For 218 reviews, this critic has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Simran Hans' Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Bloody Nose, Empty Pockets
Lowest review score: 20 Cats
Score distribution:
  1. Positive: 93 out of 218
  2. Negative: 5 out of 218
218 movie reviews
    • 71 Metascore
    • 60 Simran Hans
    To suggest Krasinski is only interested in surface thrills feels at odds with the seriousness of his craft. Judicious pacing, clever cross-cutting and visceral sound design build tension, but there’s an absence of soul, and no satisfying sense of what the monsters might be a metaphor for.
    • 61 Metascore
    • 40 Simran Hans
    Wright is sympathetic and believable, but we never truly get a sense of Edee or her desires outside the bounds of her loss.
    • 67 Metascore
    • 60 Simran Hans
    With its hero’s journey structure, punchily edited racing scenes and warmly drawn oddball community (a widow, Maureen, is obsessed with Tunnock’s Tea Cakes), the film is shamelessly predictable and thoroughly feelgood.
    • 83 Metascore
    • 80 Simran Hans
    Crawford is brilliant and bitter as a soon-to-be divorced dad unable to accept his fate.
    • 88 Metascore
    • 60 Simran Hans
    To call the film meditative would be to undersell Kosakovskiy’s instinct for drama and tension.
    • 45 Metascore
    • 40 Simran Hans
    For a film about magic, there’s little sparkle to spare.
    • 73 Metascore
    • 80 Simran Hans
    It’d be easy to mistake the director’s deadpan observation for mocking, but the space he holds for the darker aspects of his characters’ individual stories helps to puncture any cultivated cutesyness.
    • 59 Metascore
    • 40 Simran Hans
    Unfortunately, the second half is over-reliant on flashy disaster set pieces, blazing towards a predictable, melodramatic conclusion.
    • 85 Metascore
    • 80 Simran Hans
    Valadez’s expressionist images give texture to the abstract emotions of rage and pain.
    • 42 Metascore
    • 40 Simran Hans
    Shanley has an Oscar and a Pulitzer (he wrote the sublime Moonstruck, and the stage and screen versions of Doubt). Here, that’s easy to forget, given the cartoon accents and overblown metaphors about horses destined to jump the fence.
    • 80 Metascore
    • 80 Simran Hans
    The film retains a warm sense of humour about technology’s grip on society.
    • 79 Metascore
    • 60 Simran Hans
    Levine’s playful deconstruction of tortured genius is a witty and provocative send-up of tyrannical directors, diva-ish actors and over-invested voyeurs alike.
    • 64 Metascore
    • 60 Simran Hans
    Kawase’s frequent use of handheld camera gives parts of the film a quasi-documentary feel, but it’s the lyrical touches . . . that hit the hardest.
    • 75 Metascore
    • 80 Simran Hans
    There’s just enough magic and mystery to tease out a supernatural reading of the film, though Petzold encourages viewers to find pleasure in puzzling out his femme fatale for themselves.
    • 53 Metascore
    • 60 Simran Hans
    The styling is at odds with the otherwise straightforward courtroom narrative. The prestige procedural elements work better; the real-life story is enraging, and it’s fun to see Benedict Cumberbatch’s morally conflicted military prosecutor lock horns with Foster’s icy human rights lawyer.
    • 59 Metascore
    • 60 Simran Hans
    The spectacle is more involving than the plot, especially the dazzling image of Kong floating skyward, serene and surrounded by purple glowing rocks.
    • 75 Metascore
    • 80 Simran Hans
    Rosi’s broader critique of violence is implied through footage of a play performed by patients in a psychiatric hospital, and of a children’s art therapy class. He is more interested in the reverberations of conflict than the source, focusing on those who have suffered its effects directly.
    • 75 Metascore
    • 80 Simran Hans
    There is an incandescence and a buoyancy to the animation that elevates the formula.
    • 52 Metascore
    • 80 Simran Hans
    The comedy doesn’t work quite as well this way around, though Fowler is extremely likable as a sweet-natured slacker, channelling the endearing guilelessness of Murphy’s original Prince Akeem. Still, there are enough in-jokes and returning characters to keep fans happy.
    • 68 Metascore
    • 40 Simran Hans
    Maslany is magnetic, her coiled fury and sexual energy threatening to erupt as her placid partner plods along beside her.
    • 77 Metascore
    • 80 Simran Hans
    Favier is smart on the mechanics of abuse, and the sobering inevitability of her heroine’s downhill skid.
    • 23 Metascore
    • 20 Simran Hans
    These self-consciously upbeat moments clash horribly with the wider redemption narrative.
    • 64 Metascore
    • 60 Simran Hans
    The sci-fi stuff is tedious, but Wiig and Mumolo are bawdy and brilliant as ever, their effortless chemistry bolstered by years of collaboration.
    • 74 Metascore
    • 80 Simran Hans
    Perhaps wisely, Ryan White’s slick documentary chooses not to mine the bizarre scene for comic potential. Instead, he spins the arrest of Siti Aisyah and Doan Thi Huong – economic migrants from Indonesia and Vietnam respectively – into a parable about political corruption.
    • 53 Metascore
    • 60 Simran Hans
    The showy singer turned actor struggles to modulate his natural charisma, a flirtatious, extroverted energy repeatedly leaking out where it should be muffled.
    • 81 Metascore
    • 80 Simran Hans
    Sukhitashvili’s subtle performance brings interiority to a character who might otherwise be defined entirely by her suffering.
    • 83 Metascore
    • 80 Simran Hans
    The ensemble cast electrifies Powers’s dialogue, jockeying between black power and integration, activism and commerce, spiritual clarity, pork chops and sex.
    • 35 Metascore
    • 20 Simran Hans
    The whole thing feels strangely pedestrian, unable to capture or channel Bowie’s maverick spirit.
    • 26 Metascore
    • 40 Simran Hans
    The impish Leslie Mann is well cast as his dead wife, Elvira, who provides a jolt of creative inspiration. Judi Dench’s screechy caricature of psychic Madame Arcati is less winning.
    • 81 Metascore
    • 80 Simran Hans
    Pollard’s decision to eschew traditional talking heads in favour of voiceover interviews allows the archive to take centre stage.

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