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
    • 64 Metascore
    • 50 Tomris Laffly
    Suffused with plenty of gross-out, phantasmagoric body horror but short on actual spine-tingling scares, the handsomely-produced Amulet asserts Garai more as a gifted genre stylist than a savvy storyteller.
    • 62 Metascore
    • 50 Tomris Laffly
    The Sounding impresses more with its majestic and ageless feel than its vague ideas around the human mind.
    • 44 Metascore
    • 50 Tomris Laffly
    While Where Hands Touch demonstrates confident filmmaking from a technical standpoint, Asante’s plot choices around the ambiguous development of Lutz feel irresponsible, especially during these risky political times that uncompromisingly demand us to be the opposite.
    • 53 Metascore
    • 50 Tomris Laffly
    One almost wishes Chaves and Johnson-McGoldrick had not tried to reinvent the wheel, and instead just stuck with the franchise’s sophisticated simplicity and tried-and-true paranormal formula. Without a focal haunted house, this one just doesn’t feel like a film that belongs in “The Conjuring” universe.
    • 55 Metascore
    • 50 Tomris Laffly
    A thoughtfully feminist spin on “Pretty Woman,” this film is not.
    • 59 Metascore
    • 50 Tomris Laffly
    Sweet and personal, How It Ends is hardly an entertaining movie, or one that will go down as one of the defining films of these unpredictably strange times. But you can’t really blame the artists for trying to make some therapeutic sense of it all, with a little help from one another.
    • 60 Metascore
    • 50 Tomris Laffly
    While it’s hardly Hawkins’ error that his documentary feels unfinished — the self-defined activist’s dramatic saga is still unfolding as we speak — you can’t help but feel his unprecedented access to Manning should have emanated a portrait a lot more enlightening.
    • 64 Metascore
    • 50 Tomris Laffly
    It is then unfortunate that this tempting package by Khan, a creative and producing force behind ABC’s “Fresh off the Boat,” is so bland, feeling less like a movie and more like the output of an assembly line.
    • 53 Metascore
    • 50 Tomris Laffly
    A grueling coming-of-age thriller on the cliché-heavy side, with little hook to offer other than Wolff’s aching screen presence.
    • 60 Metascore
    • 50 Tomris Laffly
    You wonder how high “Sea Fever” could have risen, if only Hardiman had truly embraced the bare bones of the genre, indulging in some well-wrought group dynamics and even a pair of sneaky jump-scares to boot.
    • 47 Metascore
    • 50 Tomris Laffly
    R#J
    Even the most eagle-eyed and engaged viewers might run out of patience with R#J. Thankfully, Williams’ magnificent cast counters the disorder with their confident screen presence and theatrical muscles that stand out within the film’s unique atmosphere.
    • 43 Metascore
    • 50 Tomris Laffly
    As visually uninspired and ideologically conservative as it may be, there seems to be something beguiling about the series that keeps one (including myself, admittedly) on a short leash.
    • 60 Metascore
    • 50 Tomris Laffly
    Appealing on a scene-by-scene basis but generic like its title — it might as well have been called “About a Girl” as a thematic nod to Chris and Paul Weitz’s superb 2002 film — Steiner’s dull comedy lacks the crucial feelings that could have made the suburban aunt-niece tale at its center more memorable.
    • 62 Metascore
    • 50 Tomris Laffly
    It’s a rewarding experience to watch Izzo thread a tricky line with ease here, emitting both a child-like innocence and gradual steeliness that slowly yet convincingly sharpens and matures. If only the film could deserve her level of commitment.
    • 41 Metascore
    • 42 Tomris Laffly
    The Woman in the Window thoroughly struggles to keep the viewer interested in Anna’s fight to prove the veracity of her version of the story
    • 35 Metascore
    • 40 Tomris Laffly
    The human dimension that gives the film brief jolts of energy never takes root. Instead, audiences are left grappling with a stuffy maze, albeit one presented with handsome production values and a filmmaker’s striking visual touch.
    • 66 Metascore
    • 40 Tomris Laffly
    Ben Affleck steps back in front of the camera in a weighty but weary comeback drama that feels like catharsis.
    • 44 Metascore
    • 40 Tomris Laffly
    A cringingly syrupy tale of overdue bonding between an estranged father and his only offspring.
    • 58 Metascore
    • 40 Tomris Laffly
    It’s curiously difficult to stay engaged with Mock’s film that merely puts forth a paint-by-numbers assembly of the wealth of material it has at its disposal.
    • 54 Metascore
    • 40 Tomris Laffly
    Shrewdly, Watts goes for something subtle and soft here — instead of clichéd garishness, her performance hinges on her doleful gaze and melancholic tinge, ultimately helping Penguin Bloom honor its real-life character’s journey with some respect.
    • 49 Metascore
    • 40 Tomris Laffly
    Rushing through an emotional journey with an uneven pace and clumsy dialogue, The Lost Husband aims for familiar sentiments around loyalty, family and sacrifice, but bypasses sincerity, the most crucial ingredient.
    • 42 Metascore
    • 40 Tomris Laffly
    Ultimately pointless, Overboard makes you wonder why it exists at all when it offers neither a fresh angle into modern-day relationships nor an improvement upon its predecessor.
    • 57 Metascore
    • 40 Tomris Laffly
    More troubling is Neeson’s baffling disappearance for long stretches of time, when screenwriter Frank Baldwin gets too enamored with the supporting clan while failing to expand upon them.
    • 69 Metascore
    • 38 Tomris Laffly
    It’s never a good sign when characters in a film promptly declare: we are aware you are watching and we’re here to teach you a thing or two.
    • 38 Metascore
    • 38 Tomris Laffly
    The angst it spreads throughout feels all too mild and forgettable to cast an unnerving curse. You know, the kind you’d crave from a horror film with lasting scares.
    • 39 Metascore
    • 38 Tomris Laffly
    Three Christs opts in for frustratingly broad characters that feel like half-considered caricatures and Jeff Russo’s sentimental, strings-heavy score that flattens whatever modest edge the movie might have had.
    • 40 Metascore
    • 38 Tomris Laffly
    While Chappelle neatly outlines the tragic events caused by his spiritually bruised protagonist, it’s hard to stay engaged with his philosophical query that divides arguments into distinct rights and wrongs early on, and only asks shallow questions.
    • 50 Metascore
    • 38 Tomris Laffly
    It doesn’t help that neither Yeoh nor Thompson play a character that remotely resembles real people in a film that only brushes over the anxieties of immigrants in the still-early days of Brexit.
    • 32 Metascore
    • 38 Tomris Laffly
    Scherfig’s latest effort pursues something naively magical, only to end up with a mélange of miscalculated, cheap sentiments.
    • 44 Metascore
    • 38 Tomris Laffly
    Quirky to an extreme with not much to say about the millennial resistance to maturity and grown-up responsibilities, Larson’s film feels like a perplexing stylistic disagreement between its creative parts.

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