Kenji Fujishima

Select another critic »
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 Right Now, Wrong Then
Lowest review score: 10 Honeyglue
Score distribution:
  1. Positive: 88 out of 172
  2. Negative: 37 out of 172
172 movie reviews
    • 81 Metascore
    • 50 Kenji Fujishima
    Haimes seems less interested in examining this unfamiliar world and the people involved than in shoving them into feel-good platitudes about following your dreams.
    • 55 Metascore
    • 50 Kenji Fujishima
    Ira Sachs, for all the tenderness of feeling he brought to Love Is Strange, wouldn't have countenanced the stacked-deck sentimentality that lies at this film's heart.
    • 79 Metascore
    • 50 Kenji Fujishima
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
    • 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.
    • 62 Metascore
    • 40 Kenji Fujishima
    Junction 48 mostly sticks to uplifting formula, rarely offering anything particularly fresh or interesting.
    • 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
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 67 Metascore
    • 50 Kenji Fujishima
    Jorge R. Gutierrez subsumes the film's darker themes in a relentlessly busy farrago of predictable kids'-movie tropes and annoying attempts at hipness.
    • 66 Metascore
    • 50 Kenji Fujishima
    Maxime Giroux's sharp filmmaking instincts aren't always supported by similarly acute dramatic instincts.
    • 64 Metascore
    • 50 Kenji Fujishima
    Mark Mori goes a bit overboard in hammering home his appreciation of Bettie Page's significance, allowing the film to occasionally lapse into repetitiveness.
    • 64 Metascore
    • 50 Kenji Fujishima
    As informative and passionate as he often is on screen, Michael Moore also always toes the line toward shooting himself in the rhetorical foot with his own thuggish persona.
    • 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.
    • 63 Metascore
    • 50 Kenji Fujishima
    Writer-director Sarah Adina Smith's film confuses narrative gimmickry for the sensitive evocation of an inner life.
    • 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.
    • 62 Metascore
    • 58 Kenji Fujishima
    Wakefield is… well, let’s just say, its insights into human nature are limited, at best.
    • 60 Metascore
    • 60 Kenji Fujishima
    Past Life does add up to more than the sum of its heavy-handed miscalculations.
    • 60 Metascore
    • 50 Kenji Fujishima
    There are distinctive touches to give this passing interest.
    • 60 Metascore
    • 50 Kenji Fujishima
    The end-credits sequence shows up the rest of the film as the broad and incoherent live-action cartoon that it is.
    • 59 Metascore
    • 42 Kenji Fujishima
    Worse than offering no especially fresh angles on its cliched material, however, are the trite characterizations of the two lead female characters.
    • 58 Metascore
    • 50 Kenji Fujishima
    A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
    • 58 Metascore
    • 50 Kenji Fujishima
    One has to wade through a lot of eye-rolling comic marginalia to get to the film's pained beating heart.
    • 58 Metascore
    • 50 Kenji Fujishima
    Hanks brings to Clay a nervous energy, a sense of desperation to even his most outwardly optimistic of gestures, that nevertheless always seems tempered by a more sober inner awareness of his own failures. It’s a remarkable performance in a film that is unworthy of it.
    • 58 Metascore
    • 50 Kenji Fujishima
    It aims for John Waters-style transgression without evincing half of Waters’s wit and affection for eccentric lifestyles.
    • 58 Metascore
    • 50 Kenji Fujishima
    There's only so much that Fanning's vividly expressive face and Hawkes's charismatic sensitivity can mask before we realize how little we truly understand what goes on in anybody's head.
    • 57 Metascore
    • 60 Kenji Fujishima
    Slight though it may be, Lace Crater's mix of Andrew Bujalski–style naturalism and Roman Polanski–style body horror is at least off-kilter enough to keep one absorbed throughout.
    • 55 Metascore
    • 50 Kenji Fujishima
    As informative, revealing, and occasionally poignant as some of the unearthed revelations are, the doc is ultimately hampered by a level of self-congratulation that nearly undoes its effectiveness as an activist polemic.

Top Trailers