For 213 reviews, this critic has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Mark Feeney's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Hermia & Helena
Lowest review score: 12 Last Ounce of Courage
Score distribution:
  1. Negative: 26 out of 213
213 movie reviews
    • 83 Metascore
    • 75 Mark Feeney
    The movie is daring and unconventional. It’s daring in feeling so static, with a distinctive, unhurried rhythm. It’s unconventional in letting evocation drive plot more than events do. It can feel a bit dreamlike that way. A melancholy lyricism defines the movie.
    • 73 Metascore
    • 63 Mark Feeney
    Demonstrating a mastery of euphemism and understatement, Ringo recalls how the Byrds “introduced us to a hallucinogenic situation, and we had a really good time.” Consistently amiable, if a bit wandery, Echo in the Canyon provides a good time, too.
    • 69 Metascore
    • 63 Mark Feeney
    5B
    Haggis and Krauss’s desire to use the ward as a vehicle to tell a much larger and more complex story makes sense. Yet it ultimately takes away from the truly remarkable story they have to tell, a story that may actually be more complex than matters of government policy and public opinion.
    • 38 Metascore
    • 63 Mark Feeney
    Although Hemsworth and Tessa Thompson aren’t at all bad together, neither do they strike sparks. That’s unfortunate, since the movie flirts, and that is the word, with the idea of a romance between them.
    • 63 Metascore
    • 75 Mark Feeney
    The documentary has a pleasing offhandedness. The same cannot be said of its subject. Christo, who turns 84 on June 13, is precise and highly directed.
    • 49 Metascore
    • 50 Mark Feeney
    Their (Danner/Lithgow) being together feels more like a device — there’d be no movie without their relationship — than it does a romance. There’s a lack of chemistry that makes for a listlessness of narrative.
    • 63 Metascore
    • 63 Mark Feeney
    It’s an understatement to say that Tcheng is drawn to this material. He revels in it. Yet he’s too clear-eyed to turn Halston’s story into a morality tale.
    • 73 Metascore
    • 75 Mark Feeney
    Several talking heads appear, including George Shultz, James Baker, and Lech Walesa. Tellingly, none of the interviewees is Russian. A running theme is that many Russians consider Gorbachev a traitor. “A tragic figure” Herzog calls him.
    • 76 Metascore
    • 63 Mark Feeney
    Goofy is easy. Earnest is easy in a different way. Disturbing is both easy and hard. They’re all dissimilar, and Hail Satan? has lots of all three.
    • 78 Metascore
    • 75 Mark Feeney
    The movie is ludicrously long, clocking in at three hours and one minute, but surprisingly satisfying.
    • 66 Metascore
    • 50 Mark Feeney
    The best thing about the movie is its look. The great Dick Pope, Leigh’s go-to cinematographer, returns to the 19th century he so masterfully re-created in “Mr. Turner,” earning an Oscar nomination. The colors in Peterloo are rich but not at all sumptuous. They look lived in. The moviemaking line between beauty that’s absorbing and beauty that’s distracting is thread-thin. Pope, who also served as chief camera operator, makes sure that the thread never breaks.
    • 79 Metascore
    • 63 Mark Feeney
    Gloria Bell is so comfortable in its skin because it’s a second skin. The talented Chilean writer-director Sebastián Lelio has done this before.
    • 66 Metascore
    • 50 Mark Feeney
    To Dust has several things to recommend it. It’s decidedly different, and that is no small accomplishment in this day and age. Snyder’s direction has real assurance, though not enough to overcome the films self-conscious — maybe self-congratulatory — weirdness.
    • 75 Metascore
    • 75 Mark Feeney
    Even if the number of ideas he has to improve the sport don’t quite live up to the title of Infinite Football, Corneliu Porumboiu’s documentary about Ginghina, there certainly are a lot. The fact that they’re all either unworkable, ridiculous, or both simply adds to the charm of this extremely low-key film.
    • 46 Metascore
    • 63 Mark Feeney
    What makes The Upside work as well as it often does is how the actors are able to convey the unlikely affinity these unlikely people share.
    • 71 Metascore
    • 75 Mark Feeney
    Tom Volf’s distinctive and affecting documentary makes plain how much the persona also owed to appearance and intelligence and life history.
    • 63 Metascore
    • 63 Mark Feeney
    For much of its first half, Chef Flynn feels like an after-school special with a difference — a big, big difference.
    • 84 Metascore
    • 63 Mark Feeney
    All movies are phony. What, you think beautiful people doing ugly things on a screen is real? Some movies are phonier than others. Widows is one of those. The always thin line between a twisty plot and a silly one gets crossed about an hour in.
    • 82 Metascore
    • 75 Mark Feeney
    So it’s a sort of grace note that Julien Faurat’s unusual and absorbing documentary, John McEnroe: In the Realm of Perfection, includes a snippet from the soundtrack of “Raging Bull,” probably the greatest and certainly the fiercest and most aestheticized of boxing movies.
    • 76 Metascore
    • 63 Mark Feeney
    The documentary has its memorable moments. Period footage of the now-legendary 1973 auction of contemporary art by the collector Robert Scull is riveting.
    • 70 Metascore
    • 63 Mark Feeney
    The documentary is good on the gay aspect of 54, and disco generally. Schrager became highly successful as an impresario of boutique hotels. Still, when he talks about Studio 54 there’s a touch of wonder in the tough-guy growl.
    • 60 Metascore
    • 63 Mark Feeney
    A line gets crossed. It isn’t the one between California and Nevada. It’s the one from “Bad” to worse.
    • 85 Metascore
    • 88 Mark Feeney
    Each of these dames of the realm gets to play the choicest of roles: herself.
    • 80 Metascore
    • 75 Mark Feeney
    Director David Lowery (“Ain’t them Bodies Saints,” “A Ghost Story”) did the adaptation of David Grann’s New Yorker magazine article. His direction is winningly relaxed, and his script has real flavor.
    • 69 Metascore
    • 38 Mark Feeney
    Moore shows newsreel footage of Hitler delivering a speech. Only it’s not Hitler’s voice we hear. It’s Trump’s. Get it? Sure you do, and as you do the documentary slips the surly bonds of sanity — even of agitprop — to enter a realm of its own polemical making. Words cannot do justice to such an editorial decision. Well, maybe five can: intellectually null and morally contemptible.
    • 62 Metascore
    • 50 Mark Feeney
    The Children Act isn’t all that interesting a movie, despite the many talented people involved and the generally high level of work they do. The most interesting thing about it is how it presents a case study in the very different way style can determine what works on the screen vs. what works on the page.
    • 59 Metascore
    • 75 Mark Feeney
    So the big surprise about White Boy Rick is how well the movie works. It’s one thing to know a story is based on nonfiction. Being made to believe its plausibility is something else. White Boy Rick you believe.
    • 67 Metascore
    • 75 Mark Feeney
    Wilson gives a performance that in its own way is as striking as Gleeson’s.
    • 35 Metascore
    • 63 Mark Feeney
    Kin
    So, yeah, Kin is a bit of a biker movie, too. More important, it’s also a family drama. In their first-time feature-directing effort, twin brothers Jonathan and Josh Baker — speaking of kin — turn Cain and Abel inside out and upside down. Why be east of Eden when you end up that far west of Motown?
    • 67 Metascore
    • 63 Mark Feeney
    Telling all is not necessarily the same thing as telling the truth, even if Bowers’s memory seems as clear as the glint in his bright blue eyes. Maybe it’s his ego that’s not clear — or too much so.

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