For 26 reviews, this critic has graded:
  • 30% higher than the average critic
  • 3% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 9.2 points lower than other critics. (0-100 point scale)

Pat Graham's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 90 Project X
Lowest review score: 25 Jaws: The Revenge
Score distribution:
  1. Positive: 9 out of 26
  2. Negative: 5 out of 26
26 movie reviews
    • 52 Metascore
    • 50 Pat Graham
    On the whole there's not a lot of flesh on these cynically haphazard bones.
    • 39 Metascore
    • 70 Pat Graham
    A second helping of horror tales inspired by an old 50s comic-book series. Original Creepshow director George Romero contributes the screenplay this time, basing it on some tastefully selected Stephen King morsels.
    • 74 Metascore
    • 30 Pat Graham
    It's grave, lumbering, arrhythmic, and bloated, an emotional hogwallow of catchpenny insights and easy sentimentality...In short, a real bagful.
    • 66 Metascore
    • 80 Pat Graham
    The plot is standard fantasy-adventure pulp, though director Joe Dante (Gremlins, Explorers) has so many screwball things going on in it that the comedy all but overwhelms the formulaic line of action.
    • 60 Metascore
    • 50 Pat Graham
    Timothy Dalton stars as the 1987 model James Bond in this 15th entry in the series, with the usual assortment of dope smugglers, KGB operatives, and criminal psychos providing a few anxious moments at the welcoming party. Expect the expected.
    • 79 Metascore
    • 30 Pat Graham
    Dismal SF deep think that gave birth to an equally dismal string of sequels and TV spin-offs.
    • 28 Metascore
    • 25 Pat Graham
    Huyck's direction is resolutely uninvolved—every shot of every arrhythmically paced scene cries out for instant anonymity—and only Jeffrey Jones's sardonic scenery chewing as an archetypally deranged scientist keeps things marginally watchable. Lea Thompson is completely out of her element as Howard's sexpot girlfriend (though graduated, thankfully, from the treacly virginality of SpaceCamp), and as for the guy(s) in the duck suit . . . well, he/they deserve our condolences and prayers.
    • 74 Metascore
    • 70 Pat Graham
    It's a pleasant enough diversion, in an amateurishly personal sort of way, though Townsend's frequent recycling of actors (for reasons of budget rather than laughs) makes for some odd Pirandellian confusions.
    • 73 Metascore
    • 60 Pat Graham
    It's not easy keeping track of all the contradictory tensions, and the film seems forever on the verge of spinning totally out of control, though whose control—Hunter's? Elmes's? anyone's?—it's hard to say. Still, it's more a success than a failure, if only because the confusions are so protean.
    • 15 Metascore
    • 25 Pat Graham
    Angry fish travels to the Bahamas for the Christmas holidays, plotting revenge against the family of a vacationing New England widow (Lorraine Gary). Noel, noel, a charming gift idea with suggestions of inverted seasonal myth—until director Joseph Sargent swamps it all in antimythical literalism and predictable lunchtime theater.
    • 75 Metascore
    • 50 Pat Graham
    Some scuzzily noirish moments, thanks to Robby Müller's slick black-and-white cinematography, but once the deadbeat trio get thrown into their cell, the film comes to a virtual halt: it's minimalism reinforcing minimalism, with none of the subtle counterpoint between movement and stasis, environmental opening out and psychological shrinking in, that gave Stranger its small energetic charge.
    • 62 Metascore
    • 75 Pat Graham
    The film slips occasionally into 80s action-itis and can't resist a few conventional friendship lessons, but most of the time it's fresh, funny, and surprising.
    • 28 Metascore
    • 30 Pat Graham
    Director Joe Roth (Streets of Gold) seems content with recycling the negative charms of the '84 original and hoping that nobody will notice or care. Roth's no stranger to coarse enthusiasms (he produced the amiably crass Bachelor Party, as energetic as it was inept), but this one's on automatic pilot all the way.
    • 53 Metascore
    • 50 Pat Graham
    Director Joe Camp, the inspirational hand behind the Benji series, shows some remarkable logistic skills in setting up his scenes, and the wilderness photography is never less than impressive, but there ought to be more to harmless entertainment than following wagging tails across the screen. Some formidable displays of technique here, but the treacly anthropomorphism makes it all seem trivial and wasted.
    • 76 Metascore
    • 70 Pat Graham
    A few too many moralistic foreshadowings, but most of the time Cox's situations and characters develop on their own eloquently entropic terms.
    • 53 Metascore
    • 40 Pat Graham
    The whole film seems ideologically forced and out of place, an attempt to resurrect the retentive virtues of Ford and Hawks without the cultural context that gave them expressive strength.
    • 73 Metascore
    • 50 Pat Graham
    As the silver-tongued romantic with the impossible nose load, Martin affects a sincerity that reminds you of Danny Kaye—funny enough, i guess, but I like the smarmy original a good deal more.
    • 64 Metascore
    • 70 Pat Graham
    At times a bit too precious, especially inside the young navigator's spacecraft, but the warm regard for character, as well as for our often-inhospitable planetary home, makes for a reasonably good time.
    • 68 Metascore
    • 80 Pat Graham
    The snickering humor that percolated through the Coens' debut, Blood Simple, is the whole show here, and it's damn near hysterical.
    • 62 Metascore
    • 50 Pat Graham
    Made-for-TV eyewash for disheartened Bears fans to drown their sorrows in.
    • 55 Metascore
    • 40 Pat Graham
    Bolt's moralizing ironies (as leaden here as in A Man for All Seasons and assorted David Lean scenarios) are enough to sink a thousand war canoes, and Joffe doesn't help things along with his patronizing vision of native innocence: the Indians only exist to be sentimentalized—as angels, victims, and amiable rehab projects for enterprising Christians.
    • 80 Metascore
    • 50 Pat Graham
    I suppose the constant repetition is necessary (Matlin's character only communicates through sign language), but it points up the film/play's willingness to sacrifice situational truth for didactic accessibility.
    • 61 Metascore
    • 90 Pat Graham
    Plenty of strikes against this--moronic story line, obligatory animal mugging, more "awwwww" opportunities than any film since 3 Men and a Cradle--but it's still one of the most accomplished pulp fantasies in a while...When everything finally comes together, it works wonderfully well.
    • 51 Metascore
    • 80 Pat Graham
    The character interactions are strong, especially for this depleted genre, and Hill's tight, efficient styling recovers a lot of lost formal ground: his framing and crosscutting are as sharp as ever, and the bloodbath finale is, improbably, a model of intelligent restraint, the classicist's answer to Peckinpah baroque.
    • 51 Metascore
    • 40 Pat Graham
    Gene Kelly directed, a long way from Terpsichore apparently, though not, alas, from the Thanksgiving turkey.
    • 58 Metascore
    • 60 Pat Graham
    Nobody knows how to speak, but they sure know how to apply makeup. [17 June 2010, p.63]
    • Chicago Reader

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