Kenji Fujishima

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For 172 reviews, this critic has graded:
  • 26% higher than the average critic
  • 2% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 6.8 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: 88 out of 172
  2. Negative: 37 out of 172
172 movie reviews
    • 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.
    • 76 Metascore
    • 70 Kenji Fujishima
    Cohn’s film is ultimately a genuinely inspiring one, noteworthy in the way it achieves its uplift honestly and without sentimentality.
    • 76 Metascore
    • 75 Kenji Fujishima
    Rahul Jain’s film conveys with revelatory force the mechanization of people in an industrialized milieu.
    • 76 Metascore
    • 63 Kenji Fujishima
    Intimately focusing on its main character's personal triumphs, its refusing to fall into heavy-handed polemicism.
    • 76 Metascore
    • 91 Kenji Fujishima
    It’s a stylistic throwback as well: an old-fashioned, star-studded, big-budget historical epic with an intermission, filmed in a classical style that hearkens back in some ways to David Lean’s Lawrence Of Arabia and Doctor Zhivago.
    • 75 Metascore
    • 75 Kenji Fujishima
    Writer-director Joseph Cedar charts Norman's rise-and-fall arc with the attention to detail of a procedural.
    • 62 Metascore
    • 40 Kenji Fujishima
    Junction 48 mostly sticks to uplifting formula, rarely offering anything particularly fresh or interesting.
    • 75 Metascore
    • 75 Kenji Fujishima
    If nothing else, Heaven Knows What is one of the most harrowing cinematic depictions of drug addiction in recent memory, reliant less on formal gimmickry than on close observation of behavior.
    • 75 Metascore
    • 60 Kenji Fujishima
    Our Little Sister often vibrates with such tenderness of feeling that it’s difficult to dismiss outright. The excellent performances from the four lead actresses help offset the occasional heavy-handedness of the script, with Kore-eda alive to their distinctive tics and gestures.
    • 74 Metascore
    • 63 Kenji Fujishima
    The film may not announce itself as hagiography, but it’s hero-worshipful to its core.
    • 74 Metascore
    • 50 Kenji Fujishima
    Like Crazy seems content to coast on the contrast between Beatrice's abrasive energy and Donatella's quiet anguish, with neither character developed with depth sufficient to justify the time we spend with them.
    • 67 Metascore
    • 63 Kenji Fujishima
    The film can't entirely avoid the feeling of a less-productive score-settling hit piece, as if Alex Gibney was making this film merely to stick it to the subject that screwed him big time.
    • 73 Metascore
    • 70 Kenji Fujishima
    Transpecos distinguishes itself with a sharp ear for dialogue, keen attention to ground-level detail, and an ending that unexpectedly chooses cautious optimism over blanket cynicism.
    • 72 Metascore
    • 63 Kenji Fujishima
    Rama Burshtein allows us to form our own impressions based on what she presents to us of the Orthodox faith.
    • 72 Metascore
    • 70 Kenji Fujishima
    This is thankfully no wallow in working-class miserablism.
    • 72 Metascore
    • 75 Kenji Fujishima
    Laura Poitras doesn't indulge in score-settling cheap shots, but seriously grapples with her contradictory subject.
    • 72 Metascore
    • 63 Kenji Fujishima
    Director Ian Cheney doesn't delve too deeply into the possibly unsettling questions the documentary raises about society at large.
    • 72 Metascore
    • 50 Kenji Fujishima
    Adds up little more than an anguished man using the hook of following his famous brother in order to gaze, however critically, at his reflection for 75 minutes.
    • 72 Metascore
    • 67 Kenji Fujishima
    Tragic anecdotes put a human face on this still-polarizing issue and serve Soechtig and Couric’s broad argument in Under The Gun better than any heavy-handed music cues and animated statistics ever could.
    • 71 Metascore
    • 75 Kenji Fujishima
    The film is less contemptuous of Brad than compassionate: brutally honest about his faults, yet ultimately understanding of them.
    • 71 Metascore
    • 75 Kenji Fujishima
    Brendan J. Byrne's documentary about Bobby Sands colors its familiar formal lines with welcome intelligence.
    • 70 Metascore
    • 63 Kenji Fujishima
    It resonates as a portrait of artists trying to figure out their own paths toward making valuable contributions to the world.
    • 70 Metascore
    • 75 Kenji Fujishima
    A coming-of-age journey of self-realization, made immensely more involving by virtue of being seen through its subject's first-person perspective.
    • 70 Metascore
    • 63 Kenji Fujishima
    Robert Cenedella exudes humility even as he sounds off against the societal forces that anger him and fuel his work.
    • 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.
    • 69 Metascore
    • 63 Kenji Fujishima
    The familiar premise is done with enough intelligence and heartfelt conviction that it rises above its potentially cliché trappings.
    • 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.
    • 69 Metascore
    • 50 Kenji Fujishima
    Lake Bell and Simon Pegg's star wattage isn't enough to distract from the sense that their characters are almost exclusively defined by their single-ness.
    • 68 Metascore
    • 75 Kenji Fujishima
    By keeping explanatory talking-heads interviews to a minimum, the filmmakers put their trust in the audience to draw their own conclusions based on what they present to us.
    • 68 Metascore
    • 75 Kenji Fujishima
    The film's lampooning of a business built on pure surface extends to its riotous original songs.

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