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 14.1 points lower than other critics. (0-100 point scale)

Paul Attanasio's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Peggy Sue Got Married
Lowest review score: 0 Silver Bullet
Score distribution:
  1. Positive: 25 out of 113
  2. Negative: 32 out of 113
113 movie reviews
    • 55 Metascore
    • 50 Paul Attanasio
    Light of Day is crippled by its confused intentions, a crazy quilt of the good, the bad and the ugly.
    • 58 Metascore
    • 30 Paul Attanasio
    The kids are uniformly godawful, particularly the lamentably named Phoenix; their wooden line readings play in long, flat scenes that look like some 12-year-olds' school project. And talking about the movie's sense of pace is like talking about Pikes Peak's sense of pace. Explorers is a veritable jungle of thematic and story threads that are never picked up. [12 July 1985, p.D6]
    • Washington Post
    • 81 Metascore
    • 50 Paul Attanasio
    Mishima tries to make sense of both its subject's life and his work, and ends up illuminating neither.
    • 49 Metascore
    • 25 Paul Attanasio
    There are movies that make you want to mince words, and then there's Poltergeist II: The Other Side, a movie so ineffably bad, you can't even find the words to mince. [23 May 1986, p.D2]
    • Washington Post
    • 33 Metascore
    • 30 Paul Attanasio
    Chong breathes some occasional life into Soul Man, as does Arye Gross, who displays a rich variety of comic attitudes as Mark's roommate. What surrounds them, though, is a black comedy with so little gumption, it ends up a vague shade of gray, composed of a collection of cheap jokes excused by smug platitudes about race -- in short, a movie called Soul Man whose soul, it seems, is quite lost.
    • 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.
    • 55 Metascore
    • 50 Paul Attanasio
    Karate Kid II doesn't give us any emotional movement in Daniel's character, or Miyagi's, or their relationship, either -- it just recapitulates them. The only character who changes in the story, in fact, is Sato, whom you couldn't care a fried fig about.
    • 30 Metascore
    • 40 Paul Attanasio
    When he crushes a patrolman's head between his hands, you think you're watching a happy campesino lusty for coconut milk; when he skewers a depraved camp counselor with a knife in the temple, he is the happy barbecuer on a sunny Sunday afternoon. "Soup's on!" he might have cried. Then he tears a girl's head clean off. Well, the head probably wasn't doing her much good anyway. [6 Aug 1986, p.D10]
    • Washington Post
    • 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
    • 30 Paul Attanasio
    In Mad Max: Beyond Thunderdome, a great deal of engine noise and clanking iron is drowned out by the audience's resounding ho-hum. It's comic books in a Cuisinart, all costumes and cute monikers and no story, a sort of case history of just what's wrong with sequelitis. [10 July 1985]
    • 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.
    • 29 Metascore
    • 30 Paul Attanasio
    The movie is one of those can't-miss projects that, uh, misses...Altogether, this is about the most listlessly paced thriller you could imagine: Ashby's penchant for letting his actors improvise just results in endless dithering; and the image is weirdly flat -- the movie's shot almost entirely in profile. Actually, there aren't just 8 million ways to die -- now we know there are 8 million and 1. [25 Apr 1986, p.D2]
    • Washington Post
    • 29 Metascore
    • 20 Paul Attanasio
    Here is a Neil Simon movie with all of his banality, but none of his humor -- a sort of "The Nod Couple." [30 March 1985, p.G3]
    • Washington Post
    • 60 Metascore
    • 30 Paul Attanasio
    From the opening shot, an endless, unmotivated dolly move up a corridor that conveys no information, establishes neither theme nor setting and serves no other purpose, you know that you are in the presence of true film ineptitude, which only deepens as The Decline of the American Empire continues.
    • 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.
    • 42 Metascore
    • 50 Paul Attanasio
    The movie, in short, rides on a revenge plot and a beauty-and-the-beast subplot, and there's some nice photography and production design; screen writer L.M. Kit Carson lends some Texas texture and funny lines. But mostly, Texas Chainsaw Massacre 2 is straight blood and guts. [23 Aug 1986, p.D11]
    • Washington Post
    • 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
    • 67 Metascore
    • 37 Paul Attanasio
    True Stories is united not by narrative, but by Byrne's sensibility, and this is where it descends from being a boring piece of whimsy into something reprehensible.
    • 74 Metascore
    • 50 Paul Attanasio
    Without a story or, for that matter, any theme but a kind of aimless nostalgia, you peel and peel away at it only to find, in the end, nothing.
    • 31 Metascore
    • 40 Paul Attanasio
    Silent Night, Deadly Night takes off from the notion that Santa Claus is an ax murderer, but it never quite lives up to the delicious perversity of its premise. An idea this shocking has to be earned; instead, director Charles Sellier Jr. ("The Boogens") gives us another casually constructed splatter flick that has more to do with morbid arithmetic (the body count continues!) than movies.
    • 55 Metascore
    • 60 Paul Attanasio
    It's the usual dumb stuff -- he strives, he fails, he falls in love, he strives some more, he wins. You need strong hands and a heavy set of nutcrackers to break this tedious shell, but inside there are some surprisingly sharp insights into male teen-age psychology and a marvelous performance by Matthew Modine.
    • 53 Metascore
    • 50 Paul Attanasio
    Mischiefin other words, is echt teen sex comedy, hitting its marks in the way a skilled carpenter drives home his millionth nail. Even the deviations from the formula, like the movie's sweet, naive tone, are only predictable extensions of the formula.
    • 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.
    • 49 Metascore
    • 40 Paul Attanasio
    The movie is full of half-witted Hollywood satire (the Devil's an agent -- get it?), lame wordplay, and easy moralism about family being more important than career blah blah blah. [09 Nov 1984, p.F8]
    • Washington Post
    • 37 Metascore
    • 30 Paul Attanasio
    Golan and Bruner, in other words, have made the Holocaust into just another tear-jerking tool for the Cannon Productions shlockenspiel. This is called "chutzpah." The unoffended will find that the movie doesn't even deliver on its own sordid level. There isn't any action till 70 minutes into the film.

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