For 55 reviews, this critic has graded:
  • 70% higher than the average critic
  • 1% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 14 points higher than other critics. (0-100 point scale)

Steve Pond's Scores

  • Movies
  • TV
Average review score: 78
Highest review score: 92 Pain and Glory
Lowest review score: 35 The House That Jack Built
Score distribution:
  1. Positive: 50 out of 55
  2. Negative: 1 out of 55
55 movie reviews
    • 89 Metascore
    • 84 Steve Pond
    The footage, as personal as it is horrific, is often hard to watch.
    • 81 Metascore
    • 78 Steve Pond
    In laying out the facts, Costa is, for the most part, posing a series of sad questions rather than supplying the answers; in truth, she may not know whether she’s documenting a stormy political era or chronicling the end of something.
    • 58 Metascore
    • 70 Steve Pond
    Is it enjoyable to watch? Hell no – there’s a reason why everybody on the screen is either screaming or crying for it to stop. But you have to hand it to Noe, because it is kind of mesmerizing in its perverse single-mindedness, and the fact that “Lux Aeterna” is only 50 minutes long makes it more endurable.
    • 60 Metascore
    • 80 Steve Pond
    Sharp and warm ... It reaffirms a distinctive cinematic voice who might be going back to his greatest hits, but has brought something new to them.
    • 69 Metascore
    • 83 Steve Pond
    As befits its subjects, Marianne & Leonard is as much poetry as documentary — it’s a gentle, rhapsodic film, an emotional change of pace for its director and a moving portrait of a love that still resonates.
    • 81 Metascore
    • 92 Steve Pond
    The film is one of the most meditative of Almodóvar’s career. ... It makes for less energetic and, yes, less exciting filmmaking. But “Pain and Glory” is a beautiful meditation on past and present, a memory piece that will nourish rather than provoke.
    • 64 Metascore
    • 70 Steve Pond
    A curious little meditation on the extent to which humans will go to make connections, and on the commodification of everything up to and including love, it is a fascinating film that will never be confused with one of Herzog’s major works. But it nonetheless has moments of subtle and quintessentially Herzogian rhapsody.
    • 76 Metascore
    • 88 Steve Pond
    A Hidden Life is certainly the director’s best movie since his 2011 Palme d’Or winner “The Tree of Life” — it’s his most monumental film since then, and perhaps his most sentimental film ever. And it is also slow and meditative, requiring viewers to sink into and surrender to that particular Malick style that some find maddening.
    • 74 Metascore
    • 90 Steve Pond
    The Whistlers is no minimalist slice of realism, but an oversized, deliciously twisted ride that runs on an endless supply of black humor and a sizeable body count. You won’t laugh much while you’re watching it, but it’s a hoot nonetheless.
    • 88 Metascore
    • 85 Steve Pond
    Once Upon a Time … in Hollywood is big, brash, ridiculous, too long, and in the end, invigorating.
    • 69 Metascore
    • 60 Steve Pond
    A rough but vital film.
    • 80 Metascore
    • 75 Steve Pond
    It is not a subtle film, and its bluntness is occasionally potent but just as often wearying.
    • 74 Metascore
    • 80 Steve Pond
    It’s disturbing and messy, a fever dream for a disturbing and messy time in Brazil. And occasionally, it’s a lot of fun, too.
    • 69 Metascore
    • 70 Steve Pond
    It’s all grand and fun and corny, a musical fantasy that reaches for the sky and gets there often enough to make it diverting but also frustrating.
    • 63 Metascore
    • 78 Steve Pond
    A tough but affecting film ... The fact that this never comes across as maudlin is tribute to a director who knows her way through dark places, and a pair of actors who can create a quiet storm.
    • 68 Metascore
    • 70 Steve Pond
    A fitting tribute to a woman worthy of one.
    • 72 Metascore
    • 88 Steve Pond
    The film makes a good case for [Cohn's] legacy being entirely negative, leading to today’s cutthroat, divisive and lie-packed politics. But it also, crucially, makes a case for Cohn being a fascinating subject, a bundle of contradictions in a slick and soulless package.
    • 81 Metascore
    • 85 Steve Pond
    As much as the film celebrates his creativity and gazes unflinchingly at his failings, it also functions as a valedictory, almost a requiem of sorts. Think of it as the film version of the final albums made by Leonard Cohen and David Bowie, who made wrenching final statements that they likely knew would be their last.
    • 72 Metascore
    • 90 Steve Pond
    Blinded by the Light is corny, silly, as overblown as one of Springsteen’s grandest anthems and damn near irresistible.
    • 88 Metascore
    • 80 Steve Pond
    Miller is after immediacy, not reflection or explanation.
    • 59 Metascore
    • 79 Steve Pond
    On the whole After the Wedding is a touching journey through a world where even those with the best intentions leave some wreckage behind, and where forward motion only comes with hard looks into the past.
    • 69 Metascore
    • 80 Steve Pond
    In the end, Donnersmarck has it both ways: He’s sentimental and he’s provocative, a craftsman who has something to say and it going to take his time saying it.
    • 58 Metascore
    • 60 Steve Pond
    Jeremiah Terminator LeRoy is a lukewarm examination of what might have been a hot topic — and that means it risks being overshadowed by the real-life soap opera playing out around it.
    • 81 Metascore
    • 90 Steve Pond
    Woman at War is a beautiful hoot.
    • 65 Metascore
    • 85 Steve Pond
    Sprawling where “Son of Saul” was focused and frustrating where it packed a punch, Sunset is nonetheless an audacious step for a director who prefers immersion to exposition. It’s not easy, but it’ll get under your skin.
    • 54 Metascore
    • 80 Steve Pond
    While it sometimes feels as if it’s just not enough fun, once you get to the twin switcheroos and then the insane ending, you have little choice but to buy into horror-audience protocol and embrace it for the bloody hoot it is.
    • 57 Metascore
    • 75 Steve Pond
    Minghella, to his credit, makes it an entertaining ride even when we see where it’s going, and Fanning turns out to be a terrific singer well suited to the alternative-rock playlist she’s given.
    • 79 Metascore
    • 90 Steve Pond
    You can love “Gloria” and still think that Gloria Bell is an admirable reimagining that stands on its own while paying tribute to the original.
    • 84 Metascore
    • 75 Steve Pond
    While Widows can be powerful and dramatic, the director doesn’t seem all that interested in the complicated heist that is theoretically driving the plot.
    • 66 Metascore
    • 80 Steve Pond
    In this time for movies about teens in trouble, it’s the mom in this one who packs the biggest punch.

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