Tomris Laffly

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For 197 reviews, this critic has graded:
  • 46% higher than the average critic
  • 6% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Tomris Laffly's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Roma
Lowest review score: 0 The Great War
Score distribution:
  1. Negative: 24 out of 197
197 movie reviews
    • 50 Metascore
    • 63 Tomris Laffly
    In trying to say a little bit of everything about both men, James’ documentary unfortunately falls short of balancing its narrative priorities.
    • 70 Metascore
    • 60 Tomris Laffly
    The most radical observation Late Night makes concerns the extreme maleness of showbiz that turns women into rivals. But the film brushes over this insight and ultimately falls short of even its more modest intentions.
    • 68 Metascore
    • 60 Tomris Laffly
    Richard Jewell’s greatest feat is the generous emphasis it places on its Forrest Gumpian do-gooder’s complex sense of humanity; if only there were more of that to spread around to the other characters.
    • 43 Metascore
    • 60 Tomris Laffly
    It’s bewitching stuff when it doesn’t feel like a waste of invitations.
    • 51 Metascore
    • 60 Tomris Laffly
    The resolute Greyeyes and the always-brilliant Chastain chart their respective characters with real chemistry, and White captures the pair’s brewing romantic tension. For underscoring the brief but beautiful optimism of two ill-fated outliers, her woman comes out ahead.
    • 61 Metascore
    • 60 Tomris Laffly
    Abramenko maintains the film’s finite appeal throughout, mostly thanks to a familiar aura and a charismatic lead performance by Oksana Akinshina, a fine surrogate for the tough-as-nails heroine Ellen Ripley.
    • 74 Metascore
    • 60 Tomris Laffly
    The visually icy Disobedience lacks the absorbing emotional pull of the filmmaker’s best but packs a rare kind of generosity in its attentiveness to complex customs, navigated without judgment.
    • 69 Metascore
    • 60 Tomris Laffly
    Bakhshi’s sure-handed assessment of Iran’s class struggle, a thoughtfully-parsed topic with universal implications, is the film’s most fascinating dimension.
    • 76 Metascore
    • 60 Tomris Laffly
    An incomplete exercise that lacks crucial emotional brushstrokes despite a rich palette and a piano-heavy score, At Eternity’s Gate still offers the thrill of being inside an artistic process, adoringly interpreted.
    • 59 Metascore
    • 60 Tomris Laffly
    While listening to the kids, Rainwater makes sure we see the humanity and future potential in each and every one, treating his subjects with the respect they deserve.
    • 70 Metascore
    • 60 Tomris Laffly
    A detailed yet paint-by-numbers study of the living legend who believes in the necessity of making good trouble as an instigator of societal change.
    • 59 Metascore
    • 60 Tomris Laffly
    It’s mostly a vanilla documentary with no real destination, but one with plenty of cuteness to go around.
    • 57 Metascore
    • 60 Tomris Laffly
    Horror is most effective when the graphic scares are matched with an emotional dimension, something at which Ellis aims but doesn’t quite arrive — a shortcoming that also undersells the marvels of his first-rate ensemble cast.
    • 68 Metascore
    • 60 Tomris Laffly
    This vintage tale of camaraderie flaunts an old-fashioned innocence and some endearing defiance, exemplified by its sweet original song “Do-Dilly-Do (A Friend Like You).”
    • 49 Metascore
    • 60 Tomris Laffly
    Little wears the theme of black sisterhood on its sleeve, growing into something winsome by prioritizing contemporary concerns over nostalgia.
    • 53 Metascore
    • 60 Tomris Laffly
    The movie’s most shocking feature isn’t any of its twisty plot reveals—mainly involving Dominika getting romantically mixed up with a CIA operative (Joel Edgerton)—but the exploitative brutality it rains down on Lawrence.
    • 60 Metascore
    • 60 Tomris Laffly
    There is enough substance here to propel The Short History of the Long Road forward through its minor bends and speed-bumps. Most of all, it is Carpenter’s restrained performance and air of wisdom, permeating the screen with an astutely soulful quality that’s tough to turn away from.
    • 54 Metascore
    • 50 Tomris Laffly
    Black and Blue feels imbalanced and overlong, favoring fast and repetitive chase scenes over well-calibrated tension.
    • 53 Metascore
    • 50 Tomris Laffly
    Balloon is decent entertainment to a degree, and that is mostly thanks to its handsome production values.
    • 68 Metascore
    • 50 Tomris Laffly
    With its script (co-written by German and Yulia Tupikina) that lacks the traditional structure of a three-part act, Dovlatov managed to evoke in me an overall feeling of internment. Along with it crept in a gloomy mood, gradually formed through the collective frustrations of the time’s hampered dwellers.
    • 42 Metascore
    • 50 Tomris Laffly
    On the whole, his (Griffin) indecisive The Wolf Hour tick-tocks its way to an underwhelming finale. And when it gets there, the most shocking realization you’ll have is how forgettable an affair it all has been.
    • 40 Metascore
    • 50 Tomris Laffly
    In a lot of ways, Crisis is a classic example of a movie that wants to be a little bit of everything, only to add up to a much lesser version of something you keep waiting to see.
    • 35 Metascore
    • 50 Tomris Laffly
    A tedious and only occasionally amusing comedic riff on “The Purge” franchise.
    • 53 Metascore
    • 50 Tomris Laffly
    In the end, only a fraction of McLeod’s ambitions sticks a landing. But Astronaut stays afloat with sweetness, thanks to a measured performance from Dreyfuss.
    • 67 Metascore
    • 50 Tomris Laffly
    Despite committed performances across the board, I left the film craving a deeper, more conventionally attentive character study.
    • 42 Metascore
    • 50 Tomris Laffly
    Fanning delivers a performance of such astonishing depth and emotional range that her presence here is both a relief and strangely frustrating, since the film that surrounds the young actor is sadly no match for the qualities she brings to Potter’s profoundly personal narrative.
    • 43 Metascore
    • 50 Tomris Laffly
    The whole experience feels like a generic inventory of recognizable tropes—the possessed child, the creepy old woman, the deeply-concerned priests, and the Ouija board are all here. Except, the cumulative fear bizarrely fizzles before it reaches something significant or emotionally meaningful.
    • 53 Metascore
    • 50 Tomris Laffly
    The film offers some simple-minded insights into the myth of the happily-ever-after, and a dash of nonchalant French charisma. But the whole thing is only as original as a dull midlife crisis, retrofitted into a whimsical screwball mold that feels miscalculated.
    • 62 Metascore
    • 50 Tomris Laffly
    Abe
    And the source of inspiration here is an affable role model, brought to life by “Stranger Things” actor Noah Schnapp with plenty of zest and believable innocence.
    • 73 Metascore
    • 50 Tomris Laffly
    You long for something evocative and warm throughout The World to Come, only to leave it with a minor shiver.

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