Oleg Ivanov

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Slant Magazine
For 53 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Oleg Ivanov's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 88 Anthropoid
Lowest review score: 12 I Am Not a Serial Killer
Score distribution:
  1. Positive: 31 out of 53
  2. Mixed: 9 out of 53
  3. Negative: 13 out of 53
53 movie reviews
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    • 67 Metascore
    • 88 Oleg Ivanov
    Framing John DeLorean
    John DeLorean has a biography that could have been reverse engineered from a Hollywood epic about the rise and fall of an auto-industry mogul.
    • 57 Metascore
    • 38 Oleg Ivanov
    Dreamland
    Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
    • 49 Metascore
    • 50 Oleg Ivanov
    Georgetown
    It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.
    • 48 Metascore
    • 25 Oleg Ivanov
    Mary Magdalene
    As the plot mechanically moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life feels completely beside the point.
    • tbd Metascore
    • 38 Oleg Ivanov
    Wall
    So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
    • 58 Metascore
    • 50 Oleg Ivanov
    The Seagull
    The film is content to present Anton Chekhov's ideas rather than grapple with their provocative and complex subtexts.
    • 72 Metascore
    • 75 Oleg Ivanov
    Big Fish & Begonia
    In the sly exchanges between the teenage protagonists and their elders, the film reflects a nation's shifting tides.
    • 70 Metascore
    • 50 Oleg Ivanov
    Final Portrait
    As seen through James Lord’s eyes, the dramas and passions on display throughout the film come off as melodramas and grotesqueries.
    • 41 Metascore
    • 63 Oleg Ivanov
    The Forgiven
    Roland Joffé's film is largely successful in its attempt to grapple with the terrible truths of apartheid and its legacy.
    • 52 Metascore
    • 50 Oleg Ivanov
    Submission
    This tentative questioning of the sometimes unscrupulous methods and deleterious consequences of political correctness is further undermined by Ted's insipid character and general indifference to his fate.
    • 73 Metascore
    • 75 Oleg Ivanov
    The Party
    It captures the qualities of live theater that are rarely transmitted to film, of being immediate, alive, and spontaneous, as if the viewer is just a stone's throw away from the characters.
    • 56 Metascore
    • 50 Oleg Ivanov
    West of the Jordan River
    Amos Gitai regularly takes incidents and anecdotes out of context, making it difficult for viewers who lack intimate knowledge of the Palestinian-Israeli conflict to follow the proceedings.
    • 58 Metascore
    • 38 Oleg Ivanov
    Beuys
    The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
    • 58 Metascore
    • 38 Oleg Ivanov
    Roman J. Israel, Esq.
    Throughout the film, a promising character study is smothered beneath lazy genre machinations.
    • 54 Metascore
    • 50 Oleg Ivanov
    LBJ
    By pairing down Lyndon Baines Johnson’s multifarious life and career to this one piece of legislation, the film fails to do justice to both the man and the fraught times he so fundamentally influenced.
    • 34 Metascore
    • 50 Oleg Ivanov
    Bitter Harvest
    The film is an awkward mix of swashbuckling love story and polemic, painted in very broad strokes.
    • 62 Metascore
    • 38 Oleg Ivanov
    The Daughter
    It too often strains for a tragic gravity that its ultimately melodramatic characters never earn.
    • 50 Metascore
    • 63 Oleg Ivanov
    A Kind of Murder
    The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.
    • 62 Metascore
    • 75 Oleg Ivanov
    On the Map
    It captures how sports can bring wholly disparate people together to accomplish feats that change the destiny of nations.
    • 38 Metascore
    • 75 Oleg Ivanov
    Bad Santa 2
    Both a potent rendering of and cure for the holiday blues, Bad Santa 2 shows that even the most hopeless situations can be remedied and that just about anyone is capable of redemption
    • 72 Metascore
    • 75 Oleg Ivanov
    The Eagle Huntress
    Aisholpan’s liberation is a harbinger of the growing pressure that the outside world exerts on a once isolated community.
    • 74 Metascore
    • 38 Oleg Ivanov
    Little Sister
    The film's attempt at political insight and portrayal of social malaise are meant to give it the illusion of depth.
    • tbd Metascore
    • 50 Oleg Ivanov
    Homeland: Iraq Year Zero
    Throughout his nearly six-hour documentary, Abbas Fahdel is content with showing only the outer surface of people's lives.
    • 63 Metascore
    • 75 Oleg Ivanov
    Denial
    Denial shows that people’s misfortunes need not preclude them from living virtuous lives founded on basic human decency.
    • 82 Metascore
    • 88 Oleg Ivanov
    Neruda
    Pablo Larraín has captured Pablo Neruda in all of his pomposity, pretense, courage, and undeniable genius.
    • 65 Metascore
    • 75 Oleg Ivanov
    Dancer
    It refuses to pass judgment on whether or not Sergei Polunin's success was worth so much sacrifice and heartache.
    • 58 Metascore
    • 50 Oleg Ivanov
    Snowden
    The film depicts Edward Snowden's ethical dilemmas in a political vacuum that disregards America's increasingly complex security threats.
    • 73 Metascore
    • 75 Oleg Ivanov
    Transpecos
    Violence in Transpecos is sparse, but the filmmakers use it with a narrative precision that highlights the unforgiving consequences that accompanies every choice in this desolate borderland.
    • 54 Metascore
    • 12 Oleg Ivanov
    I Am Not a Serial Killer
    The film comes unsettlingly close to being an apologia for the kind of violence that stems from adolescent disaffection.
    • 55 Metascore
    • 75 Oleg Ivanov
    A Tale of Love and Darkness
    The film mostly succeeds in capturing the nuances of an event that continues to arouse passionate debate to this day.
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