Kathleen Carroll

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For 19 reviews, this critic has graded:
  • 63% higher than the average critic
  • 0% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 18.6 points higher than other critics. (0-100 point scale)

Kathleen Carroll's Scores

  • Movies
  • TV
Average review score: 82
Highest review score: 100 Annie Hall
Lowest review score: 50 Blame It on Rio
Score distribution:
  1. Positive: 17 out of 19
  2. Negative: 0 out of 19
19 movie reviews
    • 96 Metascore
    • 88 Kathleen Carroll
    Polanski’s direction is smooth and the film itself happily understated. The tension created is practically unbearable.
    • 22 Metascore
    • 50 Kathleen Carroll
    It's not just the sexist humor that makes this tired businessman's fantasy so offensive. The real shocker is that the basic plot has been shamelessly lifted by screenwriters Charlie Peters and Larry Gelbart from "One Wild Moment," an equally skimpy French comedy by Claude Berri about two middle-aged pals who get into the exact same predicament in the South of France with their two nubile daughters. [17 Feb 1984, p.5]
    • New York Daily News
    • 42 Metascore
    • 63 Kathleen Carroll
    Footloose turns out to be a sort of Boy Scout version of “Flashdance,” a carefully toned-down, overly respectable piece of schmaltz.
    • 78 Metascore
    • 100 Kathleen Carroll
    Chariots of Fire reasserts the importance of the so-called old-fashioned virtues of moral courage and personal integrity and, as such, it is a movie that, with the help of Vangelis Papathanassiou’s wonderfully stirring music, lifts the spirits to a new high. The actors seem to have been born to play their roles.
    • 85 Metascore
    • 75 Kathleen Carroll
    Were there Richter scales for measuring the degree of terror induced by movies of this kind, De Palma's "Carrie" would register only 2.2 in terms of actual shock value, but it would score well on the laugh meter. This satiric examination of the American high schooler turns out to be scathingly funny.
    • 90 Metascore
    • 100 Kathleen Carroll
    The Godfather PART II is the most ambitious American movie in terms of size and scope in recent memory. It goes much deeper than “The Godfather” in analyzing the twisted mentalities of these men who pervert the capitalist system for their own gain. The film is richer in texture and gives more evidence of social awareness.
    • 82 Metascore
    • 63 Kathleen Carroll
    Kubrick leaves himself wide open to ridicule from the minute he picks up Dr. Floyd’s space investigation of the mysterious monolith...The setting is a technical marvel, but advertising plugs make it a super-commercial and destroy its impact.
    • 85 Metascore
    • 100 Kathleen Carroll
    Unforgiven is a high-caliber movie, a gripping and haunting work of art that should finally establish Eastwood as one of America’s best directors.
    • 92 Metascore
    • 100 Kathleen Carroll
    There are moments when it seems Allen’s comic muse has temporarily deserted him - but it has been replaced by something much greater. Annie Hall touches the heart.
    • 80 Metascore
    • 88 Kathleen Carroll
    A movie that is pure escape and good, clean, unadulterated fun.
    • 88 Metascore
    • 100 Kathleen Carroll
    Audiences of all ages are bound to fall in love with this bubbly, thoroughly enchanting fish story.
    • 94 Metascore
    • 88 Kathleen Carroll
    Coppola, with his bravura style of direction, has created a movie of harrowing intensity and staggering power. But if you accept the belief that art should enlighten and illuminate as well as arouse the emotions, I’m afraid that Apocalypse Now does not qualify as great art.
    • 50 Metascore
    • 63 Kathleen Carroll
    The flight sequences in “Top Gun” may arouse aerial buffs. Still, this movie approaches its subject in such juvenile, superficial way that it’s clear the producers were merely in a hurry to cash in on Hollywood’s new wave of Rambo-style patriotism.
    • 80 Metascore
    • 88 Kathleen Carroll
    His film may offend (it very nearly makes one nauseous) but there is no doubting the fact that it is the end product of a brilliant, highly original mind.
    • 89 Metascore
    • 63 Kathleen Carroll
    There is no denying the emotional power of these scenes, but one wishes that Scorsese would end his Italian-American guilt trip and stop exposing mean-tempered, self-destructive characters like La Motta, whose personality problems, he apparently feels, stem from their cultural environment. Raging Bull ultimately has a numbing effect on the brain as if one's head had been pummeled by La Motta's so-called "girlish" fists.
    • 48 Metascore
    • 50 Kathleen Carroll
    It is a purely mechanical movie that is no more dazzling to the eye than a nighttime landing at Kennedy airport.
    • 82 Metascore
    • 100 Kathleen Carroll
    Director William Friedkin, with his scrupulous attention to detail, his determination to convey a sense of realism, achieves such startling effects that one comes away almost completely convinced of the possibility of demonic possession. His movie rushes headlong towards a blood-curling climax (the actual rite of exorcism), a series of scenes so powerful it leaves the audience limp and exhausted.
    • 94 Metascore
    • 88 Kathleen Carroll
    What finally makes the movie so compelling is director Martin Scorsese's scathing vision of New York as a fiery inferno of neon lights and relentlessly hostile populace.
    • 87 Metascore
    • 88 Kathleen Carroll
    Kids and parents alike are gonna dig this wonderful fantasy.

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