Natalia Keogan

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For 130 reviews, this critic has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 7 points higher than other critics. (0-100 point scale)

Natalia Keogan's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 92 Memoria
Lowest review score: 34 Stay Out of the Attic
Score distribution:
  1. Negative: 2 out of 130
130 movie reviews
    • 68 Metascore
    • 80 Natalia Keogan
    Though the film can at times feel long-winded—a common predicament when transitioning from shorts to features—it is a heady and hypnotic parable for the irreparable ecological harm humans have committed, while insisting that it’s not too late to connect and reconcile with the land that nurtures us.
    • 41 Metascore
    • 40 Natalia Keogan
    The 70-year-old Neeson lacks both the physical stamina and charisma to pull off the Marlowe character; his fight and action sequences are sluggish and incredulous, and there’s zero chemistry between Marlowe and Clare Cavendish (Diane Kruger), the beautiful blond who hires him to investigate the sudden disappearance of her former lover Nico Peterson.
    • 69 Metascore
    • 79 Natalia Keogan
    While the film’s ending feels a bit abrupt and cheesy, Of an Age boasts phenomenal performances and a salient (if somber) central truth.
    • 40 Metascore
    • 50 Natalia Keogan
    Though it does hint at the toxicity and conspiratorial nature of a powerful institution, it never finds root in overt observations. It handles too many threads—childhood tragedy, murder cover-ups, clandestine spiritual rites—without the dexterity to effectively weave them together.
    • 65 Metascore
    • 77 Natalia Keogan
    The heist-adjacent film presents a mesmerizing vision of New York that relishes in the city’s more intimate details while painting an overarching picture of those who survive by scamming one feckless schmuck after another.
    • 92 Metascore
    • 80 Natalia Keogan
    While 3 Faces explores the social position of women in Iran through oft-whimsical encounters as Panahi drives across northwestern Iran with actress Behnaz Jafari (also playing herself), No Bears feels much more darkly prophetic, seemingly aware of the filmmaker’s encroaching imprisonment.
    • 46 Metascore
    • 50 Natalia Keogan
    Even with intense performances from Anna Gunn (Breaking Bad) and Linus Roache (Law & Order) guiding the action, the film would be far more effective as a taut short than a filled-out feature.
    • 60 Metascore
    • 40 Natalia Keogan
    Despite Fraser donning anywhere between 50 and 300 pounds of prosthetic fat for his role, Charlie lacks a fleshed-out interiority that, unfortunately, reflects Hunter’s original material.
    • 57 Metascore
    • 75 Natalia Keogan
    Andrew Bujalski, the filmmaker behind “mumblecore” touchstone Funny Ha Ha and tender workplace comedy Support the Girls, tackles unexpectedly embittered subject matter alongside unique pandemic challenges with There There.
    • 71 Metascore
    • 62 Natalia Keogan
    Even without the inclusion of Pugh’s character’s prejudiced thoughts, the film oozes a tangible distaste for the very people whose “story” we are following. These small-town Irish folk are depicted as barbaric yokels, prone to inbreeding, dim-witted fanaticism and senseless cruelty. As a whole, The Wonder conjures the abject horror of watching a rodent devour its newborn litter.
    • 66 Metascore
    • 70 Natalia Keogan
    While Lawrence and Henry imbue each scene they share with oscillating doses of humor and melancholy, the final product feels somewhat strained and stunted, particularly in its investigation into the hellish reality of actively trying to heal.
    • 82 Metascore
    • 85 Natalia Keogan
    In depicting the rapid escalation from closeted bigotry to outright hate crime, Soft & Quiet communicates the urgency of identifying and standing up to similarly hateful groups in our own communities, which are never as “secret” as they wish to be.
    • 51 Metascore
    • 61 Natalia Keogan
    While the film contains some impressive scares, a phenomenal lead performance and steadfast central message, Run Sweetheart Run is far too preoccupied with speaking to a cultural reckoning that is truly only occurring in terms of optics and vernacular.
    • 78 Metascore
    • 87 Natalia Keogan
    Through capturing victim testimonies as they were presented in court during this months-long trial as well as the dogged pursuit for justice by a ragtag team of bravely dedicated prosecutors, the film wholly resists sensationalization, opting instead to faithfully reconstruct the events that culminated in a landmark win for social justice amid a shakily budding democracy.
    • 64 Metascore
    • 69 Natalia Keogan
    The final product is visually and sonically luscious, but narratively and thematically lackluster—a frustrated misstep from a veteran artist that still deserves praise in the right places.
    • 72 Metascore
    • 73 Natalia Keogan
    What’s present is so incredibly promising that it’s almost disappointing the film doesn’t wrestle with something bigger than bullying.
    • 57 Metascore
    • 65 Natalia Keogan
    Berk and Olsen take a big swing by overtly hailing far-flung influences—Spielberg, Aster, Kaufman—without overstuffing their film with incessant references. But they don’t quite follow through on their initial ambition, and the movie feels frustratingly restrained.
    • 79 Metascore
    • 83 Natalia Keogan
    Serebrennikov creates a compelling labyrinth of a story, composed of delusions, memories, projections, fantasies and banal real-life occurrences—all seamlessly blending and blurring together with exquisite precision.
    • 74 Metascore
    • 70 Natalia Keogan
    If Catherine Called Birdy falters at any point, it’s during the film’s conclusion.
    • 76 Metascore
    • 70 Natalia Keogan
    What remains so compelling about O’Connor is that she actually used her popularity to challenge powerful institutions well before anyone else was even remotely comfortable with doing so.
    • 50 Metascore
    • 60 Natalia Keogan
    Clerks III is far from a perfect film. Absolutely drenched in masturbatory nostalgia and teeming with timely Marvel references, it milks the last drop of creative potential these nearly 30-year-old characters are capable of providing. Yet, somehow, these marked setbacks don’t completely bog the film down.
    • 82 Metascore
    • 85 Natalia Keogan
    Having grown up in Atotonilco El Alto, Jalisco, across the street from a tequila factory owned by his grandfather, González imbues the film with intimate touches gleaned by a native to the state and its most lucrative industry—blending his sparse yet stirring narrative with the observational eye typical of his previous documentary work.
    • 78 Metascore
    • 81 Natalia Keogan
    The deceptively simple premise of Barbarian, the horror debut from writer/director Zach Cregger, is enough to induce genuine goosebumps. However, Cregger takes a creepy idea and concocts a breakneck tale of unyielding terror, giving audiences whiplash with each unpredictable revelation.
    • 83 Metascore
    • 81 Natalia Keogan
    There is plenty of upsetting evidence concerning humanity’s vile indifference to ecological disaster and genocide in The Territory, but there is just as much hope for the future, even if all we have is a meager fighting chance.
    • 58 Metascore
    • 58 Natalia Keogan
    Ambiguous, open-ended storytelling is by no means a defect in its own right, but Spin Me Round becomes increasingly frustrating in its tendency to introduce narrative tangents without any intention to elaborate or connect them.
    • 60 Metascore
    • 76 Natalia Keogan
    As a piece of revisionist mythmaking, the film employs a staunchly feminist, Aboriginal liberationist lens, one perfectly molded for Purcell’s specific gaze.
    • 67 Metascore
    • 70 Natalia Keogan
    The film acts as a giallo thriller, a modern update to Lizzie Borden’s Born in Flames and the latest entry in Brazil’s anti-Bolsonaro fantasy canon. Yet for all of these fascinating themes and well-executed nods, Medusa still feels narratively slight.
    • 87 Metascore
    • 85 Natalia Keogan
    In exposing the horrifying reality of giving birth while Black—and providing tangible alternatives for increasingly dangerous hospital births—Aftershock might very well save lives. Most importantly, the film immortalizes two mothers whose deaths never should have occurred, giving space for the innumerable victims of this crisis to similarly take action and memorialize those they’ve lost to senseless medical racism.
    • 68 Metascore
    • 59 Natalia Keogan
    Though Cohen has made a formidable name for himself in the visual aesthetics of rock ‘n’ roll, his feature debut is unfocused and emotionally flimsy, no doubt a product of Cohen’s first-film inhibitions.
    • 76 Metascore
    • 69 Natalia Keogan
    While the script co-written by Kusijanovic and Frank Graziano is hardly revelatory, Murina is nonetheless a strong directorial effort from a first-time feature helmer.

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