Roxana Hadadi

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For 100 reviews, this critic has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Roxana Hadadi's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Attica
Lowest review score: 10 Ghostbusters: Afterlife
Score distribution:
  1. Positive: 78 out of 100
  2. Negative: 3 out of 100
100 movie reviews
    • 91 Metascore
    • 90 Roxana Hadadi
    There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.
    • 83 Metascore
    • 80 Roxana Hadadi
    When Kurzel does penetrate the unkempt veil of Jones’s hair and closes in on his face, it’s to capture how the actor sprints from one emotion to another, alluding to the impetuousness and spontaneity at play within Nitram.
    • 52 Metascore
    • 75 Roxana Hadadi
    These characters move in a world that is stunningly visualized but superficially conceived, and The Colony embodies a genre that seems — perhaps like humanity itself — unable to take a step forward in imagining a different future.
    • 91 Metascore
    • 70 Roxana Hadadi
    The quiet poignancy of the film’s previous vignettes are almost overshadowed by the goofiness of Weerasethakul’s final explanation. And though that doesn’t ruin the film, it doesn’t quite match Memoria’s other layers of curiosity and complexity, either.
    • 52 Metascore
    • 80 Roxana Hadadi
    Practically everything about Wolf truly relies on MacKay, who has to be convincing enough in his at-odds identity to simultaneously draw viewers’ empathy and promote their unease. And he is, for every minute of this film’s 98-minute run time.
    • 75 Metascore
    • 83 Roxana Hadadi
    Gibney’s challenging interview style, the uncompromising tone of his questions, and the way he undercuts Mitchell’s self-aggrandizing martyrdom (and conveniently murky timeline regarding the deployment of EITs in the field) are satisfying distillations of what so many people who recognize Mitchell as a war criminal who got away would probably like to say.
    • 91 Metascore
    • 100 Roxana Hadadi
    A country can be a home, and a home can be erased, and the aching, lovely Flee trafficks in the space between belonging and wandering.
    • 57 Metascore
    • 58 Roxana Hadadi
    As the film reveals its intentions around Ahmed’s character, too many scenes rely on superficial dialogue and contrived situations to push the plot along.
    • 52 Metascore
    • 63 Roxana Hadadi
    Bruised generally lacks the kind of immersion that a story like this demands. It wants us to step alongside Jackie and stay with her, experiencing her pain and her triumph, but it makes the journey from locker room to octagon unfathomably long.
    • 41 Metascore
    • 70 Roxana Hadadi
    The Unforgivable transcends its own self-importance and becomes an experience that is often rattling, challenging and haunting.
    • 57 Metascore
    • 50 Roxana Hadadi
    Pleasant but unchallenging.
    • 83 Metascore
    • 88 Roxana Hadadi
    A 100-minute spell of beauty and melancholy, intimate and grand in equal measure, a film that derives its power from the universality of its final destination and the relatability of the pain, love, and regret that pave the guiding road.
    • 68 Metascore
    • 90 Roxana Hadadi
    By probing at the ways people are on their best behavior while inherently personifying the worst effects of capitalism and greed, and knowing when to abandon modesty for brutality, Jones and Williams turn The Feast into one of the year’s most smartly conceived, plainly effective horrors.
    • 85 Metascore
    • 90 Roxana Hadadi
    Viscerally disturbing and achingly humanistic.
    • 45 Metascore
    • 10 Roxana Hadadi
    Rarely has a sequel been this listless, this creatively bankrupt, or this unaware of the charm and appeal of its predecessors. Rarely has a film been this craven in appeasing an imaginary audience by mimicking what came before it and refusing to challenge itself in terms of dreaming up a new world, crafting new characters, or fashioning new stakes.
    • 75 Metascore
    • 58 Roxana Hadadi
    In walking the line between asking empathy for these girls and also using them as a sort of cautionary tale, Cusp fails to offer more than a somewhat surface-level understanding of toxic masculinity.
    • 57 Metascore
    • 65 Roxana Hadadi
    A tonally bizarre film that’s half motion-capture Pinocchio story, half live-action adaptation of Futurama’s infamously melancholy “Jurassic Bark” episode, Finch relies on Hanks’ instant likeability and genuine warmth to drive home the devastation of a post-apocalyptic world.
    • 80 Metascore
    • 88 Roxana Hadadi
    Survival is easier said that done, and 7 Prisoners is a fraught thriller that wonders at the fragility of the human soul.
    • 73 Metascore
    • 83 Roxana Hadadi
    This is an immersive portrait, buoyed by a central performance that’s hypnotizing in its sparse naturalism. What Basholli has made is a thoughtful, humanistic exploration of the fortitude needed to summon hope in a time and place resigned to hopelessness.
    • 74 Metascore
    • 70 Roxana Hadadi
    Villeneuve has spent his career merging intellectual and philosophical queries with striking otherworldly images, but that duality is frustratingly imbalanced in his vision for Dune. The visuals are mesmerizing, but the world-building is flat.
    • 87 Metascore
    • 100 Roxana Hadadi
    Attica is a jarring, engrossing, and enraging reminder of how those in power will lie, humiliate, kill and cover up to retain it, and the documentary is one of the year’s best.
    • 53 Metascore
    • 50 Roxana Hadadi
    The result is admirable for how grim it is in its multifaceted way, but as a whole, Warning is too disjointed and underdeveloped to really make an impact with its dystopian cautions.
    • 42 Metascore
    • 75 Roxana Hadadi
    Night Teeth isn’t genuinely original, substantive, or scary. But as a remix of the vampire thriller’s most lizard-brain-focused qualities, Netflix’s latest Halloween offering is appreciated for how few demands it puts on its audience.
    • 51 Metascore
    • 63 Roxana Hadadi
    It’s a testament to Macdonald and Skinner that they inject chemistry into their characters’ underwritten pairing. Their performances are what make “Falling for Figaro” an entertaining distraction, even as the film plays out exactly as you would expect.
    • 42 Metascore
    • 65 Roxana Hadadi
    Needle in a Timestack lacks the interior worldbuilding necessary to pull off its heartstring-tugging intentions, and the result is a movie that unintentionally confirms how no good ever comes from men who obsessively refuse to leave women alone.
    • 81 Metascore
    • 83 Roxana Hadadi
    In its strongest, most evocative scenes, Bergman Island feels like peering in someone else’s window, sensing an echo of your own experiences, and marveling at all the ways a stranger could remind you of yourself.
    • 84 Metascore
    • 63 Roxana Hadadi
    It would be impossible not to be emotionally moved by this story, and in that way, The Rescue delivers. But between Vasarhelyi and Chin’s inability to speak with the boys or their families, and the documentary’s initially languid pacing, The Rescue feels like half a story told fairly well, but still, half a story.
    • 84 Metascore
    • 90 Roxana Hadadi
    Through her unfussy direction and sly editing, Kingdon’s collection of vignettes is a reminder that the destructively frenzied cycle of consumption and waste always trickles down.
    • 45 Metascore
    • 65 Roxana Hadadi
    There’s Someone Inside Your House is intermittently effective, but ultimately unremarkable, and it feels like a product of its time in disappointing ways.
    • tbd Metascore
    • 50 Roxana Hadadi
    From a purely technical viewpoint, Lorentzen’s one-side-only methodology makes Seyran Ateş: Sex, Revolution and Islam a lopsided viewing experience, one that seems tailor made for viewers predisposed to agreeing with Ateş’s critical opinions on Muslims, and no one else.

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