Manohla Dargis

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For 2,004 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 A Touch of Sin
Lowest review score: 0 Don't Tell
Score distribution:
2004 movie reviews
    • 76 Metascore
    • 50 Manohla Dargis
    The movie has texture but no depth, tears but no snot. Who are these people, I kept wondering.
    • 69 Metascore
    • 40 Manohla Dargis
    The “Trip” movies have always been self-aware about their own weightlessness, wringing laughs by needling the men and their vanity. That’s as smart as it is convenient; this time, though, it also feels like a cop-out.
    • 60 Metascore
    • 50 Manohla Dargis
    It’s always nice to see characters break free, but you need to care whether they do. One insurmountable problem with this story is that Iris just isn’t interesting enough and certainly not developed enough either as a character or in terms of the performance.
    • 59 Metascore
    • 50 Manohla Dargis
    For a film about the struggles of a black man in America, The Banker spends an awful lot of time on a false white front.
    • 54 Metascore
    • 50 Manohla Dargis
    Wendy has her moments, certainly, but she remains frustratingly undeveloped and uninvolving, despite the clamor and the score’s triumphalism.
    • 51 Metascore
    • 50 Manohla Dargis
    The point is cleverness and looking cool, though, mostly the movie is about Ritchie’s own conspicuous pleasure directing famous actors having a lark, trading insults, making mischief. There’s not much else, which depending on your mood and the laxity of your ethical qualms, might be enough.
    • 72 Metascore
    • 60 Manohla Dargis
    The pace is sometimes so rapid that you scarcely have time to look, much less admire the translucent sheen of a plastic garbage bag or the meticulous lettering on a beer can (“Since 1978”). That’s to Shinkai’s purpose. As streets, homes, rooms and faces hurtle by, a textured world emerges detail by detail, one that looks like life yet is also expressionistic.
    • 78 Metascore
    • 50 Manohla Dargis
    A carefully organized and sanitized war picture from Sam Mendes that turns one of the most catastrophic episodes in modern times into an exercise in preening showmanship.
    • 32 Metascore
    • 40 Manohla Dargis
    Generally, Hooper pulls away from loony-tunes excess, tries for sexy rather than freaky, and plucks at heartstrings, a reflex that pulls the story into mawkishness, particularly when he cuts to Victoria.
    • 82 Metascore
    • 50 Manohla Dargis
    Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.
    • 64 Metascore
    • 60 Manohla Dargis
    The ensuing adventure is lively, amusing and predictably predictable with revelations, reconciliations and some nebulous politics for the grown-ups. It’s never surprising, yet its bursts of pictorial imagination — snowflakes that streak like shooting stars — keep you engaged, as do Elsa and Anna, who still aren’t waiting for life to happen.
    • 73 Metascore
    • 60 Manohla Dargis
    You do feel Haynes’s touch now and again, particularly in the sense of menace that seeps into a crepuscular law office and in the everyday eeriness that suffuses outwardly ordinary homes that are anything but normal.
    • 50 Metascore
    • 40 Manohla Dargis
    Feig is an adroit director of comedy and he gives Last Christmas some fizz now and again. But he’s stymied by the romance and the gimmick, and the pairing of Clarke and Golding proves an impossible hurdle, making even the seemingly simplest moments — an intimate walk, a heartfelt talk — feel badly labored.
    • 50 Metascore
    • 50 Manohla Dargis
    Despite her shaky handle on the movie’s ideas and the appealing if uneven performances, Waddington holds your attention with visual beauty and humor.
    • 62 Metascore
    • 50 Manohla Dargis
    What Michôd never manages to make clear is what we are to make of this version’s nationalism, its glorification of war, its ambivalence toward corrupting power and its selective, finally misguided attempt to brush off Shakespeare.
    • 66 Metascore
    • 50 Manohla Dargis
    Mostly, Judy offers the familiar spectacle of one star playing another. Zellweger’s performance is credible, with agitated flutters and filigreed touches, though it leans hard on Judy’s tremulous fragility, as if she were a panicked hummingbird. The take is also cautious, too comfortable; it never makes you flinch or look away.
    • 74 Metascore
    • 60 Manohla Dargis
    While cuddling up to the adored one is a familiar biographical tactic, some critical distance might have made for a deeper, stronger movie.
    • 49 Metascore
    • 60 Manohla Dargis
    You get lost in its thickets because Estes hasn’t wholly figured out how to make toying with time work. But he has a fine cast and a good sense of place, including a feel for the spookiness of emptied-out spaces, and he makes his conspicuously low budget work for the near-claustrophobic intimacy.
    • 63 Metascore
    • 50 Manohla Dargis
    The director Gavin Hood, who wrote the script with Sara Bernstein and Gregory Bernstein, fits the pieces together coherently, no small thing given the complications. But the characters are malnourished and Hood’s attempts to build suspense often fall flat because he leans hard on genre conventions, on dark shadows, ominous music and abrupt sounds straight from a horror flick.
    • 51 Metascore
    • 60 Manohla Dargis
    Amusing and sleepy pretty much describe this movie.
    • 42 Metascore
    • 50 Manohla Dargis
    It’s one of those dumb movies that are so gleeful about their own idiocy that taking it seriously may seem pointless, which is always a good reason to take a movie seriously.
    • 72 Metascore
    • 60 Manohla Dargis
    Despite all the time he lavishes on Dani and Christian’s relationship, which is drawn along stereotypical gendered lines (consuming female need that becomes devouring), the couple remains instructively uninteresting. That’s the case despite Pugh.
    • 60 Metascore
    • 60 Manohla Dargis
    It’s an interesting exercise and, for the most part, a passably diverting one.
    • 63 Metascore
    • 60 Manohla Dargis
    Once Vivi and Eva are forced off the train and start wandering the countryside, the forest seems to fold its arms around them, and Endzeit modestly deepens into beguiling mystery.
    • 38 Metascore
    • 40 Manohla Dargis
    F. Gary Gray can be a fine action director and sometimes better than fine, but the scenes that should pop and pow — given the squealing tires, bared knuckles and laser beams — consistently fall flat.
    • 43 Metascore
    • 50 Manohla Dargis
    Kinberg does better when he goes big, which suits this franchise delivery system. For the most part he just moves characters from point A to B, pausing for face-to-face heart to hearts before the next blowout. But the mayhem is generally coherent and executed with clean, crisp special effects, even if Kinberg settles for slo-mo clichés.
    • 56 Metascore
    • 50 Manohla Dargis
    The comedy is situational and confessional, the flat one-liners mixed in with more memorable physical comedy. The scripted lines rarely zing, sing or sting (some seem improvised), but when the performers fall down or screw up their faces, you get to watch them fill in their characters with something like real feeling.
    • 61 Metascore
    • 50 Manohla Dargis
    The problem is that while there are dance performances scattered throughout The White Crow, as well as interludes with a sweaty Rudy practicing and striving, the offstage scenes tend to feel like filler, the bits stuck between the barre and the theater.
    • 74 Metascore
    • 60 Manohla Dargis
    DaCosta is better at setting scenes than digging into them.
    • 71 Metascore
    • 60 Manohla Dargis
    Social realism in a symbolist key, Dogman is at times more pleasurable to look at than to experience.

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