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 17.5 points lower than other critics. (0-100 point scale)

Mark Holcomb's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 Robot Stories
Lowest review score: 0 Rollerball
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.
    • 67 Metascore
    • 70 Mark Holcomb
    This earnest, well-observed weepy has more depth than its genteel trappings might imply.
    • 48 Metascore
    • 70 Mark Holcomb
    Unfortunately, Rae's film is split down the middle, and the appeal of its latter half depends on your tolerance for earnest politico-poetry set to wailing rock guitar and Native American chants and extraneously endorsed by celebrity talking heads. The backstory portion of the film, though, is riveting.
    • 54 Metascore
    • 50 Mark Holcomb
    Comfortably familiar. It lacks the tension between grandeur and intimacy that characterizes the films it apes.
    • 74 Metascore
    • 80 Mark Holcomb
    Continues Disney's trend of crafting animated movies as much for adult viewers as for their pre-adolescent progeny.
    • 63 Metascore
    • 50 Mark Holcomb
    An exhilarating serving of movie fluff.
    • 52 Metascore
    • 40 Mark Holcomb
    Treading the same supernatural turf trampled by "Somewhere in Time" and "Frequency," director Alejandro Agresti's gooey, ostensibly spooky romance yarn The Lake House flounders less on its thudding familiarity than on its mood- killing dourness.
    • 71 Metascore
    • 70 Mark Holcomb
    Unusually impassioned indie.
    • 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.
    • 59 Metascore
    • 40 Mark Holcomb
    Suffice it to say that if you've always wondered how a fish out of water and a band of resourceful yokels would behave in the Quebec hinterlands, this is your movie.
    • 59 Metascore
    • 30 Mark Holcomb
    Stupefyingly benign.
    • 58 Metascore
    • 60 Mark Holcomb
    Despite its affinity for whimsy over realism, Small Voices effectively captures the embittered desperation and ragged dedication of its exploited teachers.
    • 87 Metascore
    • 80 Mark Holcomb
    It's a remarkably assured and humane feature debut.
    • 50 Metascore
    • 40 Mark Holcomb
    These after-school specials are distinctly depoliticized and seem tailored for Western audiences, so the African settings feel oddly superfluous.
    • 63 Metascore
    • 80 Mark Holcomb
    Happily, beneath the film's nostalgic veneer and tooth-rattling visual and aural effects lies a mature ambiguity that's unusual for a holiday blockbuster -- and all but unheard of in a Tony Scott movie.
    • 68 Metascore
    • 70 Mark Holcomb
    The result is a film as tenacious, peculiar, and likable as Burt Munro himself.
    • 55 Metascore
    • 70 Mark Holcomb
    By turns whimsical and painful.
    • 35 Metascore
    • 50 Mark Holcomb
    The results are predictably lachrymose, especially with the reinstated "unhappy" ending from the original French version.
    • 32 Metascore
    • 30 Mark Holcomb
    Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
    • 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.
    • 87 Metascore
    • 70 Mark Holcomb
    What keeps Murderball from devolving into redemptive drivel is its insistence on treating the players it profiles as jocks first and disabled men second.
    • 23 Metascore
    • 10 Mark Holcomb
    With its lukewarm gender politicking and clumsy performances, Make a Wish achieves only one real distinction: It has to be the dullest lesbian campout movie ever made.
    • 63 Metascore
    • 80 Mark Holcomb
    Eschewing the jock-like aversion to "artiness" inherent in most sports docs, John Hyams's contemplative snapshot of professional bull riding, Rank, ups the ante for the form.
    • tbd Metascore
    • 80 Mark Holcomb
    What finally makes Town Bloody Hall so compelling -- and unsettling -- is the impression that such serious, spirited debate is a thing of the past.
    • 64 Metascore
    • 70 Mark Holcomb
    A fresh and uncompromising account of emotional self-immolation and romantic flux. And it has a happy ending to boot.
    • 77 Metascore
    • 90 Mark Holcomb
    Charles Bukowski, the bard of post-war L.A.'s working-class underbelly, was no ordinary cult writer, and John Dullaghan's thorough, compelling doc Bukowski: Born Into This does a credible job of showing why.

Top Trailers