For 111 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Lindsey Bahr's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 They Shall Not Grow Old
Lowest review score: 25 Angel Has Fallen
Score distribution:
  1. Positive: 82 out of 111
  2. Negative: 12 out of 111
111 movie reviews
    • 58 Metascore
    • 63 Lindsey Bahr
    Rae and Nanjiani make the ride fun enough with their easy chemistry and silly, wide-eyed panic at everything they’re witnessing. Still, The Lovebirds lacks the singularity of its stars’ other noteworthy roles.
    • 46 Metascore
    • 38 Lindsey Bahr
    Al Capone’s last year could make for an interesting film, but there is little poetry or transcendence in Capone, and nothing even remotely close to the quietly devastating third act of “The Irishman.”
    • 70 Metascore
    • 88 Lindsey Bahr
    Based on Caitlin Moran’s semibiographical novel, How to Build A Girl is a wickedly funny, sweet and vibrantly told coming-of-age story that feels like a teen classic in the making.
    • 65 Metascore
    • 75 Lindsey Bahr
    Hallgren weaves together a compelling narrative with these public and private interviews that builds chronologically to the present.
    • 77 Metascore
    • 75 Lindsey Bahr
    A Secret Love is guaranteed to pull at your heartstrings. It might be the quarantine or it might just be effective storytelling, but a scene near the end of the family coming together — not even a sad scene — left this reviewer in tears and I’m willing to bet I won’t be the only one.
    • 56 Metascore
    • 63 Lindsey Bahr
    The word distraction has started to lose all meaning this deep into our home lockdowns, but there is a certain comfort in curling up with a big, silly action pic like Extraction. It reminds you of something you might have spent money on to see in an ice-cold theater on a hot summer day.
    • 55 Metascore
    • 63 Lindsey Bahr
    You’re always waiting for the movie to really get going. It’s shot like a political thriller without the thrills.
    • 35 Metascore
    • 25 Lindsey Bahr
    Your enjoyment of the new Netflix comedy Coffee & Kareem may depend on whether or not you find insanely vulgar middle schoolers funny. It’s not just cursing either. Oh no, this is a whole symphony of vulgarity that would make Seth Rogen blush.
    • 59 Metascore
    • 63 Lindsey Bahr
    The Banker is a pleasant watch.
    • 86 Metascore
    • 88 Lindsey Bahr
    It’s a worthy story even without the coda of the fight for their civil rights. You never know where empowerment might stem from: Sometimes, it’s a hippie camp in the Catskills.
    • 54 Metascore
    • 63 Lindsey Bahr
    It’s so sincere that it’s hard to pick on Wendy for some wheel-spinning, or even the sullen whimsy of it all. It’s headed somewhere good and worthwhile: This ending could warm the hearts of even the most grown up grown-ups in the audience.
    • 91 Metascore
    • 100 Lindsey Bahr
    There is a wild urgency to Greta Gerwig’s Little Women that hardly seems possible for a film based on a 150-year-old book. But such is the magic of combining Louisa May Alcott’s enduring story of those four sisters with Gerwig’s deliciously feisty, evocative and clear-eyed storytelling that makes this Little Women a new classic.
    • 80 Metascore
    • 88 Lindsey Bahr
    Hanks is such an obvious choice to play someone as beloved as Fred Rogers that his performance is something that could be in danger of being taken for granted or overlooked. He just makes it all look so easy — the almost uncomfortably slow way that he speaks. But it’s a testament to Hanks that you can’t “see” the work. But much like Fred Rogers, you don’t have to understand it to be moved.
    • 52 Metascore
    • 50 Lindsey Bahr
    What is most surprising about the latest Charlie’s Angels, which was written and directed by Elizabeth Banks, who also plays the part of Bosley, is how little the “go girl” feminism of the 2000 film has evolved in nearly 20 years. Blame society or a lack of imagination on the part of the filmmakers, but there is nothing all that new about the ideas here.
    • 73 Metascore
    • 88 Lindsey Bahr
    Honey Boy will break your heart. It hardly matters if you’ve never given a second thought to the circumstances of Shia LaBeouf’s life, his childhood or his rocky early adult years. But this is the kind of universally moving work that can only emerge from something immensely specific and personal.
    • 94 Metascore
    • 100 Lindsey Bahr
    Marriage Story is such a perfect blend of writing, unflashy direction, spot on performances and score (by Randy Newman) that you hardly even notice all the individual ingredients making up the whole. Its triumph is that it just feels like life.
    • 94 Metascore
    • 88 Lindsey Bahr
    The whole film in fact is something of a knowing contradiction: A small epic with a superhero budget, using technology like the oft-discussed de-aging process not for vulgar show or gimmickry but to add real heart and grandeur to a film that is trying to grapple with the scope of a life.
    • 54 Metascore
    • 50 Lindsey Bahr
    Despite an A-list roster of talent, including people behind the scenes who theoretically should know how to resurrect this brand and move it forward, Terminator: Dark Fate is just another bad “Terminator” movie in a string of bad “Terminator” movies (although better than “Genisys”).
    • 83 Metascore
    • 75 Lindsey Bahr
    This is a movie that demands to be consumed distraction-free. But by the end, you might find yourself feeling as crazy and untethered as the wickies.
    • 38 Metascore
    • 25 Lindsey Bahr
    while “Junior” does look pretty good for a computer-generated approximation of a 23-year-old Smith, it’s hard not to wish that all the time and money spent on this gimmick might have been put toward making sure the script and story were at least engaging and entertaining. As it stands, Gemini Man is a lot of show, but there’s no life behind the eyes.
    • 36 Metascore
    • 50 Lindsey Bahr
    The significant and seemingly random changes, embellishments and omissions make you wonder why they even needed the tether of Nowak in the first place.
    • 76 Metascore
    • 88 Lindsey Bahr
    There’s nothing terribly interesting about the way it’s told, it’s just a straightforward underdog story with a big beating heart.
    • 66 Metascore
    • 63 Lindsey Bahr
    Zellweger’s voice might not be an exact match of Garland’s, but the soul and spirit that she brings along with her lovely approximation will certainly elicit more than a few goosebumps.
    • 64 Metascore
    • 50 Lindsey Bahr
    The movie could have benefited on a little focus and not so much fan service, especially considering how good all of the ensemble actors are in these roles. Perhaps that’s why Fellowes couldn’t choose just one.
    • 79 Metascore
    • 63 Lindsey Bahr
    The film is at its best when it’s about the bond between the women, but it’s a theme that doesn’t hit home until far too late.
    • 40 Metascore
    • 63 Lindsey Bahr
    The Goldfinch is stoic and sad, occasionally brilliant and more often confusing.
    • 45 Metascore
    • 25 Lindsey Bahr
    It might still be passable for cable, but this series has sadly fallen into unwatchable territory.
    • 43 Metascore
    • 50 Lindsey Bahr
    At a certain point, the experience of watching this all unfold through Enzo’s eyes becomes the alienating element. You’re not experiencing the big moments yourself, you’re just experiencing Enzo experiencing them, leaving you to wonder if the story and performances alone are anything special without the dog’s metaphors and poeticisms.
    • 72 Metascore
    • 88 Lindsey Bahr
    It’s a perfectly crafted cocktail of vision, talent and script that will leave your mind spinning for days.
    • 67 Metascore
    • 50 Lindsey Bahr
    These are interesting and fraught times that deserve an unflinching look at the perils of data rights and online privacy, but The Great Hack is a reminder that documentaries are not always journalism.

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