For 117 reviews, this critic has graded:
  • 80% higher than the average critic
  • 3% same as the average critic
  • 17% lower than the average critic
On average, this critic grades 16.9 points higher than other critics. (0-100 point scale)

Karen Gordon's Scores

  • Movies
  • TV
Average review score: 82
Highest review score: 100 Men
Lowest review score: 25 Big Gold Brick
Score distribution:
  1. Negative: 1 out of 117
117 movie reviews
    • tbd Metascore
    • 83 Karen Gordon
    It’s an interesting juxtaposition of the Queen as a woman, as a girl, as a monarch, at work, at play, in love. For anyone who grew up with the more matronly era of the Queen, images of her as a vivacious, playful, beautiful young woman are fascinating.
    • 65 Metascore
    • 100 Karen Gordon
    Men
    Women, men, relationships, the patriarchy feminism, nature, and body-horror merge in writer/director Alex Garland’s creepy, allegorical art-house horror thriller Men.
    • 86 Metascore
    • 100 Karen Gordon
    This is a heavy-duty topic but rather than lecture or make an angry or ideological film, Diwan works here with restrained and even slightly distant tone, focusing on the character of Anne and her determination to control her own life.
    • 93 Metascore
    • 100 Karen Gordon
    There is magic in French writer/director Céline Sciamma’s beautiful new film Petite Maman. Running just 72 minutes, this spare and gentle little film has an emotional core that feels true and authentic.
    • 83 Metascore
    • 100 Karen Gordon
    Thanks to performances by this formidable cast, this is a riveting film.
    • 61 Metascore
    • 67 Karen Gordon
    What really works are the thoughtful and committed performances of the two leads.
    • 75 Metascore
    • 75 Karen Gordon
    Given its century-plus life span, the life and times of Horn and Hardart’s Automat restaurants, is a lot of story. And Hurowitz does it thoroughly in 78 minutes, in a wonderfully evocative way.
    • 82 Metascore
    • 100 Karen Gordon
    It is a wild and trippy ride that mixes “reality,” with sequences that dip into the mystical world of the Vikings, and back out again. It’s also meticulously made, with an attention to detail as close to actual 10th century Viking life as is possible.
    • 76 Metascore
    • 75 Karen Gordon
    The subtle trick of Paris, 13th District, is that it plays like a romantic dramedy, but it really is more like a series of character studies of these young people whose lives just so happen to intersect.
    • 71 Metascore
    • 83 Karen Gordon
    Although the subject matter is serious, Ozon has directed here with a light hand and a cool and distant eye. He’s completely avoided melodrama, focusing on people going through their lives day to day. Thanks to his accomplished cast, and sophisticated approach, the emotions are there, but they don’t overwhelm the story.
    • 79 Metascore
    • 83 Karen Gordon
    Shapeshifting, murder, possession, gender fluidity and the lowly lot of women are all part of the arthouse horror You Won’t Be Alone, the impressive debut feature film by Macedonian-Australian writer/director Goran Stolevski.
    • 81 Metascore
    • 100 Karen Gordon
    Everything Everywhere All at Once is a sci-fi/fantasy/martial arts action movie on steroids: a cuckoo-bananas story about life and love and family and humanity and a bunch of other things… all at once.
    • 69 Metascore
    • 75 Karen Gordon
    It’s ambitious, but not as much fun as it wants to be.
    • 79 Metascore
    • 75 Karen Gordon
    Lifted by a deep and thoughtful performance by Colin Farrell, After Yang is a poetic and subtle meditation about the aftermath of unexpected sadness over the loss of “someone” who is technically not human.
    • 72 Metascore
    • 75 Karen Gordon
    With its languid pace, rural setting, and natural beauty, The Long Walk is not your typical ghost story.
    • 30 Metascore
    • 25 Karen Gordon
    No one sets out to make a bad film, but at over two hours, the shot-in-Toronto Big Gold Brick seems like a bunch of ideas that must have looked good on paper, but just didn’t gel. Both Garcia and Isaac are terrific actors, and charismatic as hell. But neither can bring this listless film to life.
    • 88 Metascore
    • 100 Karen Gordon
    On the surface, Parallel Mothers is an engaging melodrama centred around a fabulous performance by Penélope Cruz. But, as is typical of Pedro Almodóvar’s movies, this easygoing, entertaining film is deeply layered, dealing with issues of personal morality and family ties, mixed with a reminder of Spain’s dark and not-so-distant fascist past.
    • 90 Metascore
    • 100 Karen Gordon
    On the surface, it’s a simple enough premise: a young woman transitioning into adulthood, trying to find her place in the world. But in the hands of Norwegian director Joachim Trier, The Worst Person in the World is at one level a social satire about love, identity and relationships, and at the same time, a warm and deeply poignant look at the imperfect way life can creep up on us.
    • 44 Metascore
    • 67 Karen Gordon
    Rifkin’s Festival is a romantic farce, with ideas that long-time fans will recognize from a range of other Allen films, but with one difference. The movie ends on a surprisingly sweet note.
    • 87 Metascore
    • 100 Karen Gordon
    Led by performances by Denzel Washington and Frances McDormand, the production makes this story of treachery, murder and the psychological cost of crossing moral boundaries feel both era specific, and frighteningly modern.
    • 90 Metascore
    • 100 Karen Gordon
    Madcap, complex, and already controversial — bursting with fabulous acting from two newcomers and some of the best cameos of the year — it’s a character study, a (sort of) coming-of-age story, a platonic rom-com, and a tribute to life in the suburban San Fernando Valley section of Los Angeles where Anderson grew up, among other things. In short, it’s one of the most exhilarating movies of the year.
    • 76 Metascore
    • 83 Karen Gordon
    Baker has pitched this as a dark comedy. And thanks to the relentless energy of Simon Rex, the film feels like a comedy.
    • 91 Metascore
    • 100 Karen Gordon
    Throughout, Rasmussen never loses focus on the humanity. He’s telling the story, not of a refugee, but of a fellow human being whom he knows personally. The rapport between the two, the quiet honesty with which Amin speaks and the respectful and obviously deeply affectionate way in which Rasmussen tells the story, makes this film something special.
    • 78 Metascore
    • 100 Karen Gordon
    Subtlety is the strength of The Humans. It is an intelligent even-handed drama where the family’s issues aren’t played to the point where they’re gruelling and destructive. Rather, they show us something more ordinary and therefore more truthful.
    • 69 Metascore
    • 91 Karen Gordon
    It’s an easygoing, highly enjoyable look at the life and considerable influence of Julia Child.
    • 59 Metascore
    • 50 Karen Gordon
    Unfortunately, despite these juicy elements, a star-studded cast, and a star director in Ridley Scott, House of Gucci is tepid and underwhelming.
    • 66 Metascore
    • 75 Karen Gordon
    Odagiri doesn’t give us many answers. They Say Nothing Stays the Same is enigmatic and, in some ways, frustratingly elusive, yet also affecting.
    • 57 Metascore
    • 83 Karen Gordon
    Anchored by a solid performance by Tom Hanks, Finch, is a small-scale drama, that is ultimately — and please forgive me for being cliché — about the beauty of being alive. I mean that in the best way possible.
    • 52 Metascore
    • 50 Karen Gordon
    Ambitious, yes. You’d expect as much from Oscar-winning indie director Chloé Zhao, who’s taking her leap into the world of nine-figure budgeted blockbusters. Unfortunately, the net result is underwhelming.
    • 52 Metascore
    • 67 Karen Gordon
    It’s a beautiful-looking film. The characters treat each other with respect, and I’m sure that there are people out there who will appreciate that the movie, addresses a tough issue, without being too taxing or challenging. At the same time, the movie’s cautious approach short-changes the story and the issue.

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