For 37 reviews, this critic has graded:
  • 86% higher than the average critic
  • 2% same as the average critic
  • 12% lower than the average critic
On average, this critic grades 8.4 points higher than other critics. (0-100 point scale)

Karen Han's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 98 First Cow
Lowest review score: 15 6 Underground
Score distribution:
  1. Positive: 28 out of 37
  2. Negative: 1 out of 37
37 movie reviews
    • 63 Metascore
    • 80 Karen Han
    The film isn’t without its flaws, but they’re all forgivable in light of how well it hits the feel-good bullseye.
    • 64 Metascore
    • 73 Karen Han
    At heart, Vivarium is a puzzle, a story full of twists and thin on character development. To the film’s credit, the alien-ness is effective, lending Vivarium the tenseness of a horror movie and engaging the audience where the story fails.
    • 85 Metascore
    • 90 Karen Han
    By focusing on specific individuals and the shared starting ground of Camp Jened, the filmmakers find a concrete thread to follow rather than getting lost in how much history there is to cover. More importantly, they bring a personal, empathetic touch to the story that makes it feel immediate, relatable, and like a call to further action.
    • 69 Metascore
    • 75 Karen Han
    The goal isn’t to find a killer, so much as it is to emphasize the ways women’s stories are often dismissed, and how people who aren’t well-off aren’t offered the same institutional consideration and care as the rich. It’s a compelling point to make, but one almost lost in the movie’s murky execution.
    • 49 Metascore
    • 65 Karen Han
    As Berg and Wahlberg (perfect partners, even in name) ascended inexorably toward a parodic level of Bostonian-ness in Spenser Confidential, I wondered if I wouldn’t be having a better time just getting a more concentrated dose of Arkin in The Kominsky Method.
    • 90 Metascore
    • 98 Karen Han
    If only every film could achieve the sublime tenderness of First Cow.
    • 35 Metascore
    • 55 Karen Han
    Like The Snowman, The Last Thing He Wanted fails to give its audience all the clues necessary to form a coherent picture, and flops in spite of what should be a killer director/cast combination.
    • 71 Metascore
    • 93 Karen Han
    This Emma fully earns its titular period, as well as an early place on any list of 2020’s most enchanting films.
    • 51 Metascore
    • 65 Karen Han
    The artistry at work in The Wave isn’t enough to keep the film from caving in under its middling story.
    • 52 Metascore
    • 87 Karen Han
    The strangeness of the material isn’t VHYES’ primary attraction; it’s the atypical mode of storytelling and sense of sincerity.
    • 26 Metascore
    • 51 Karen Han
    Characters go from one place to the next with no explanation and no second thought, and even single scenes play out as if someone attacked the reel of film with a pair of scissors.
    • 32 Metascore
    • 50 Karen Han
    Cats undermines itself in both editing and musical arrangement, barely has a plot to hang its hat on, and is CGI-ed into oblivion. Yet there’s something weirdly wonderful about just how committed Hooper is to his vision, which feels like it should have been audience-tested into something less phantasmagorical.
    • 41 Metascore
    • 15 Karen Han
    It’s a disappointment to discover that Bay’s new Netflix movie, 6 Underground, is utterly joyless.
    • 49 Metascore
    • 82 Karen Han
    For the most part, Black Christmas is a breath of fresh air. Unlike their 1974 counterparts, these sisters are more than just bodies to be dismembered; they’re forcefully bonding together to fight back against an oppressive system.
    • 58 Metascore
    • 86 Karen Han
    Welcome to the Jungle didn’t need a follow-up, but The Next Level actually ups the ante, rebuking flagging reboots by addressing its material thoughtfully. It makes the return to the jungle a thrill, and, crucially, makes it easy to imagine coming back for more.
    • 95 Metascore
    • 94 Karen Han
    The final shot of Céline Sciamma’s Portrait of a Lady on Fire is overwhelming. It’s a culmination of the two hours that have preceded it, but it’s more than just the end of a movie. It’s an entire life cycle of a love affair.
    • 93 Metascore
    • 94 Karen Han
    Baumbach takes the time to make room for their opposing viewpoints and experiences, and he creates a richer film for it. Marriage Story is beautifully bittersweet. There are no winners or losers in Charlie and Nicole’s separation, and no heroes or villains, either.
    • 85 Metascore
    • 92 Karen Han
    Diop’s film isn’t brash or loud, but it’s still stunning, capturing the migrant story and its effects in a new light.
    • 60 Metascore
    • 79 Karen Han
    Any similarities to Little Shop of Horrors are superseded by similarities to Invasion of the Body Snatchers, as the story becomes less about a mutated plant and about the lengths people will go to in order to achieve happiness, real or manufactured.
    • 50 Metascore
    • 68 Karen Han
    Last Christmas does the job when it comes to creating a pleasant haze of warm feelings, offering a momentary respite from the cold, cynical world outside the movie theater.
    • 69 Metascore
    • 82 Karen Han
    The real joy of Togo is simple: Willem Dafoe plus dog, and sometimes Willem Dafoe plus dogs, plural. He tells them they’re good dogs. (They are.) They lick his face. (So would I.) As they race through the ice and snow, they bring a sense of warmth and life to the landscape. It’s wonderful.
    • 51 Metascore
    • 75 Karen Han
    All three leads are terrific — especially Vikander, whose Japanese is impressive — but they’re working with material that doesn’t measure up to their talents.
    • tbd Metascore
    • 65 Karen Han
    It’s equal parts modern fairy tale, time-travel movie that’s meant to make people understand and appreciate their own era, and Christmas magic movie, and the creators don’t do anything meaningful to refresh those genre trappings, or play with their conventions.
    • 91 Metascore
    • 95 Karen Han
    What makes Little Women particularly refreshing is that Gerwig treats the four March sisters as equals, rather than as right or wrong for wanting different things.
    • 76 Metascore
    • 80 Karen Han
    Dolemite Is My Name is ultimately a little flimsy — perhaps as is appropriate given the nature of Dolemite itself — but it’s a star turn for Murphy. His compassionate choices make up for the film’s flaws, or at least make them less noticeable while you’re watching it.
    • 51 Metascore
    • 72 Karen Han
    While the film isn’t groundbreaking, it’s an easygoing, unchallenging experience that’s suitable for the season.
    • 62 Metascore
    • 69 Karen Han
    That it ends up being more of a showcase for Pattinson than Chalamet is the film’s biggest irony, and nearly the only thing that keeps Michôd’s latest from being a total drag. Chalamet, who has proven himself worthy of the stan culture around him in his previous performances, is a black hole of charisma as Hal.
    • 48 Metascore
    • 60 Karen Han
    Disney Plus’ original Christmas movie Noelle is like a recipe where all the ingredients are delicious, then realizing, once the dish has been cooked, that the flavors cancel each other out.
    • 81 Metascore
    • 92 Karen Han
    Shelby and Miles’ story is compelling, but Mangold digs deeper to find the motor that propels Ford v Ferrari across the finish line.
    • 80 Metascore
    • 80 Karen Han
    The animation that brings Liyana to life, created by Shofela Coker, is gorgeous, but the reason it resonates has everything to do with the way it’s woven into footage of the children telling Liyana’s story or going about their everyday business.

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