Joe Dziemianowicz

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For 49 reviews, this critic has graded:
  • 48% higher than the average critic
  • 0% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Joe Dziemianowicz's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 La La Land
Lowest review score: 20 The Boss
Score distribution:
  1. Positive: 21 out of 49
  2. Negative: 3 out of 49
49 movie reviews
    • 58 Metascore
    • 60 Joe Dziemianowicz
    The wannabe thriller set in the near future packs gritty style and ambiance, but that’s no match when the story has no stakes and doesn’t add up.
    • 75 Metascore
    • 70 Joe Dziemianowicz
    It’s smart, funny and bursting with ideas about the joys and rigors of motherhood and reckoning with the past and the future. It’s too bad, then, that the final head-scratching stretch sinks what’s preceded.
    • 79 Metascore
    • 60 Joe Dziemianowicz
    Your mileage may vary — along with patience. Despite all the talk of the Shimmer, Annihilation sputters.
    • 56 Metascore
    • 60 Joe Dziemianowicz
    As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”
    • 65 Metascore
    • 70 Joe Dziemianowicz
    Diane Kruger’s raw, real-as-it-gets performance as a grieving woman bent on vengeance in the German thriller In the Fade grabs from the get-go and never lets loose its grip.
    • 60 Metascore
    • 60 Joe Dziemianowicz
    In the end, The Man Who Invented Christmas is an enjoyable enough diversion. It’s no humbug. Just pleasantly ho-hum.
    • 66 Metascore
    • 70 Joe Dziemianowicz
    Kids may not notice or care, but the movie, which advocates kindness, comes with an irony. It’s a film about embracing differences and seeing beyond appearances, but it rarely bucks convention or gets more than skin deep.
    • 88 Metascore
    • 90 Joe Dziemianowicz
    In the end, it's all about McDormand, who’s great at playing ordinary women in extraordinary circumstances.
    • 23 Metascore
    • 40 Joe Dziemianowicz
    Roll The Snowman to the top of the ever-rising mountain of lousy movies with good trailers.
    • 72 Metascore
    • 70 Joe Dziemianowicz
    The pacing is slow and deliberate. Director Joseph Kosinski (“Oblivion”) knows that it takes time to build real relationships and feelings.
    • 48 Metascore
    • 50 Joe Dziemianowicz
    Together, they (Winslet/Elba) share warm chemistry. But that’s not enough to melt eye-rolling exposition or predictable twists you see coming — even in a whiteout — a mile away.
    • 41 Metascore
    • 40 Joe Dziemianowicz
    Reese Witherspoon’s oversized appeal and radiance is no match for Home Again, a ramshackle romcom short on both romance and laughs.
    • 48 Metascore
    • 40 Joe Dziemianowicz
    All three screenwriters either forgot or didn’t care that their heroine is 11. Even worse is when Félicie ends up dancing on tables in a bar — as in, a bar — “Coyote Ugly”-style. What? It’s not easy to take a message about taking leaps of faith from a movie that too often has two left feet.
    • 67 Metascore
    • 70 Joe Dziemianowicz
    Danielle Macdonald is irresistible as Patti Cake$, a dreamer with ambition and talent and visions so glorious, liberating and uplifting that they make her walk on air. The final moments were euphoric enough to make me float out of the theater.
    • 82 Metascore
    • 70 Joe Dziemianowicz
    Like the play by Jordan Harrison it’s based on, writer-director Michael Almereyda’s film is small in scale, but pulls us in close with its provocative setup.
    • 62 Metascore
    • 30 Joe Dziemianowicz
    If you go searching for an original idea in this tiresome thriller about a soul-sucking demon doll, you won’t find one.
    • 44 Metascore
    • 40 Joe Dziemianowicz
    Berry, who’s been down a similar road before in “The Call,” brings grit, guts and tears. But all that’s not enough to break the monotony — or the preposterous conversations she has aloud with herself.
    • 51 Metascore
    • 60 Joe Dziemianowicz
    At its best, the movie turns gender roles on their heads. While the girls party very hard, bride-to-be Jess’s fiance Peter (Paul W. Downs) spends his stag party tasting wine with his buds. Moreover, people can surprise themselves — and do things they don’t expect.
    • 54 Metascore
    • 60 Joe Dziemianowicz
    Director Daniel Espinosa whips up some nail-biting sequences. But the suspense is all by-the-numbers.
    • 57 Metascore
    • 70 Joe Dziemianowicz
    Antonina is often seen and cradling animals — a lion, a monkey, a rabbit. Fitting, since Chastain elevates and handily carries The Zookeeper’s Wife.
    • 32 Metascore
    • 30 Joe Dziemianowicz
    It takes its sweet time to achieve anything beyond being a grueling snoozefest.
    • 47 Metascore
    • 40 Joe Dziemianowicz
    The story submerges and drowns in preposterous gothic nonsense.
    • 94 Metascore
    • 100 Joe Dziemianowicz
    Stone, who wowed on Broadway in “Cabaret,” again shows off some beautiful pipes. She captivates completely from her first frame. Then again, so does La La Land — a singing love letter to musicals, romance and the City of Angels that feels almost like a gift from above.
    • 81 Metascore
    • 70 Joe Dziemianowicz
    The film’s second act packs a bittersweet punch, along with the fact that the failed show is now much-respected. But all of that could have been tied up in a quicker epilogue. The chorus, so to speak, lacks a hook. Too bad, considering that, to quote a Sondheim song from the show, they “had a good thing going.”
    • 66 Metascore
    • 80 Joe Dziemianowicz
    Director David Yates, who helmed the last four "Harry Potter" films, is in his element with this mix of wand-waving and rollicking adventure. He keeps the overstuffed story zipping along for the most part. And he's thrown in all the eye-popping wonders that $180 million can buy.
    • 64 Metascore
    • 60 Joe Dziemianowicz
    Whether or not the movie turns you into X-philes, Yoshiki is hard to shake.
    • 71 Metascore
    • 70 Joe Dziemianowicz
    It’s gripping, eye-opening and when it comes to heroics, thought-provoking. But it also suffers from grisliness, sentiment and self-indulgence.
    • 48 Metascore
    • 40 Joe Dziemianowicz
    Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.
    • 37 Metascore
    • 50 Joe Dziemianowicz
    Murphy’s low-key but affecting performance is filled with loaded and loving glances. And the restraint becomes the 55-year-old star. If only the film were better.
    • 36 Metascore
    • 50 Joe Dziemianowicz
    Ryan’s debut as a director is a sketchy and starchy film. The memorable thing about the movie is that Hanks, still one of the biggest stars on the planet, stepped up for his “Sleepless in Seattle” and “You’ve Got Mail” partner.

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