Kenji Fujishima

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For 184 reviews, this critic has graded:
  • 25% higher than the average critic
  • 2% same as the average critic
  • 73% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

Kenji Fujishima's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 91 Reds
Lowest review score: 10 Honeyglue
Score distribution:
  1. Positive: 98 out of 184
  2. Negative: 37 out of 184
184 movie reviews
    • 81 Metascore
    • 63 Kenji Fujishima
    Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
    • 90 Metascore
    • 75 Kenji Fujishima
    The warm, rueful, and sometimes angry All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.
    • 77 Metascore
    • 63 Kenji Fujishima
    The film is a historical action epic that, for all the novelty of its setting and subservience to contemporary attitudes, traffics in a lot of cliché narrative beats and ideologies.
    • 54 Metascore
    • 50 Kenji Fujishima
    In Sam Mendes’s film, the power of the movies comes off feeling disappointingly like an afterthought to the script’s more romantic and socially oriented concerns.
    • 81 Metascore
    • 63 Kenji Fujishima
    The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
    • 79 Metascore
    • 50 Kenji Fujishima
    For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.
    • 72 Metascore
    • 63 Kenji Fujishima
    Bros is ultimately let down by its pat perspectives on modern romance and social justice.
    • 77 Metascore
    • 63 Kenji Fujishima
    Even when it edges toward sentimentality, Broker is redeemed by Kore-eda Hirokazu’s customarily bracing humanism.
    • 84 Metascore
    • 75 Kenji Fujishima
    The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.
    • 83 Metascore
    • 75 Kenji Fujishima
    Brett Morgen is less interested in factual biography than in eliciting a sense of the man as an artist and personality.
    • 73 Metascore
    • 63 Kenji Fujishima
    It isn’t without its pleasures and insights, but it’s ultimately little more than an excuse for Hong to try out a new stylistic color in his auteurist palette.
    • 34 Metascore
    • 67 Kenji Fujishima
    Brain On Fire is often effective, and at times positively enraging, but one can’t help but lament the much more disquieting film that might have resulted had the filmmakers been more willing to trust the facts of Cahalan’s case to speak for themselves instead of feeling a need to shove them into uplifting platitudes
    • 37 Metascore
    • 25 Kenji Fujishima
    The film adopts a half-hearted variation on A Beautiful Mind's gimmicky approach to grappling with a man's mental illness.
    • 79 Metascore
    • 88 Kenji Fujishima
    The film's approach to exploring the Sonoran Desert and topic of immigration often veers toward the avant-garde.
    • 49 Metascore
    • 50 Kenji Fujishima
    The film's most crucial shortcoming lies in its failure to illuminate both the inner life of its subject and his artistic genius.
    • 69 Metascore
    • 75 Kenji Fujishima
    The filmmaker brings enough original aesthetic touches to the table, as well as a fresh cultural perspective to the broader socioeconomic issues he broaches, that Diamond Island rarely feels derivative.
    • 62 Metascore
    • 58 Kenji Fujishima
    As stimulating as it is, the animation ends up being more pictorial than expressive—an initially fancy but eventually rather monotonous way to dress up what is ultimately a mundane drag of a detective procedural.
    • 58 Metascore
    • 38 Kenji Fujishima
    By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical.
    • 71 Metascore
    • 75 Kenji Fujishima
    The film is less contemptuous of Brad than compassionate: brutally honest about his faults, yet ultimately understanding of them.
    • 69 Metascore
    • 70 Kenji Fujishima
    With its impeccably framed wide compositions, immersive long takes, and a cross-cutting narrative style that touches on the work of Matthew Barney—or, in a considerably more mainstream vein, Christopher Nolan—The Challenge feels like avant-garde art more than anything else.
    • 78 Metascore
    • 63 Kenji Fujishima
    Dickinson, in his film debut, almost makes this familiar narrative feel fresh.
    • 64 Metascore
    • 50 Kenji Fujishima
    The film plays like a human-interest story in which all of the humanity has been gutted in favor of deadening narrative efficiency.
    • 22 Metascore
    • 30 Kenji Fujishima
    Much of the humor in Ripped fails to inspire more than a mild chuckle at best, in part because Epstein’s deliberate pacing sucks the air out of countless scenes.
    • 67 Metascore
    • 60 Kenji Fujishima
    The deeper Some Freaks wades into what becomes a series of sadistic and masochistic humiliations, the more McDonald’s film begins to feel schematic, with these characters little more than pawns in a screenwriter’s game of toying with our expectations.
    • 76 Metascore
    • 75 Kenji Fujishima
    Rahul Jain’s film conveys with revelatory force the mechanization of people in an industrialized milieu.
    • 66 Metascore
    • 65 Kenji Fujishima
    Hers is a humane vision that refuses to cast easy judgment on her deeply flawed characters, never excusing them for their unwise decisions, but understanding the inner anguish from which they arise.
    • 67 Metascore
    • 51 Kenji Fujishima
    Brigsby Bear is so committed to its brand of self-congratulatory uplift that the filmmakers refuse to contemplate any of their material’s darker aspects.
    • 76 Metascore
    • 53 Kenji Fujishima
    Oldroyd...maintains such a rigorous distance from Katherine that she gradually seems less like a human being than like a mere carnival attraction.
    • 86 Metascore
    • 75 Kenji Fujishima
    What makes it play as more than just another activist doc is its focus on the power of images as a way to inspire change.
    • 65 Metascore
    • 73 Kenji Fujishima
    Hawkins’ performance in Maudie is as indelible a feat of psychological imagination as it is of physical dedication.

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