For 169 reviews, this critic has graded:
  • 50% higher than the average critic
  • 5% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Tara Brady's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Ash Is Purest White
Lowest review score: 20 The Hitman's Wife's Bodyguard
Score distribution:
  1. Positive: 97 out of 169
  2. Negative: 2 out of 169
169 movie reviews
    • 79 Metascore
    • 80 Tara Brady
    Vogt coaxes impressive, carefully calibrated performances from his creepy young ensemble.
    • 55 Metascore
    • 60 Tara Brady
    Sadly, the film falls short of being A-ha’s Some Kind of Monster (Metallica’s cringy group therapy epic).
    • 82 Metascore
    • 100 Tara Brady
    Unnervingly naturalistic performances from two cinematic legends – the great Italian giallo master Dario Argento, the great Italian giallo master and the star of La Maman et La Putain – add to the sense of loss.
    • 81 Metascore
    • 80 Tara Brady
    At its core, however, this is a big-hearted family drama about acceptance and a love story between an older married couple. It falls to the terrific Yeoh to hold all the subplots and occasional comic misfires together.
    • 78 Metascore
    • 80 Tara Brady
    By the time we finally see the leading lady, La Panthère des Neiges – as the film was called at home – has long since privileged the journey over the destination.
    • 64 Metascore
    • 60 Tara Brady
    Taking cues from the lively cast, Nabil Ayouch’s third feature to make it to Cannes is scrappy, occasionally messy, prone to distractions, and never less than diverting.
    • 86 Metascore
    • 80 Tara Brady
    At 72 minutes, Playground falls shy of feature length, yet it atones with a sickening sense of dread and pinpoint emotional accuracy. The performances that Wandel coaxes out of her young cast are remarkable and often painful to behold.
    • 73 Metascore
    • 40 Tara Brady
    To add to the viewer’s distress, the picture is as deafeningly loud as it is tiresomely provocative.
    • 77 Metascore
    • 80 Tara Brady
    Celeste Cescutti leads a parochial cast that is largely unprofessional, with a fierce performance that bosses and grounds the film’s magic realist themes.
    • 61 Metascore
    • 80 Tara Brady
    Directors Danny Clinch, Taryn Gould, and Colleen Hennessy have sifted through hundreds of hours of footage to fashion something that allows for a sense of the person behind the rock casualty. To this end, they do a splendid job.
    • 80 Metascore
    • 80 Tara Brady
    Haarla and Borisov demonstrate impeccable timing and expertly tiny movements as they warm up to one another. It’s something like love but without either sex or romance. And it’s a joy to behold.
    • 47 Metascore
    • 40 Tara Brady
    Both actors are ill-served by a script that carps on about finding your moment or some such. Can’t a hedgehog go on a quest to find a magic master emerald without this constant haranguing?
    • 63 Metascore
    • 80 Tara Brady
    Following on from Harry Wootliff’s infertility romance, Only You, this confirms the British writer-director as an unmissable talent.
    • 90 Metascore
    • 80 Tara Brady
    Bounce along as Julie might and it’s a lively, sexy, eventful two-hour adventure.
    • 73 Metascore
    • 80 Tara Brady
    Basholli’s simple, elegantly structured script and Alex Bloom’s cinematography places Gashi’s carefully calibrated performance in almost every frame.
    • 67 Metascore
    • 80 Tara Brady
    It is equally a solid genre effort, characterised by gory set-pieces, discombobulating scenarios, and welcome lashings of feminist revenge.
    • 55 Metascore
    • 60 Tara Brady
    This is the kind of post-Goonies family-oriented schmaltz that plays very well on Netflix (see all of Stranger Things, a show sometimes directed by Levy) and not so well in cinemas.
    • 74 Metascore
    • 80 Tara Brady
    For much of its impressive duration, Dolan’s film blurs the line between family friction, bipolar disorder and the supernatural.
    • 78 Metascore
    • 80 Tara Brady
    Akhtar, an actor who was so impressive in Four Lions and Utopia, and Claire Rushbrook, recently seen as Enola Holmes’s housekeeper, make for a quietly magnetic couple. For all the obstacles they face, this remains a strangely joyful film.
    • 74 Metascore
    • 80 Tara Brady
    This is one of those snappy, well-formed Brit-coms that one expects to see reworked as a Full Monty- or Kinky Boots-style Broadway show.
    • 66 Metascore
    • 80 Tara Brady
    In an ideal world, it’ll do Greatest Showman box office business. Mind you, in an ideal world, Dinklage’s forlorn turn would be nominated for an Oscar.
    • 78 Metascore
    • 80 Tara Brady
    Servants confirms the director as a major talent.
    • 66 Metascore
    • 60 Tara Brady
    It’s a fascinating delve or “kaleidoscope” as the film-makers have it. The film is as complete a portrait as we may ever get.
    • 69 Metascore
    • 80 Tara Brady
    Still, this is an intriguing psychological thriller and a carefully calibrated study of maternal mourning, powered by perceived class differences and harsh maternal judgment.
    • 86 Metascore
    • 80 Tara Brady
    Wheel of Fortune and Fantasy is not quite the equal of the same film-maker’s Oscar contender, Drive My Car. Both films, however, share a deceptively languid pacing and find an aching humanity in middle-class people in crisis.
    • 91 Metascore
    • 80 Tara Brady
    There are obvious parallels between Rasmussen’s film and such similarly constructed animations as Ari Folman’s Waltz with Bashir and Keith Maitland’s Tower, although Flee’s rugged lines are never as polished as anything found in either of those films. The sense of catharsis and the heartfelt voiceover, however, offset the roughhewn aesthetics.
    • 55 Metascore
    • 60 Tara Brady
    For all the impeccable production values – including Bakker’s outlandish 1980s costumes, all lovingly recreated by Mitchell Travers – the film’s generosity towards its controversial heroine feels like an unwarranted canonisation.
    • 83 Metascore
    • 80 Tara Brady
    Though not quite as extravagantly imaginative as The Girl Who Leapt Through Time or Wolf Children, the eighth feature from Mamoru Hosada marries dazzling spectacle, high-octane action and social commentary.
    • 88 Metascore
    • 80 Tara Brady
    Parallel Mothers wears its heart on its beautifully styled sleeve. Even the dark excavation at the heart of the enterprise is delivered with wit, warmth and eye-popping colours. It is difficult to think of another filmmaker who could so effortlessly juggle tones and seemingly disparate elements.
    • 62 Metascore
    • 80 Tara Brady
    Amulet has been billed as a feminist revenge horror. It’s a savage one, powered along by the same metaphorical heft that made The Babadook such a sensation.

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