For 117 reviews, this critic has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 16.6 points lower than other critics. (0-100 point scale)

Mark Holcomb's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 The Turandot Project
Lowest review score: 0 Bless the Child
Score distribution:
  1. Positive: 29 out of 117
  2. Negative: 35 out of 117
117 movie reviews
    • 43 Metascore
    • 30 Mark Holcomb
    What's unexpected is how thoroughly The ABCs of Death's ample duds overshadow its treasures, and how uninspired it feels as a whole.
    • 80 Metascore
    • 50 Mark Holcomb
    Nawal's travails are more in the vein of a Latin American soap opera than Greek tragedy, and Jeanne and Simon's climactic, genuinely god-awful discovery plays like artistic sleight-of-hand rather than the profoundly tautological revelation it aspires to be.
    • 62 Metascore
    • 70 Mark Holcomb
    Tender irony and dark humor abound in Israeli director Eran Riklis's latest account of bureaucracy colliding with burgeoning compassion.
    • 78 Metascore
    • 80 Mark Holcomb
    Porterfield intersperses these delicately underplayed scenes with doc-style question-and-answer exchanges that, while initially jarring, achieve maximum cumulative impact.
    • tbd Metascore
    • 50 Mark Holcomb
    A wispy mix of boy-boy romance and noir-lite potboiler, the Shumanski brothers' (Wrecked) latest wastes a promising premise by loading up on tender whimsy and skimping on grit.
    • 17 Metascore
    • 0 Mark Holcomb
    A callous piece of work that exploits images of children in pain or jeopardy.
    • 35 Metascore
    • 10 Mark Holcomb
    It's the summer's most disingenuous movie -- a real achievement in a waning season that included Tim Burton's "Banana Splits" remake.
    • 48 Metascore
    • 40 Mark Holcomb
    As earnest and smart-alecky as an entire season of Designing Women, Ya-Ya is sure to score with its redemptive family melodramatics and stock eccentric characterizations.
    • 36 Metascore
    • 40 Mark Holcomb
    Thematic muddle aside, the film's appeal lies in Burke's ranting charisma, Julie Christie's thankless turn as a sympathetic doctor, and Michael Spiller's radiant cinematography, which frequently captures the mythic grandeur that eludes Hartley's narrative grasp.
    • 51 Metascore
    • 80 Mark Holcomb
    It may not be particularly innovative, but the film's crisp, unaffected style and air of gentle longing make it unexpectedly rewarding.
    • 43 Metascore
    • 50 Mark Holcomb
    An engagingly grim psychological thriller.
    • 65 Metascore
    • 90 Mark Holcomb
    A must-see for opera lovers and a snappy diversion for cinephiles.
    • 28 Metascore
    • 10 Mark Holcomb
    Griffin and Solvang's obliviousness, and the filmmakers' habit of mugging condescendingly while conducting interviews doesn't help either.
    • 52 Metascore
    • 30 Mark Holcomb
    Appallingly violent.
    • 47 Metascore
    • 50 Mark Holcomb
    There's a certain gutsy allure to the wildly improbable proceedings.
    • 66 Metascore
    • 20 Mark Holcomb
    Wanders all over the map thematically and stylistically, and borrows heavily from Lynch, Jeunet, and von Trier while failing to find a spark of its own.
    • 55 Metascore
    • 60 Mark Holcomb
    Thanks to an uninhibited screenplay and the easy, unforced chemistry of its ensemble cast, Punks is mostly good, snappy fun.
    • 60 Metascore
    • 70 Mark Holcomb
    Too brisk and plucky to dislike.
    • 31 Metascore
    • 20 Mark Holcomb
    Cloaks a familiar anti-feminist equation (career - kids = misery) in tiresome romantic-comedy duds.
    • 33 Metascore
    • 40 Mark Holcomb
    Uneasy mélange of occult thriller and insane-asylum-as-social-microcosm parable.
    • 47 Metascore
    • 10 Mark Holcomb
    A valueless kiddie paean to pro basketball underwritten by the NBA.
    • 12 Metascore
    • 30 Mark Holcomb
    The most that can be said for Slackers -- aside from the unqualified pleasure of Schwartzman's unfaked, puppyish weirdness -- is that it doesn't abandon its putrid ideals for the sake of a neat finish.
    • 37 Metascore
    • 20 Mark Holcomb
    About as threadbare as a favorite childhood plushy. What's more, trying to keep the story line of strained meta-sequel Freddy Vs. Jason straight requires too much of a cogitative investment.
    • 39 Metascore
    • 40 Mark Holcomb
    Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.
    • 51 Metascore
    • 20 Mark Holcomb
    It's nauseating, unfunny stuff, unmitigated by the revelation that Griffin's mom physically abused him.
    • 43 Metascore
    • 50 Mark Holcomb
    Most Wanted isn't aiming for social commentary, but it isn't too difficult to enjoy its good-natured humor.
    • 67 Metascore
    • 70 Mark Holcomb
    The scenario recalls everything from "High Noon" to "Unforgiven," but Costner is less interested in grappling with the grim ambiguities underlying those films than in codifying them. There's still much to like, including the warm, thoughtful performances and cinematographer James Muro's fearless use of natural light.
    • 52 Metascore
    • 40 Mark Holcomb
    A diverting pulp time-waster.
    • 76 Metascore
    • 60 Mark Holcomb
    Makes for unexpectedly giddy viewing.
    • 59 Metascore
    • 30 Mark Holcomb
    Cynically accumulates plot twists while showing little regard for suspense or audience sophistication.

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