Maximilian Von Thun

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For 21 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 16.3 points higher than other critics. (0-100 point scale)

Maximilian Von Thun's Scores

  • Movies
  • TV
Average review score: 81
Highest review score: 100 The Price of Everything
Lowest review score: 40 Summertime
Score distribution:
  1. Positive: 17 out of 21
  2. Negative: 0 out of 21
21 movie reviews
    • 75 Metascore
    • 100 Maximilian Von Thun
    Heineman himself has said he feels an “enormous kinship” with Colvin’s commitment to revealing the human cost of conflict. And that, despite all her personal flaws, is what makes Colvin’s story so profoundly moving.
    • 61 Metascore
    • 80 Maximilian Von Thun
    While on the whole Vice succeeds in offering a highly original take on Cheney’s time in office, it does have a number of weaknesses.
    • 74 Metascore
    • 60 Maximilian Von Thun
    While it is hard to imagine its themes of gender fluidity and female empowerment not resonating with contemporary audiences, Wash and his fellow screenwriters make these parallels irritatingly obvious, to the extent that characters constantly say and do things that feel implausibly millennial, and caricatures (especially male ones) abound.
    • 76 Metascore
    • 100 Maximilian Von Thun
    Nathaniel Kahn’s The Price of Everything certainly doesn’t hold back in its skewering of a contemporary art world defined far more by financial gain and status seeking than a genuine love of beauty.
    • 93 Metascore
    • 80 Maximilian Von Thun
    What Kore-eda wants to convey to his audience is that good and bad are never absolute, and that good and bad themselves have a reality above and beyond that of man-made laws.
    • 90 Metascore
    • 80 Maximilian Von Thun
    Cold War’s main weakness is that despite the political stakes, it fails to make us truly care about Wiktor’s and Zula’s relationship.
    • 81 Metascore
    • 60 Maximilian Von Thun
    The Guardians is a subtle, beautifully made and quietly feminist work about the fortitude of women during wartime.
    • 61 Metascore
    • 60 Maximilian Von Thun
    Despite all this, Sicario 2 remains highly watchable thanks to what it does preserve from the original: its mood of constant dread and impending doom.
    • 73 Metascore
    • 80 Maximilian Von Thun
    Despite paying no attention to events beyond the trenches, Journey’s End is nonetheless deeply political in its depiction of the class tensions that characterised the war.
    • 77 Metascore
    • 80 Maximilian Von Thun
    Sidestepping the question of whether or not shamanic methods 'work' in a scientific sense, Caraballo and Norzi directly depict the psychedelic experience of Ayahuasca itself by seamlessly blending dream and reality into a single stunning whole.
    • 83 Metascore
    • 100 Maximilian Von Thun
    Bright light and dazzling colour dominate, as befits the Santa Barbara setting, while every scene is packed with moments that are in turn engaging, amusing, poignant, awkward, heart-warming, heart-breaking and profound.
    • 92 Metascore
    • 80 Maximilian Von Thun
    Stylistically it is an indisputable triumph.
    • tbd Metascore
    • 100 Maximilian Von Thun
    Szabolcs Hadju's It's Not the Time of My Life is an engrossing, poignant and often very funny study of marriage, family and child rearing.
    • 72 Metascore
    • 40 Maximilian Von Thun
    Despite a promising concept and strong production values, Summertime's poor execution makes it one to avoid.
    • 83 Metascore
    • 80 Maximilian Von Thun
    A triumphant debut feature with an important message that masterfully balances its personal and political concerns.
    • 68 Metascore
    • 100 Maximilian Von Thun
    Mon Roi is one of the best films of the year and an impressively realistic depiction of the highs and lows of love.
    • 84 Metascore
    • 80 Maximilian Von Thun
    Its honest and forthright depiction of mental illness, combined with Nicholson’s tour-de-force bull in a china shop performance, mean that it has lost none of its power to provoke and entertain in the four decades since its release.
    • 85 Metascore
    • 80 Maximilian Von Thun
    In the way it seamlessly flits between events separated by large stretches of time, Davies seems to have miraculously captured the essence of memory itself in its elliptical, dreamlike quality.
    • 80 Metascore
    • 80 Maximilian Von Thun
    Tarkovsky possessed a sensibility for, and mastery over, the cinematic form that few directors – before or after – have been able to match; a mastery evident in almost every sublime frame of Mirror.
    • 83 Metascore
    • 80 Maximilian Von Thun
    While it is a triumph on an aesthetic level – Chen’s camera glides euphorically through temples and city streets, while the costumes and sets are meticulously authentic – it falls short because it struggles to combine the observational, detached style of its first half with the dramatic tribulations of the second.

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