For 206 reviews, this critic has graded:
  • 45% higher than the average critic
  • 5% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Sam Adams' Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Wolfwalkers
Lowest review score: 10 The Mummy
Score distribution:
  1. Negative: 15 out of 206
206 movie reviews
    • 68 Metascore
    • 50 Sam Adams
    The movie can’t compete with the Missions: Impossible and Fast and Furiouses for visual spectacle, so what it offers by way of compensatory heft is a tangled plot full of double-crosses and hidden identities, combined with a ponderous gait that suggests that more than the mere world is at stake.
    • 48 Metascore
    • 70 Sam Adams
    If you’ve ever watched a slasher movie and rooted for the killer, you’re ready for Dashcam, a found-footage horror movie whose COVID-denying protagonist is the scariest thing about it.
    • 36 Metascore
    • 50 Sam Adams
    A New Legacy is much slicker and more appealing than the original Space Jam, in no small part because James is approximately 50 times the actor Jordan is. But it’s also because corporations handing a bag of unrelated IP and ordering screenwriters to come up with a story around them is the template for most studio filmmaking now, if not all of contemporary existence.
    • 81 Metascore
    • 80 Sam Adams
    And after Into the Spider-Verse and a handful of Lego Movies, it’s further proof that producers Phil Lord and Christopher Miller are an animation brand as reliable as Disney or Pixar, and a good deal more likely to provide something that’s not only sturdy but genuinely surprising.
    • 34 Metascore
    • 30 Sam Adams
    Watching Thunder Force, it’s baffling to remember that this is Falcone’s fifth film as a director. There’s a convenience store fight so ineptly staged I had to watch it three times to decipher what was happening, and running gags that aren’t funny the first time and grow worse with every repetition.
    • 87 Metascore
    • 100 Sam Adams
    This isn’t just a hand-drawn animated feature. It’s a movie that wants you to know it was made by hand.
    • 68 Metascore
    • 70 Sam Adams
    The Borat sequel’s best moments are when it turns from mockumentary to straight-up doc, finding Americans who look past Borat’s bushy mustache and try to connect with the human behind it.
    • 80 Metascore
    • 80 Sam Adams
    She Dies Tomorrow is a movie you could watch several times before you understand it. (After two viewings, I feel like I’ve barely cracked the surface.) But there’s something magnetic at its core that makes you want to return.
    • 70 Metascore
    • 70 Sam Adams
    Just let Charlize Theron kick some ass, and leave the thornier moral questions for the sequel.
    • 47 Metascore
    • 50 Sam Adams
    Irresistible might be a movie for the moment before or the moment after, but it feels entirely out of step with the one it’s in.
    • 67 Metascore
    • 60 Sam Adams
    It has a loping, lowkey charm and doesn’t require too much of your attention, and the plot is predictable enough that you could miss substantial chunks of it and not lose your way. You’re in the passenger seat, and it’s a nice ride as long as you don’t care where you’re going.
    • 51 Metascore
    • 50 Sam Adams
    Trolls World Tour was made to play in theaters that can’t open, celebrating a kind of performance that’s on indefinite hold. All I could feel watching its climax was how much I miss that feeling of being together in the dark, and how long it’ll be before it feels safe to do it again.
    • 50 Metascore
    • 30 Sam Adams
    The biggest problem with The Hunt is its phenomenally lazy script, which is by Damon Lindelof and his frequent collaborator Nick Cuse. (Booting the movie into the next year prevented Lindelof, who created HBO’s Watchmen, from having his name on one of 2019’s smartest entertainments and one of its dumbest.)
    • 60 Metascore
    • 40 Sam Adams
    Birds of Prey often leaves you puttering around the edges, being grateful for its modest achievements: fight scenes that are, if not exciting, at least coherently staged, and Robbie’s comic timing, which is so often sharper than the lines she has to deliver.
    • 65 Metascore
    • 60 Sam Adams
    A documentary about one of the most mediated, image-conscious people on the planet sounds like an oxymoron, and though director Lana Wilson is no hagiographer, Miss Americana is hardly warts-and-all.
    • 53 Metascore
    • 50 Sam Adams
    It’s frenzied, briefly infuriating, and eventually, grudgingly, satisfying, but it’s like being force-fed fandom: Your belly is filled, but there’s no pleasure in the meal.
    • 64 Metascore
    • 40 Sam Adams
    Frozen 2 doesn’t have its forebear’s ungainliness; in many ways, it’s more efficiently engineered. But it’s also far less surprising, even taking into account that a sequel’s first task is to give people what they expect.
    • 81 Metascore
    • 90 Sam Adams
    The movie works on you cumulatively, wearing down the impulse to roll your eyes at its familiar parts and leaving you to appreciate how snugly they fit together, and the way the whole thing purrs.
    • 59 Metascore
    • 50 Sam Adams
    Flanagan is more faithful to "The Shining" than he was to Shirley Jackson’s "Hill House," but he ends each with a twist that functions as a smug reproach.
    • 38 Metascore
    • 30 Sam Adams
    Smith, to his credit, comes closest to selling the screenplay’s grandiose nonsense — that is, after all, a movie star’s job, and the movie works best, to the extent it works at all, as a reflection on his 30-year career.
    • 26 Metascore
    • 30 Sam Adams
    There’s a hint of a fugue state about it too, as if Rambo, and whatever audience for his movies remained, is trapped in an endless loop, savoring past traumas as a way to avoid facing the present.
    • 60 Metascore
    • 60 Sam Adams
    Hobbs & Shaw is a ridiculous movie, and sometimes it’s in the best way. I laughed at the audacity of its stunts, while shaking my head a little bit at their silliness. But I also despaired a little bit when I checked the time at what felt like it might be the climax and discovered there was still an hour to go.
    • 72 Metascore
    • 80 Sam Adams
    If Hereditary was about being trapped, Midsommar is about the terror of being let loose, the giddy, sickening rush of freefall. You laugh at its audacity, or maybe just to keep from losing your own grip on reality. By the time it’s over, you can’t wait for night to fall.
    • 69 Metascore
    • 60 Sam Adams
    Far From Home, which brings back Homecoming director Jon Watts and screenwriters Chris McKenna and Erik Sommers, sometimes strains to match the intensity of the all-out battles in its dialogue scenes, and there are too many exchanges where characters reel off a dozen overlapping half-jokes in the hopes that you’ll come away with the feeling something funny was said.
    • 86 Metascore
    • 80 Sam Adams
    Despite its promise to find fact in fiction, the movie’s made-up characters offer little in the way of ecstatic truths, but there’s a moment when Stefan van Dorp says he realized that the way to keep Dylan from clamming up was to never ask him a direct question. Rolling Thunder Revue leaves it to us to ask the questions, or just sit back and enjoy the show.
    • 53 Metascore
    • 70 Sam Adams
    Ma
    Between the exhilaration of great movies and the disappointment of bad ones lie the particular pleasures of trash. Ma isn’t a bad movie, and it’s sure as hell not trying to be a good one, but it scratches a particular itch that neither noble failures nor cranked-out hackwork can touch.
    • 73 Metascore
    • 70 Sam Adams
    The best way to watch isn’t with oohs and aahhs. It’s with laughter, savoring the beauty and the absurdity of each elaborate spectacle. Each movement is a joke, and death is the ultimate punchline.
    • 53 Metascore
    • 60 Sam Adams
    Despite its sizable budget, Detective Pikachu has a similarly run-down quality. What story there is barely makes sense, and it feels as if large chunks have been taken out at random. But in a world packed full of franchise-extending would-be blockbusters, there’s something strangely appealing about its patchiness.
    • 71 Metascore
    • 70 Sam Adams
    Although it’s technically about saving the world (again), Shazam! plays out at eye level, grounded by the belief that who people love and where they feel they belong is stakes enough. If that violates the exigencies of franchise filmmaking, so be it.

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