis
    Oppressively dark and unrelentingly intense, Blood on Her Name packs down-and-dirty performances, and a few surprises, into a tight 85 minutes.
    • 72 Metascore
    • 60 Jeannette Catsoulis
    Woods, remarkably comfortable in her first film role, gives Goldie a steel spine and a feisty resourcefulness, her moments of vulnerability rare, but essential.
    • 53 Metascore
    • 50 Jeannette Catsoulis
    There is nothing objectionable about Michael Bully Herbig’s glossy political thriller, Balloon, but there’s nothing particularly exciting about it, either.
    • 81 Metascore
    • 90 Jeannette Catsoulis
    Every moment rings true, the vividly textured locations and knockabout relationships more visited than created.
    • 61 Metascore
    • 80 Jeannette Catsoulis
    Simultaneously rowdy and slick, Buffaloed is exuberantly paced and entirely dependent on Deutch’s moxie and pell-mell performance.
    • 72 Metascore
    • 70 Jeannette Catsoulis
    VFW
    Essentially a geezers-fight-back siege movie (Tom Williamson plays the sole young veteran), VFW is riotously scuzzy and warmly partial to its rusty heroes.
    • 69 Metascore
    • 80 Jeannette Catsoulis
    Until its surprisingly effective ending, You Go To My Head keeps its drama under the skin. Like an animal in captivity, Bafort, who is also a model, slinks and lounges with long-limbed grace; but it’s Cvetkovic who holds the movie steady, giving Jake a secretive, worn gentleness that’s tinged with tragedy.
    • 64 Metascore
    • 70 Jeannette Catsoulis
    Absurd yet bold, lurid yet a tiny bit touching, Come to Daddy drags poor Norval from hopefulness to horror to a wickedly literal form of closure. More than a few audience members might even be happy to accompany him.

Top Trailers