Leslie Felperin

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For 489 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Maidan
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Negative: 17 out of 489
489 movie reviews
    • tbd Metascore
    • 40 Leslie Felperin
    Despite a few modish touches, this feels fundamentally very old-school, and not necessarily in a good way, right down to the repeated shots of people running away from fireballs in the background.
    • 53 Metascore
    • 60 Leslie Felperin
    Even viewers who might find 6ix9ine and his gangbanger nonsense repugnant can still find much to admire in this well-made film essay.
    • 49 Metascore
    • 60 Leslie Felperin
    This pulpy multiverse brain-teaser is reasonably compelling to watch – at least in this reality. In another, it’s straight to video garbage, and in yet another, it’s won the Palme d’Or.
    • 60 Metascore
    • 60 Leslie Felperin
    The final endgame is a little unsatisfying, but this is a very interesting debut for McCarthy.
    • 50 Metascore
    • 60 Leslie Felperin
    It succeeds in walking the tonal high beam without falling into soul-destroying bleakness on one side or a saccharinely fake happy ending on the other. That’s no mean feat.
    • 67 Metascore
    • 60 Leslie Felperin
    It’s no surprise to learn Kostanski has worked as a special makeup artist on bigger budget projects such as Suicide Squad and It, but this proves he has a way with actors as much as a knack for latex and fake blood.
    • 24 Metascore
    • 40 Leslie Felperin
    When it’s all over and the big twist you saw coming in the first 15 minutes has been revealed, you feel empty, a bit depressed, and like you need another cup of coffee.
    • 72 Metascore
    • 70 Leslie Felperin
    Although some might argue that not mentioning anyone's difference is a kind of erasure in itself, it's hard not to get swept up in the cast and crew's joyful insouciance. Plus, the cheeky showtunes, co-written by onscreen villain MuMu and executive producer Peter Halby, are a hoot.
    • tbd Metascore
    • 20 Leslie Felperin
    There’s no doubting that this film was more fun to make than it is to watch, although there is a sort of guilty pleasure in the spectacle of ruins and decay and wondering whether the film-makers actually found a real abandoned resort, or if it’s all a set.
    • tbd Metascore
    • 60 Leslie Felperin
    The gags don’t always land, and some of the line deliveries plod painfully on, but there are moments that nail the strange comedy of sexual manners that must be navigated these days.
    • 83 Metascore
    • 100 Leslie Felperin
    Lisa Rovner’s superb documentary pays a deeply deserved, seldom-expressed tribute to the female composers, musicians and inventors from the brief history of electronic music.
    • 43 Metascore
    • 60 Leslie Felperin
    Writer-director Justin P Lange finds a satisfying way to update the possession-exorcist theme for a new generation grown wary of the Catholic church’s old ways, particularly in the wake of the abuse scandals that have shredded the clergy’s credibility in recent years.
    • 67 Metascore
    • 60 Leslie Felperin
    Altogether, it’s a richer devil’s brew than you would expect, crisply edited and moodily shot – even if the last act doesn’t quite hit the spot.
    • 59 Metascore
    • 60 Leslie Felperin
    Leisurely pacing rather draws it all out a bit, but there’s real inventiveness to the way Park wrong-foots the viewer and handles the operatic displays of gunfire and death – and the leads are rather charming.
    • 40 Metascore
    • 60 Leslie Felperin
    With a running time of 107 minutes, the film goes on just a little longer than it really needs to before it gets predictably violent, grotesque and reasonably scary at last. But Milburn and Kennedy certainly know how to build a unique atmosphere.
    • 83 Metascore
    • 80 Leslie Felperin
    At last, just what world cinema really needs right now: an exquisitely made film about street dogs in Istanbul, satiating that universal desire to see distant lands, coo over beautiful, noble animals, and satisfy the audience’s need to feel guilty about the misfortune of poorer, unluckier people.
    • 72 Metascore
    • 80 Leslie Felperin
    It has its own peculiar spirit and casts a very witchy spell, thanks particularly to Gregg's adept handling of both experienced and young, less proven performers.
    • 61 Metascore
    • 60 Leslie Felperin
    First time director Martin Krejci draws lovely performances from his cast, and the whole thing looks dreamy and splendid thanks to Andrew Droz Palermo’s cinematography – but the last act could have done with some serious workshopping to smooth out the motivational kinks and deflationary resolution.
    • 64 Metascore
    • 70 Leslie Felperin
    There is a palpable sense that this was made by someone who knows Mumbai backwards and truly loves its ochre-colored streets, cluttered sidewalks and peeling billboards advertising old movie releases, right down to every frayed shred of paper.
    • 49 Metascore
    • 60 Leslie Felperin
    If you have 152 minutes to sink into this morass of moral complexity and finely observed period detail, then it may well be worth it, although the ending is bizarrely, perplexingly abrupt. Perhaps there will be a follow-up feature.
    • tbd Metascore
    • 40 Leslie Felperin
    The script is full of such daft coincidences you keep expecting there will be a clever twist to explain – but no, it really is that lazily written. At least the cinematography (by Andrew Wheeler) has atmosphere and the Parisian shots are pretty.
    • 34 Metascore
    • 40 Leslie Felperin
    The whole thing is really waxy and sad, like the immobile face of co-star Sylvester Stallone; although the chance to enjoy the always interesting, never-as-big-as-he-should-have-been Matthew Modine, still looking pretty fly with a shock of white-and-gold hair, is very welcome.
    • 56 Metascore
    • 60 Leslie Felperin
    Small, imperfectly formed but quite entertaining all the same.
    • 53 Metascore
    • 60 Leslie Felperin
    It’s all very 2021, and you can’t help wondering how it will age, but as a launching pad for the director and her cast, it’s a very serviceable platform.
    • 64 Metascore
    • 60 Leslie Felperin
    The constant shifting between Italian, English and Québécois-accented French adds an extra texture, and the performances are as sharp as the suits.
    • 74 Metascore
    • 60 Leslie Felperin
    Throughout, Thyberg switchbacks between humor and humiliation with unsettling abruptness, but withholds judgement of the characters' choices to create an ethical Rorschach test, prompting reactions that may be more revealing than the film itself.
    • 82 Metascore
    • 80 Leslie Felperin
    Graham uses darkness and a very sparse score/soundscape to create a truly disturbing work that relies not so much on gore as the uncanny in its most potent form: stillness, pools of darkness and just-visible figures.
    • 23 Metascore
    • 30 Leslie Felperin
    While it has a few incidental felicities to admire, by and large Music is a sentimental atrocity so cringe-inducing it should come with an advisory warning for anyone with preexisting shoulder or back injuries.
    • 44 Metascore
    • 40 Leslie Felperin
    The parody versions of the songs here are pretty funny, as is Cage’s solemn devotion to his job, down to his insistence that he takes a pinball game break at intervals throughout the film.

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