Paul Attanasio

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For 113 reviews, this critic has graded:
  • 30% higher than the average critic
  • 0% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 14 points lower than other critics. (0-100 point scale)

Paul Attanasio's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Aliens
Lowest review score: 0 Silver Bullet
Score distribution:
  1. Positive: 25 out of 113
  2. Negative: 32 out of 113
113 movie reviews
    • 77 Metascore
    • 90 Paul Attanasio
    From the first frames of The Color of Money, you feel, almost physically, the presence of a man singularly obsessed with the romance of movies. In this movie, Martin Scorsese enters a new period in an already extraordinary career. It would be hard to exaggerate the complex pleasure and wonderment that The Color of Money conveys.
    • 75 Metascore
    • 90 Paul Attanasio
    As directed by Rob Reiner, Stand by Me has a quality of seriousness, and of relaxation, that you hardly ever see in movies made about kids. It's at its best when its characters are just hanging out, razzing each other, feeling the summertime -- when it's like "Diner" for 12-year-olds. [22 Aug 1986, p.D1]
    • Washington Post
    • 70 Metascore
    • 70 Paul Attanasio
    This jokey horror movie, adapted in part from King's short stories, is composed of three brief tales, the perfect form for him. Instead of having to create characters and a story, King simply has to come up with a gimmick and a punch line -- and on to the next.
    • 74 Metascore
    • 100 Paul Attanasio
    Not since the heyday of Frank Capra, perhaps, has there been a movie that so seamlessly combines screwball comedy with get-out-your-handkerchiefs heart. Peggy Sue Got Married isn't about solving life's problems, it's about accepting them, in a world where love doesn't conquer all, but conquers enough. And in the hands of director Francis Coppola, that message makes what could have been merely a delightful lark about time travel into something much more.
    • 49 Metascore
    • 100 Paul Attanasio
    Heartburn is a masterpiece, a collaboration of mature artists at the peak of their craft, and something of a summing up for Mike Nichols, who, more successfully than any other American director, has staked out the terrain where men and women meet as his own. Here it is -- a movie that is seriously funny.
    • 79 Metascore
    • 80 Paul Attanasio
    She's Gotta Have It is Spike Lee's impressive first feature, discursive, jazzy, vibrant with sex and funny as heck. [22 Aug 1986, p.D1]
    • Washington Post
    • 69 Metascore
    • 80 Paul Attanasio
    A lewd, gory, twisty-turny murder mystery swirling around Hollywood's porn industry, Body Double finds Brian De Palma at the zenith of his cinematic virtuosity. The movie has been carefully calculated to offend almost everyone -- and probably will. But, like Hitchcock, De Palma makes the audience's reaction his real subject; Body Double is about the dark longings deep inside us.
    • 68 Metascore
    • 90 Paul Attanasio
    In the way it deemphasizes its script and consciously undercuts its star, Cotton Club adventurously questions the formulas of Hollywood; its success in doing so without a hint of boredom or pretension augurs a whole new way of making movies. It's the most entertaining art film of the year, the kind of movie you can't help smiling along with.
    • 75 Metascore
    • 70 Paul Attanasio
    Lucas is about as likable as this kind of movie ever gets.At the heart of Lucas is an interesting idea -- a Woody Allen movie for kids, with a bespectacled, nerdy hero -- that never gets developed. Still, director David Seltzer has kept it low-key, sweet and personal -- it's like a nice "Afterschool Special."
    • 42 Metascore
    • 70 Paul Attanasio
    Director Jeannot Szwarc could have done more with the action scenes, but he has a snappy sense of pace and comic timing. Blond, blue-eyed Slater brings an engaging sweetness to Supergirl; and she plays Linda with an awkward, gawky girlishness, subtly different from her Supergirl role.
    • 45 Metascore
    • 63 Paul Attanasio
    The Legend of Billie Jean is trashily manipulative and utterly preposterous, so much so that, until the end (when it begins to sour on you), it's a thoroughly enjoyable hoot. Add a splendid cast and good air conditioning, and it's a perfectly mindless way to spend a muggy summer evening.
    • 71 Metascore
    • 80 Paul Attanasio
    Fabulously acted and written with zing and zong, it's one of the few enjoyable movies of the summer.
    • 59 Metascore
    • 70 Paul Attanasio
    Technically brilliant though short on narrative, The Black Cauldron is a painless, old-fashioned way to take out the kids, and a triumph for the animation department at the Disney studio, where it has been in development for almost a dozen years.
    • 84 Metascore
    • 100 Paul Attanasio
    Aliens is a wow, a sci-fi war movie that gets you in its grip very early, and never lets go. In its "fasten your seat belt" storytelling, it invites comparisons to "Raiders of the Lost Ark," but Aliens, the work of writer-director James Cameron and his wife, producer Gale Anne Hurd, goes beyond such films in the darkness of its reality and the depth of its emotion. It doesn't get any better than this. [18 July 1986, p.D1]
    • Washington Post
    • 75 Metascore
    • 100 Paul Attanasio
    A gory and gorgeous cop thriller -- you'll forgive it almost anything, so full is your eye with the beauties of its design and photography, and your ear with its supercool electronic music. For all its faults, it's one of the most sensually thrilling movies of the year.
    • 84 Metascore
    • 75 Paul Attanasio
    A slickly made, shoot-'em-up sci-fi fantasia, it stands for the proposition that, inside the most staid local theater, there is a drive-in yearning to be free. [29 Oct 1984, p.B4]
    • Washington Post
    • 71 Metascore
    • 88 Paul Attanasio
    Here's a science fiction movie where the special effects are in the background. And the effect is, well, rather special.
    • 54 Metascore
    • 88 Paul Attanasio
    Little Drummer Girl is the most trenchant, chilling vision of the psychological fallout of spying since Francis Ford Coppola's The Conversation.
    • 76 Metascore
    • 90 Paul Attanasio
    For such a low-budget movie, Nightmare on Elm Street is extraordinarily polished. The script is consistently witty, the camera work (by cinematographer Jacques Haitkin) crisp and expressive.
    • 58 Metascore
    • 75 Paul Attanasio
    A playful, artfully made horror movie that shows there's life in Norman Bates yet, and death, too. [04 July 1986, p.C1]
    • Washington Post
    • 73 Metascore
    • 75 Paul Attanasio
    A delightful and frequently funny cartoon feature based on the characters of the Sherlock Holmes series. [07 July 1986, p.B8]
    • Washington Post
    • 65 Metascore
    • 90 Paul Attanasio
    Thrumming with the electric rapport between Jessica Lange and Ed Harris (and screen writer Robert Getchell's sparky dialogue), the movie's darn near irresistible.
    • 73 Metascore
    • 90 Paul Attanasio
    Re-Animator is splatter heaven. Based on the sci-fi novel by H.P. Lovecraft, Re-Animator's gore is exceeded only by its wit. Not since the heyday of Roger Corman, perhaps, have filmmakers had so much fun with an exploitation movie.
    • 80 Metascore
    • 90 Paul Attanasio
    To appreciate Children of a Lesser God, you only have to imagine how it could have patronized the deaf by celebrating their pluck, or become a heartwarming tale of little people who solve their big problems. That's exactly what it isn't, and that's quite an achievement.
    • 76 Metascore
    • 90 Paul Attanasio
    The Killing Fields is the best movie about journalism since "All the President's Men," re-creating with an understated ease the atmosphere of the poolside bonhomie of the correspondents, the mechanics of getting and filing a story, and the moral quandaries of a reporter's professional detachment.

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