Johnny Oleksinski

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For 141 reviews, this critic has graded:
  • 46% higher than the average critic
  • 1% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 5.5 points lower than other critics. (0-100 point scale)

Johnny Oleksinski's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Favourite
Lowest review score: 0 The Kitchen
Score distribution:
  1. Positive: 75 out of 141
  2. Negative: 45 out of 141
141 movie reviews
    • 33 Metascore
    • 50 Johnny Oleksinski
    Rambo: Last Blood features what’s easily the most violent movie scene of the year. It’s awesome.
    • 69 Metascore
    • 50 Johnny Oleksinski
    Roy Cohn was way more entertaining than the new documentary about Roy Cohn.
    • 80 Metascore
    • 88 Johnny Oleksinski
    Director James Gray’s style harks back to classic space movies, such as “Alien” and “Star Trek II: The Wrath of Khan,” that played around with the vastness of the stars, and made it seem like there was nowhere lonelier. Ad Astra also has an old-school visual panache, with deep-colored, dramatic lighting that’s regrettably fallen out of fashion.
    • 40 Metascore
    • 25 Johnny Oleksinski
    The Goldfinch should be called “CliffsNotes: The Movie,” because after seeing this pedantic film adaptation, I now know all 3 billion plot points of Donna Tartt’s acclaimed 2013 novel. And, like skimming a colorless cheat sheet, I still have no clue what’s so great about it.
    • 61 Metascore
    • 38 Johnny Oleksinski
    Julian Fellowes would have been far better off writing another relaxed Christmas special to satisfy fans.
    • 58 Metascore
    • 75 Johnny Oleksinski
    A very fine follow-up to the most successful horror film ever.
    • 17 Metascore
    • 25 Johnny Oleksinski
    John Travolta’s new film is a lot like “Misery” — just without the acclaim.
    • 64 Metascore
    • 38 Johnny Oleksinski
    Ralph Fiennes as Gun’s eventual lawyer, however, is totally forgettable, as is much of the standard-issue, self-important docudrama. So much of Gregory Bernstein, Sara Bernstein and Gavin Hood’s screenplay arrives with a thud that it might’ve been written with clenched fists. Knightley’s overwrought performance doesn’t help either.
    • 74 Metascore
    • 88 Johnny Oleksinski
    The tone of “Brittany,” and its emotional impact, reminds me of Amazon’s other heartfelt winner, “The Big Sick,” which netted Kumail Nanjiani and Emily V. Gordon an Oscar nod for original screenplay. Colaizzo should get one, too.
    • 58 Metascore
    • 50 Johnny Oleksinski
    Driven is a lot like a DeLorean: Looks great, but moves slow — if it even moves at all.
    • 51 Metascore
    • 25 Johnny Oleksinski
    Linklater, a director who usually earns his sentiment, just can’t get the tone right. “Bernadette” is supposed to skewer the norms of family, suburban life and motherhood. While Bernadette should be a creature out of Wes Anderson, Blanchett and her director opt for “The Addams Family” instead. Nothing about it works.
    • 36 Metascore
    • 0 Johnny Oleksinski
    This humorless, sadistically violent wreck has not a single satisfying second. It does, however, have more than 50 F-bombs.
    • 73 Metascore
    • 75 Johnny Oleksinski
    Luce is a taut, extremely watchable movie, though the dialogue could loosen up a touch.
    • 60 Metascore
    • 50 Johnny Oleksinski
    The Rock is funny and charismatic in “Hobbs & Shaw,” and his bro chemistry with co-star Jason Statham is a joy. The pair slinging vicious insults at each other is almost vaudevillian — it would make a decent live tour. And then there’s the rest of the movie.
    • 83 Metascore
    • 50 Johnny Oleksinski
    I think what Tarantino is going for is brazenly manipulating historical events to suit his style, and turning a well-worn genre on its head. But in so doing he’s made an everything bagel of a movie: Part satire, part bear hug, part fictional bromance.
    • 90 Metascore
    • 88 Johnny Oleksinski
    It’s one of the year’s sweetest films.
    • 65 Metascore
    • 50 Johnny Oleksinski
    Director and writer Riley Stearns’ mediocre comedy aims to be a roundhouse kick at traditional masculinity, but doesn’t manage to take it down in any deep or insightful way.
    • 69 Metascore
    • 50 Johnny Oleksinski
    You can see director Jon Watts and the filmmakers struggling to replicate the magic of their first film. But its charm came not from an overabundance of jokes, but from turning Spidey into a school hallway hero whose biggest challenge was girls. Jetting off to Venice, Prague and London and busting up landmarks brings it more in line with the rest of the overly dense Marvel Cinematic Universe.
    • 56 Metascore
    • 75 Johnny Oleksinski
    If you’re a Fab Four fan like I am, that setup itself sends you into an existential tizzy. But it makes for a likable, quirky movie that’s British writer Richard Curtis’ (“Bridget Jones’ Diary”) best work in years.
    • 48 Metascore
    • 100 Johnny Oleksinski
    This re-imagining of Chucky’s origins manages to be both crazier and more level-headed than the original, in which the doll strolled around Chicago talking like a gangster from “Guys and Dolls.”
    • 84 Metascore
    • 63 Johnny Oleksinski
    Does it tug the heartstrings? Absolutely. Is it funny? The funniest of the quartet, in fact thanks to a weird new character. But Pixar, like its former funder Apple, has conditioned audiences to expect more than a nice little movie. We want to be amazed — not subscribe to Apple TV+.
    • 38 Metascore
    • 25 Johnny Oleksinski
    A cautionary tale for the age of reboots, “International” takes over from a perfectly good comedy film series, and turns it into witless, generic space debris. It is the “Indiana Jones and the Kingdom of the Crystal Skull” of “MiB” — but somehow the aliens here are even worse.
    • 71 Metascore
    • 75 Johnny Oleksinski
    Kaling’s script addresses issues such as sexism in the #MeToo era, ageism and racial prejudice in her disarmingly light and sneaky way.
    • 43 Metascore
    • 63 Johnny Oleksinski
    Pretty far-fetched even for a franchise about rare genetic mutations that allow people to read minds and shoot lasers with their eyes. It’s not bad, just crazy.
    • 53 Metascore
    • 63 Johnny Oleksinski
    Ma
    Ma is a much more enjoyable ride than the even more preposterous “Greta,” which got lost in undeserved self-seriousness.
    • 48 Metascore
    • 50 Johnny Oleksinski
    The whole movie is indistinguishable rubble.
    • 84 Metascore
    • 100 Johnny Oleksinski
    It’s one of the funniest movies of the year.
    • 69 Metascore
    • 75 Johnny Oleksinski
    Freddie Mercury may have had the better voice, but it’s Elton John who gets the better movie. Rocketman, director Dexter Fletcher’s trippy new biopic about the flamboyant rocker is braver, deeper and more enlightening than last year’s slobbering piece of Queen propaganda “Bohemian Rhapsody” (which he also partly directed).
    • 53 Metascore
    • 75 Johnny Oleksinski
    Massoud and Scott make a live-action “Aladdin” succeed on a different level than a cartoon can — as a teary romance. “A Whole New World” is more moving than the original.
    • 52 Metascore
    • 50 Johnny Oleksinski
    With stakes so high, the movie should pack a punch. But while it keeps its eye on the stars, its feet never leave the ground.

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