Jordan Mintzer

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For 305 reviews, this critic has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Jordan Mintzer's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Club
Lowest review score: 20 Colonia
Score distribution:
  1. Negative: 15 out of 305
305 movie reviews
    • tbd Metascore
    • 80 Jordan Mintzer
    Like the previous Kirikou movies, the combination of classic animation and straightforward storytelling provides a welcome antidote to the kind of overcaffeinated cartoons gracing today’s screens.
    • 55 Metascore
    • 60 Jordan Mintzer
    There’s lots on the menu, and León de Aranoa brings it all together in a smooth manner. But the jokes tend to be too broad, and the themes too tritely handled.
    • 59 Metascore
    • 60 Jordan Mintzer
    What makes his story particularly compelling is that most of it is true.
    • 65 Metascore
    • 70 Jordan Mintzer
    Paris Memories is a mystery movie, with Mia, like Guy Pearce’s character in Memento, following various leads and fractured memories to get to the truth. It’s also a story of emotional renewal, chronicling the phases of recovery that follow in the wake of a major catastrophe, with all the ups and downs that entails.
    • 74 Metascore
    • 80 Jordan Mintzer
    A fresh and uncompromising feature debut ... Kline has a true gift for portraiture, and it’s what makes this sad and scrappy portrait of the artist as a young cartoonist feel new and yet strangely familiar.
    • 65 Metascore
    • 50 Jordan Mintzer
    Mysius goes all out here, but her film overshoots its target by a few miles, even if the mise-en-scène is inspired and lead Adèle Exarchopoulos excellent as always.
    • 87 Metascore
    • 90 Jordan Mintzer
    It’s a great movie both in scope and in what it’s trying to say about Iran through the story of one family’s countless hardships. As a filmmaker, Roustaee aims so high and wide that even if he misses his mark at times, he manages to find his own stirring voice.
    • 75 Metascore
    • 80 Jordan Mintzer
    It’s far from subtle filmmaking, but Holy Spider is equal parts gripping and disturbing, and not always for the squeamish.
    • 75 Metascore
    • 80 Jordan Mintzer
    EO
    Despite a shred of story that’s told episodically, EO, which clocks in at a concise 86 minutes, can be an engrossing experience.
    • 71 Metascore
    • 70 Jordan Mintzer
    It’s a familiar template, and Saleh’s direction can veer toward the heavy-handed in places, but it’s also an intriguingly damning portrait of the corruption currently hitting Egypt on all levels.
    • 74 Metascore
    • 80 Jordan Mintzer
    This is masterly understated filmmaking marked by a few stand-out sequences, particularly a one-shot town hall meeting that lasts for an entire reel and throws all the issues on the table before erupting into chaos.
    • 49 Metascore
    • 40 Jordan Mintzer
    Overlong and overdramatic, the two-hour-plus biopic does feature some exquisite filmmaking, in scenes where the romanticism of Tchaikovsky’s music is met with flowing camera movements that capture the action in artfully staged tableaux.
    • 51 Metascore
    • 70 Jordan Mintzer
    Clever and giddily entertaining ... Hazanavicius is smart enough to apply an if-it-ain’t-broke-don’t-fix-it approach, keeping nearly everything intact except for the language and cast.
    • 77 Metascore
    • 80 Jordan Mintzer
    Despite its title and wayward protagonist, the film actually cares quite a lot about portraying the world that Cassandre, and most of the rest of us, now live in, but rarely look at so carefully.
    • 82 Metascore
    • 70 Jordan Mintzer
    The subtleties and vagaries of human behavior sometimes get lost in the sheer mundanity of the action, although the film gradually builds toward a meaningful depiction of what charity actually means — and it’s far from what the volunteers set out to do in the first place.
    • 77 Metascore
    • 80 Jordan Mintzer
    Aurel’s artwork is less detailed and more cartoonish than Bartolí’s, but no less evocative, especially in his choice of colors.
    • 69 Metascore
    • 60 Jordan Mintzer
    [López Gallardo] tends to eschew straightforward storytelling for something so elusive that her film nearly escapes us for its first half, until the pieces gradually fit together and we manage to make some sense of the plot, if not entirely what the director is going for.
    • 47 Metascore
    • 50 Jordan Mintzer
    The result is a somewhat uneasy mix of social critique and bizarre sex drama in which Guiraudie seems to be spitballing different ideas without making all of them stick.
    • 62 Metascore
    • 50 Jordan Mintzer
    The problem with Meier’s latest, despite the strong cast and solid direction, is that it explores the tense and thorny nature of blood ties without ever delving into the psychology of it all, often leaving us in the dark as to why the characters behave the way they do.
    • 45 Metascore
    • 50 Jordan Mintzer
    Dark Glasses is never all that scary, and some of it is just plain silly, but if you take it at face value it can be enjoyable enough to sit through — more of a reminder of what Argento used to do best than an example in its own right.
    • 75 Metascore
    • 80 Jordan Mintzer
    What makes it quite fun, and definitely funny in spots, is how realistically Dupieux depicts events, turning the outlandish into something entirely credible, at least for the main characters. We never doubt the sincerity of their actions, which makes us believe things even when they can’t be true.
    • 46 Metascore
    • 30 Jordan Mintzer
    Imagine the rise of the machines prophesy made popular by the Terminator franchise, but done as a freaky sitcom that’s part Pee-Wee’s Playhouse, part French sex farce, and you’ll get an idea of the bizarro concoction that is Jean-Pierre Jeunet’s new film, Big Bug.
    • 80 Metascore
    • 80 Jordan Mintzer
    Utama is very much a pessimistic film, never shying away from the realities faced by those who still inhabit the highlands of Bolivia. And yet it’s also convincingly, and sometimes movingly, optimistic.
    • 70 Metascore
    • 70 Jordan Mintzer
    In a genre movie climate marked by cheap thrills and easy scares — whatever gets us not to click on something else — it’s nice to see a film that sustains a strong ambiance of dread simply via someone looking out the window and shopping for groceries.
    • 44 Metascore
    • 60 Jordan Mintzer
    An airy, lazy, though rather likable overseas rom-com served with a dose of melancholia and several large portions of cinematic nostalgia.
    • 69 Metascore
    • 70 Jordan Mintzer
    Moll crafts a seemingly simple plot that gets increasingly tangled as it jumps from one character to another, taking some rather surprising turns but managing to make sense of it all by the last scene.
    • 78 Metascore
    • 70 Jordan Mintzer
    Naturalistic and a bit on-the-nose in spots, the film is also a moving tale of real-world strife — a sort of low-key, contemporary take on Visconti’s neorealist classic La Terra Trema, with EU officials and regulations undoing seafaring practices that have existed for generations.
    • tbd Metascore
    • 50 Jordan Mintzer
    The movie itself doesn’t always live up to its ambitions, playing like a loose assembly of sketches that are by turns hilarious and tedious, with a third act that fizzles out and an ending that doesn’t land smoothly.
    • 61 Metascore
    • 60 Jordan Mintzer
    Viewers looking for explanations should probably stay away, but those willing to be carried by the film’s casual pace and haunting aesthetic will find there are few places like it in contemporary cinema.
    • 79 Metascore
    • 80 Jordan Mintzer
    An engrossing depiction of severe occupational hazards, with most of the action set in drab, purely functional offices and conference rooms where Philippe has to contend with an impossible task.

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