Nicolas Rapold
Select another critic »For 433 reviews, this critic has graded:
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29% higher than the average critic
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6% same as the average critic
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65% lower than the average critic
On average, this critic grades 8.9 points lower than other critics.
(0-100 point scale)
Nicolas Rapold's Scores
- Movies
- TV
Average review score: | 56 | |
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Highest review score: | Mustang | |
Lowest review score: | Neander-Jin: The Return of the Neanderthal Man |
Score distribution:
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Positive: 141 out of 433
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Mixed: 247 out of 433
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Negative: 45 out of 433
433
movie
reviews
- By Date
- By Critic Score
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- Nicolas Rapold
Dad humor abounds in Family Camp, a vanishingly mild comedy that resembles other films about parents and kids bumbling in the wilderness- The New York Times
- Posted May 20, 2022
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- Nicolas Rapold
Michael John Warren’s film is a sure-handed blend of making-of explainer, theater-kid scrapbook and jukebox documentary, doling out hits from its theatrical run (through clips) and the reunion.- The New York Times
- Posted May 6, 2022
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- Nicolas Rapold
Marceau beams with unshakable good vibes, like a lion in the sun, though that makes her woes feel not so woeful. But Azuelos’s film does glimpse moments that feel true to the sometimes strange complexity of emotions.- The New York Times
- Posted Apr 28, 2022
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- Nicolas Rapold
Stu’s travails feed into his salty homilies about getting closer to God, delivered with Wahlberg’s usual bluffness. That doesn’t automatically translate into a religious experience, and watching the movie can feel like a two-hour hearty handshake.- The New York Times
- Posted Apr 13, 2022
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- Nicolas Rapold
There’s a slight wonky interest in seeing the grind of recording sessions and fan service. But the film feels promotional enough that it won’t lean into the potential humor of their situation.- The New York Times
- Posted Apr 7, 2022
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- Nicolas Rapold
Rajamouli shoots the film’s action with hallucinogenic fervor, supercharging scenes with a shimmering brand of extended slow-motion and C.G.I. that feels less “generated” than unleashed.- The New York Times
- Posted Apr 6, 2022
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- Nicolas Rapold
The film’s rejiggered timeline is a little hard to follow, but the climax swings for the fences and shows an unashamed verve for tale-telling that warms the cockles.- The New York Times
- Posted Mar 31, 2022
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- Nicolas Rapold
The 74-minute film leaps among time frames without much warning. Occasionally, the screen erupts into crackling black-and-white images drawn directly from Bartolí’s work — as if torn from the very pages of his sketchbooks.- The New York Times
- Posted Mar 15, 2022
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- Nicolas Rapold
The title of this perfectly well-appointed production is apt: Big Gold Brick looks all right but it truly just sits there.- The New York Times
- Posted Feb 24, 2022
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- Nicolas Rapold
The perspective — while producing something eminently watchable — may strike some viewers as old-fashioned and incomplete.- The New York Times
- Posted Feb 15, 2022
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- Nicolas Rapold
Clinging to Hannah’s naïve viewpoint and the cherished ideal of her friendship with Anne results in some hard truths being hidden away or oddly sanitized.- The New York Times
- Posted Feb 10, 2022
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- Nicolas Rapold
Death on the Nile, Kenneth Branagh’s second adaptation of Agatha Christie’s Hercule Poirot stories, forgets the simple pleasures of ensemble excess and pure messing about.- The New York Times
- Posted Feb 10, 2022
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- Nicolas Rapold
The gently efficient story feels like an attempt to illustrate Bhutan’s real-life “Gross National Happiness” initiative.- The New York Times
- Posted Jan 20, 2022
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- Nicolas Rapold
Despite some flourishes (such as a mirror-like crystal cave), “Transformania” feels locked into the routine rhythms of its plotting and makes one-note jokes out of its human incarnations.- The New York Times
- Posted Jan 13, 2022
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- Nicolas Rapold
Any mind-bending conceit or special effect pales before Ali’s incredibly fine-tuned talents.- The New York Times
- Posted Dec 16, 2021
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- Nicolas Rapold
The tell-all promise of the film’s title dwindles away into predictable perspectives from members of his family. But this introduction to Chaplin shines whenever he performs, displaying his comic genius for doing everything wrong to absolute perfection.- The New York Times
- Posted Dec 10, 2021
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- Nicolas Rapold
The movie, directed by Swinton O. Scott III, plays like an extended series pilot, built out of largely interchangeable episodes.- The New York Times
- Posted Dec 3, 2021
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- Nicolas Rapold
The director, Eva Orner (“Chasing Asylum”), makes her contribution to documentaries on climate change by sticking to Australia and underlining the visceral impact on Australians. It’s hellish: red skies and dark days, fear and helplessness, pregnancy complications and death.- The New York Times
- Posted Nov 30, 2021
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- Nicolas Rapold
Out of the fractured family documentary, what emerges finally is a drama of self-realization.- The New York Times
- Posted Nov 18, 2021
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- Nicolas Rapold
Perhaps no one documentary can do justice to Parks. But “Choice of Weapons” ends up streamlining his complexity, and its wind-down looks past his other audiovisual output.- The New York Times
- Posted Nov 16, 2021
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- Nicolas Rapold
The landscape can go only so far in expressing Toichi’s mind-set, and the movie turns hokey when it dramatizes Toichi’s inner thoughts.- The New York Times
- Posted Nov 13, 2021
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- Nicolas Rapold
Some of the material feels fairly standard, as they share misfit upbringings and showbiz gossip, but each veteran comedian lends an unpredictable element through self-deprecating candor.- The New York Times
- Posted Oct 28, 2021
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- Nicolas Rapold
Lllosa’s sensually shot film takes the story of a mother facing strange danger and casts a spell that feels like being dropped into the character’s mind.- The New York Times
- Posted Oct 14, 2021
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- Nicolas Rapold
The film does strike one long, nerve-jangling note, but the style leaves Molly with nowhere to run.- The New York Times
- Posted Oct 7, 2021
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- Nicolas Rapold
The film’s enduring hook is the spectacle of a self-proclaimed revolutionary government that can’t abide the rebellion of rock without bureaucratic oversight.- The New York Times
- Posted Sep 16, 2021
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- Nicolas Rapold
While pragmatic in bent, the documentary repeatedly underlines the toxic manner in which this country treats many who have sacrificed body and mind in service to others.- The New York Times
- Posted Sep 9, 2021
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- Nicolas Rapold
Hope is not a policy, as the saying goes, so Bridge gamely tries to provide both, fleshing out ideals with examples.- The New York Times
- Posted Sep 3, 2021
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- Nicolas Rapold
Unifying this elliptical canvas is the sense of a contemplative search, which can also mean an escape from an altered homeland, perhaps to dull what feels lost.- The New York Times
- Posted Sep 2, 2021
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- Nicolas Rapold
Despite some nifty freak-outs, the movie’s buildup can lack a certain snap.- The New York Times
- Posted Sep 2, 2021
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- Nicolas Rapold
As someone who grew up going to some of the theaters Rugoff once ran — which included Cinema I and II and the Beekman, among others — I got the warm-and-fuzzies from seeing the love here for moviegoing and exhibition, which he goosed with gonzo showmanship.- The New York Times
- Posted Aug 12, 2021
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