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 6.7 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
    • 68 Metascore
    • 75 Kenji Fujishima
    The film's lampooning of a business built on pure surface extends to its riotous original songs.
    • 25 Metascore
    • 10 Kenji Fujishima
    [An] unintentionally hilarious tragic romance.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Kenji Fujishima
    It's never made clear how witnessing a family deal with their specific issues affects Jesus's own perspective on his destiny.
    • tbd Metascore
    • 70 Kenji Fujishima
    Instead of the clinical detachment implied by the title Those People, writer-director Joey Kuhn bathes his first feature in warm compassion.
    • 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.
    • 26 Metascore
    • 30 Kenji Fujishima
    Even more than in Paris, Je T'Aime and New York, I Love You, this latest omnibus in producer Emmanuel Benbihy's "Cities of Love" franchise might leave viewers wondering whether these needed to be set in Rio de Janeiro at all.
    • 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.
    • 60 Metascore
    • 50 Kenji Fujishima
    There are distinctive touches to give this passing interest.
    • 54 Metascore
    • 25 Kenji Fujishima
    All the narrative hopscotching is little more than a superficial ploy to gussy up a clichéd redemption tale.
    • 90 Metascore
    • 75 Kenji Fujishima
    This singular mix of character study and mysterious mood piece might not have come off quite so successfully if not for Royalty Hightower's internal performance.
    • 81 Metascore
    • 91 Kenji Fujishima
    Hong’s two-part structure in Right Now, Wrong Then, instead of just being a cute formal trick, reveals a character’s troubled inner life in fiendishly clever ways.
    • 78 Metascore
    • 75 Kenji Fujishima
    The film goes deeper in its allegorizing, tapping into the volatile nature of identity politics.
    • 54 Metascore
    • 50 Kenji Fujishima
    It remains more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
    • 65 Metascore
    • 63 Kenji Fujishima
    The whiplash contrasts between snideness and sincerity is deeply rooted in the main character's psychology.
    • 22 Metascore
    • 50 Kenji Fujishima
    It's hardly a desecration of Pascal Laugier's 2008 French horror film of the same name, but that assumes the original is a canonical text.
    • 58 Metascore
    • 50 Kenji Fujishima
    A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
    • 39 Metascore
    • 38 Kenji Fujishima
    If the film is any indication, Jared and Jerusha Hess remain committed to clotting up the screen with ostensibly charming "eccentricity."
    • 55 Metascore
    • 38 Kenji Fujishima
    Given how Legend's script is so bereft of insight into its characters' psyches, perhaps there's only so much even an actor of Tom Hardy's stature can do.
    • 34 Metascore
    • 50 Kenji Fujishima
    All of the film's nuances are ultimately negated by the its relentless canonization of its subject.
    • 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.
    • 67 Metascore
    • 75 Kenji Fujishima
    Failure hovers over the film as much as it did in Schulz's comic strip, infusing even its most ebullient set pieces and designs with a sense of melancholy.
    • 34 Metascore
    • 63 Kenji Fujishima
    It has enough ingredients for a reasonably entertaining fantasy adventure—except, that is, for an interesting lead character with an emotionally compelling hook.
    • 60 Metascore
    • 63 Kenji Fujishima
    Some of the wittier one-liners and more affecting emotional moments feel undermined by the frenzy of chaotic excess.
    • 59 Metascore
    • 63 Kenji Fujishima
    It lobs a grenade at slasher-movie sadism by making us care about the characters as more than just body-bag fodder.
    • 87 Metascore
    • 75 Kenji Fujishima
    Arnaud Desplechin tries his hand at a coming-of-age tale, and does so with equal doses of mature reflection and youthful impetuosity.
    • 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.
    • 61 Metascore
    • 38 Kenji Fujishima
    The effect of the film's animated sequences is to distance the viewer from real-life horrors--another misguided attempt at turning recent history into instant myth.
    • 82 Metascore
    • 63 Kenji Fujishima
    The near-surgical precision with which Yorgos Lanthimos approaches the most surreal of conceits turns out to be a double-edged sword.

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