Manohla Dargis

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For 2,005 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:
2005 movie reviews
    • 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.
    • 80 Metascore
    • 90 Manohla Dargis
    All of Shults’s stylistic brio and formal inventiveness is finally in the service of a story about love, its mutability and fragility.
    • 52 Metascore
    • 30 Manohla Dargis
    Banks wants to fight a righteous fight. But she is selling stale goods in which adult women spout girl-power clichés and conform to norms that make it very clear what kind of heroines still get to fly high: young, thin, beautiful, perfectly coifed, impeccably manicured and profoundly unthreatening.
    • 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.
    • 76 Metascore
    • 70 Manohla Dargis
    It’s an ugly story shrewdly told, with a sense of humor and also a deeper feeling for history.
    • 84 Metascore
    • 100 Manohla Dargis
    Furious, brilliant, exhausting, Synonyms is the story of a man in self-imposed exile.
    • 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.
    • 43 Metascore
    • 30 Manohla Dargis
    You don’t wait long to be disappointed.
    • 83 Metascore
    • 80 Manohla Dargis
    Eggers meticulously sets the scene, adds texture and builds tension and mystery from men locked in battle and sometimes in embrace. He has created a story about an age-old struggle, one that is most satisfyingly expressed in this film’s own tussle between genre and its deviations.
    • 96 Metascore
    • 100 Manohla Dargis
    Bong’s command of the medium is thrilling. He likes to move the camera, sometimes just to nudge your attention from where you think it should be, but always in concert with his restlessly inventive staging.
    • 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.
    • 87 Metascore
    • 100 Manohla Dargis
    A great deal happens in Pain and Glory, just not ritualistically and not at top volume. Its agonies are tempered, its regrets hushed, its restraint powerful.
    • 36 Metascore
    • 20 Manohla Dargis
    It’s a dispiriting mess and waste of talent, sunk by a lack of focus, misguided choices and insistently unproductive, at times incoherent clashing tones.
    • 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.
    • 80 Metascore
    • 80 Manohla Dargis
    Ad Astra is unambiguously a film of its moment, one about a man’s struggle for personal meaning and a place in the world in a time of fallen fathers.
    • 79 Metascore
    • 70 Manohla Dargis
    What largely distinguishes Midnight Traveler is its anxious intimacy, a sense of uneasy closeness that pulls you into a family circle that at times gets very small, creating a sense of appropriate claustrophobia.
    • 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.
    • tbd Metascore
    • 30 Manohla Dargis
    The movie’s truth is presumably meant to rest in its emotions, in the spilled tears of its characters, but the only things at stake here are the cozy sniffles of the art-film patron.
    • 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.
    • 82 Metascore
    • 100 Manohla Dargis
    Give Me Liberty is a jolt of a movie, at once kinetic and controlled. It’s an anarchic deadpan comedy that evolves into a romance just around the time the story explodes. It has moments of unembellished realism as well as a fictional story line that runs through the bedlam.
    • 86 Metascore
    • 100 Manohla Dargis
    Complex, stirring, timely and beautifully shaped.
    • 51 Metascore
    • 60 Manohla Dargis
    Amusing and sleepy pretty much describe this movie.
    • 85 Metascore
    • 100 Manohla Dargis
    Soul-baring and furious, the documentary One Child Nation takes a powerful, unflinching look at China’s present through its past.
    • 35 Metascore
    • 20 Manohla Dargis
    An offense against feminism, narrative logic and Fleetwood Mac, The Kitchen is a terrible, witless mess.
    • 76 Metascore
    • 80 Manohla Dargis
    Adopting a cool, oblique yet accessible approach that complements the washed-out, nicotine-stained palette, Naishtat builds a modular narrative that increasingly bristles.
    • 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.

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