For 173 reviews, this critic has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 16.6 points lower than other critics. (0-100 point scale)

Paul Malcolm's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 X
Lowest review score: 0 Black Knight
Score distribution:
  1. Positive: 50 out of 173
  2. Negative: 53 out of 173
173 movie reviews
    • 91 Metascore
    • 90 Paul Malcolm
    The film's real power to move flows from its low, childlike angles, which, rather than infantalize its audience, bring it down to where the hurt and fear, and hence the comfort, loom larger. [2002 re-release]
    • 38 Metascore
    • 40 Paul Malcolm
    If you can't count on a British con movie to deliver at least a few moments of entertaining color, well, then what can you count on? Director Richard Janes' slight and wobbly Fakers comes close to shattering one's faith in a just and orderly universe.
    • 45 Metascore
    • 30 Paul Malcolm
    The editing looks like it was done in a blender, and the images of death and grief are so genre-primal that the Pangs hardly bother with dialogue.
    • 31 Metascore
    • 10 Paul Malcolm
    The film stinks from start to finish, like a wet burlap sack of gloom.
    • tbd Metascore
    • 50 Paul Malcolm
    Jalil penetrates a carnivalesque subculture of self-reinvention and obsession, emotional need and materialist greed, with a camera that is, by turns, cruel, kind and incisive.
    • tbd Metascore
    • 50 Paul Malcolm
    Director Olli Saarela, who co-wrote the script with Antti Tuuri, offers up a trembling romanticism that gradually hardens -- like Eero's consciousness -- with exposure to the horrors of war.
    • 61 Metascore
    • 70 Paul Malcolm
    Storaro's gorgeous cinematography imbues every frame with an enthralling subjectivity.
    • 33 Metascore
    • 50 Paul Malcolm
    Ultimately, Jolie's efforts to establish a character are dashed against the film's increasingly inane dialogue.
    • 60 Metascore
    • 80 Paul Malcolm
    Extraordinarily witty (nothing new for this director) while coming off as a taunt to anyone who'd dare to follow in his wake.
    • 80 Metascore
    • 80 Paul Malcolm
    Writer-director Fabián Bielinsky's devilish Nine Queens serves as further evidence that Argentina's film industry is at the forefront of a resurgent Latin American cinema.
    • 59 Metascore
    • 70 Paul Malcolm
    A rosy, hearthside fantasy of acceptance that's so assured in its writing and direction, it's nearly impossible not to believe.
    • 47 Metascore
    • 50 Paul Malcolm
    Shooting Fish wants to hang with the hip crowd--witness the vibrant colors, the flashy camera work and the stream of catchy pop songs--but its heart just isn't wild enough.
    • 34 Metascore
    • 30 Paul Malcolm
    Lamely engineered and thoroughly exploited tragedy.
    • 58 Metascore
    • 70 Paul Malcolm
    A deft exercise in atmospheric horror and insanity. Which is why it's unfortunate that, ultimately, Anderson steps back from the brink.
    • 68 Metascore
    • 50 Paul Malcolm
    Far too complex and provoking.
    • 74 Metascore
    • 50 Paul Malcolm
    A half-baked classic.
    • 19 Metascore
    • 20 Paul Malcolm
    If you're above the target age of 5, Thomas may coax you into a naplike stupor.
    • 69 Metascore
    • 70 Paul Malcolm
    How Miike gets us from amiable point A to debilitating point B is a remarkable act of manipulation and control that may leave you feeling sucker-punched, even brutalized, but you won't forget the experience anytime soon.
    • 52 Metascore
    • 40 Paul Malcolm
    In the end, Macartney and screenwriter Stuart Hepburn decide that love conquers all, which may have been the way it happened but doesn't leave the film with much going on.
    • 48 Metascore
    • 50 Paul Malcolm
    xXx
    The film gives good action (amid more tired spy business) but comes riddled with contradictions.
    • 49 Metascore
    • 40 Paul Malcolm
    None of it rings true, and it distracts from the film's real heart, which, on its own, would have made for a strikingly original first film.
    • 71 Metascore
    • 70 Paul Malcolm
    Malkovich and Dafoe play off each other with a devilish hamminess.
    • 25 Metascore
    • 10 Paul Malcolm
    Mechanical revenge fantasy that skirts every serious issue it raises along a slick, cynical trajectory.
    • 52 Metascore
    • 60 Paul Malcolm
    What feels genuine in the film -- mother-son bonds, the wedding party -- is surrounded by overdetermined and formulaic scenes lifted from other films.
    • 40 Metascore
    • 40 Paul Malcolm
    A movie with a lot on its plate, but nothing interesting on its mind.
    • 71 Metascore
    • 40 Paul Malcolm
    A tedious exercise in ethical hand wringing.
    • tbd Metascore
    • 10 Paul Malcolm
    It's a nice try, but the film remains a pinhead's idea of softcore fetish material.
    • 70 Metascore
    • 70 Paul Malcolm
    The film's plainness, and the understated force of van der Groen and Petersen's performances, sharpen its complexity of feeling until all mawkishness is cut away.
    • 84 Metascore
    • 80 Paul Malcolm
    A remarkably moving and disturbing film about the possibility of belonging and the genealogy of violence.
    • 47 Metascore
    • 50 Paul Malcolm
    While the film throws a solid pop punch, you could still swear you've seen it all before.

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