Stephen Holden

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For 2,225 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Stephen Holden's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 In the Bedroom
Lowest review score: 0 The Big Bang
Score distribution:
2225 movie reviews
    • 46 Metascore
    • 40 Stephen Holden
    Despite earnest attempts, Mr. Franco can’t bring the fervency of Crane’s poetry to life in the extensive recitations.
    • 54 Metascore
    • 70 Stephen Holden
    Cézanne et Moi offers a pungent, demystifying portrait of the rowdy late-19th-century Parisian art world where famous painters and poets mingled and jostled for position at dinner parties and art openings filled with shoptalk, backbiting and intrigue.
    • 57 Metascore
    • 50 Stephen Holden
    Ms. Chastain’s watchful, layered performance helps keep the film on an even keel, but it is not enough to prevent The Zookeeper’s Wife, with its reassuringly cuddly critters, from feeling like a Disney version of the Holocaust.
    • 73 Metascore
    • 80 Stephen Holden
    Frantz takes pains to show both sides’ lingering hostility after a devastating and (the movie implies) senseless war.
    • 77 Metascore
    • 80 Stephen Holden
    At first Apprentice seems to be a basic revenge film in which Aiman stalks the man who killed his father. But it becomes psychologically more complex.
    • 72 Metascore
    • 90 Stephen Holden
    Donald Cried is an acutely insightful, exquisitely written and acted triumph for Mr. Avedisian, who understands how the past permanently clings to us.
    • 65 Metascore
    • 60 Stephen Holden
    Mr. Phillips’s self-deprecating humor is amusing but not funny enough to give him the edge he needs to rise up and conquer.
    • 73 Metascore
    • 60 Stephen Holden
    As one comic after another recalls triumphs, misadventures and painful lessons learned, the stories become redundant.
    • 74 Metascore
    • 90 Stephen Holden
    [An] exquisite, beautifully shot meditation on love clouded by fear and doubt.
    • 43 Metascore
    • 40 Stephen Holden
    It is too flat-footed and sloppy to explore the obvious parallels between then and now, and the movie is peppered with gratuitous star cameos that distract rather than enlighten. At least it means well.
    • 75 Metascore
    • 80 Stephen Holden
    Their ordeal feels cruel, unnecessary and infuriatingly real.
    • 74 Metascore
    • 80 Stephen Holden
    This movie, directed and produced by Dave Davidson and Amber Edwards, digs deeply enough into Mr. Giordano’s world to convey the drudgery and headaches of being a bandleader.
    • 78 Metascore
    • 80 Stephen Holden
    What makes the pain of this film bearable is Daniel’s unquenchable decency, courage and perseverance.
    • 41 Metascore
    • 40 Stephen Holden
    Passengers increasingly succumbs to timidity and begins shrinking into a bland science-fiction adventure whose feats of daring and skill feel stale and secondhand.
    • tbd Metascore
    • 50 Stephen Holden
    As it drags along, the movie makes you feel trapped in the shoes of someone destined for failure.
    • 70 Metascore
    • 80 Stephen Holden
    Most of the humor is too lighthearted to offend all but the most reverent believers, and the movie’s inventiveness rarely flags.
    • 48 Metascore
    • 50 Stephen Holden
    The best thing about All We Had is Ms. Holmes’s stormy portrayal of a desperate, foolishly trusting woman who rushes from man to man seeking security, only to find herself used and betrayed while her daughter looks on with increasing dismay.
    • 92 Metascore
    • 80 Stephen Holden
    Even in the throes of grief, Mr. Cave retains his mystique as a rock shaman.
    • 71 Metascore
    • 70 Stephen Holden
    Mr. Byrne’s film is a sober, evenhanded recapitulation of Sands’s imprisonment and death that places him in a historical context.
    • 64 Metascore
    • 50 Stephen Holden
    Partly because Miss Sloane is more a character study than a coherent political drama, it fumbles the issue it purports to address, and it eventually runs aground in a preposterous ending.
    • 60 Metascore
    • 90 Stephen Holden
    The wonder of the movie, which Mr. Beatty wrote and directed from a story he wrote with Bo Goldman, is that it is so good-humored. Fools and idiots abound, but demonic, systemic evil does not.
    • 81 Metascore
    • 80 Stephen Holden
    Because “Merrily” was a musical about the ravages of time on friendship and youthful ideals, the documentary tells parallel stories — one fictional, the other real — of disappointment and disillusion. They give the film a double shot of poignancy.
    • 77 Metascore
    • 80 Stephen Holden
    [Ms. Steinfeld] manages a tricky balancing act, making Nadine simultaneously sympathetic and dislikable.
    • 75 Metascore
    • 90 Stephen Holden
    The tone of the narration is so wrenchingly honest that the film never lapses into self-pity or relies on mystical platitudes.
    • 39 Metascore
    • 40 Stephen Holden
    Written and directed by Tim Kirkman (“Dear Jesse,” “Loggerheads”), Lazy Eye has realistic dialogue and believable performances by its stars. But unless you consider subjects like saltwater swimming pools and the movie “Harold and Maude” fascinating topics, “Lazy Eye” has little to say.
    • 80 Metascore
    • 90 Stephen Holden
    It is the film’s cosmic dimension that makes it so special.
    • 77 Metascore
    • 80 Stephen Holden
    The narrowness of its perspective and its relatively brief 82-minute length disappoint. Yet Don’t Call Me Son still manages to be a fascinating, sympathetic portrait of a lost boy abruptly thrown to the wolves.
    • 72 Metascore
    • 80 Stephen Holden
    Gimme Danger is still plenty entertaining and includes many moments of foaming-at-the-mouth musical fury.
    • 70 Metascore
    • 80 Stephen Holden
    The vision of nature being lovingly tended in Rosie Stapel’s documentary, Portrait of a Garden, is remarkably evocative.
    • 48 Metascore
    • 40 Stephen Holden
    To say it feels reasonably authentic doesn’t mean it’s very good. Mr. Kelly, who directed the well-received “I Am Michael,” starring Mr. Franco as a Christian pastor with a gay past, clearly knows the territory, but he barely skims the surface.

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