Vince Mancini

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For 214 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Vince Mancini's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Border
Lowest review score: 16 The Dead Don't Die
Score distribution:
  1. Negative: 16 out of 214
214 movie reviews
    • 54 Metascore
    • 42 Vince Mancini
    The film morphs into an action thriller in the final act, but by then I’d lost interest. It didn’t feel thrilling, it felt like a way to bring some resolution to a story that never quite finds its reason for existing.
    • 68 Metascore
    • 83 Vince Mancini
    A few sour notes aside, Hustle is a solidly compelling, surprisingly watchable basketball movie.
    • 65 Metascore
    • 58 Vince Mancini
    Men
    In Men, Garland has a lot of great little ideas, with brilliant performances and viscerally compelling imagery, but lacks one big idea to tie them all together.
    • 60 Metascore
    • 42 Vince Mancini
    In Doctor Strange In The Multiverse Of Madness, Raimi seems to only be granted occasional cubes of autonomy, within which to shoot charmingly out-there set pieces with a characteristically bombastic score, and periodically remind us that he’s the guy who made Drag Me To Hell and Army Of Darkness.
    • 82 Metascore
    • 91 Vince Mancini
    The Northman is Shakespeare, but it’s also a movie about muscular shirtless men growling at each other. For me, it was near to perfect.
    • 81 Metascore
    • 91 Vince Mancini
    What makes Everything Everywhere work is not that it’s zany, it’s that it actually finds a purpose for its zaniness, or least tries to. The Daniels are provocateurs, brilliant technical filmmakers. More importantly, they actually strive not to be full of shit. God bless them.
    • 55 Metascore
    • 75 Vince Mancini
    Exploitation has always been Bay’s foremost skill, and in this era when movies have begun to seem chintzy and distinctly unglorious, Bay’s talents as a hype man and product pornographer seem oddly refreshing. If anyone was going to make a mid-budget action movie feel like the biggest, coolest, sexiest thing in the world, it was Michael Bay.
    • 40 Metascore
    • 42 Vince Mancini
    Father Stu is exactly this kind of intriguing mix, of illuminating religious philosophy and utterly baffling narrative choices. It’s vaguely inspiring, slightly tedious to sit through, and ultimately unknowable, like any good Catholic sermon.
    • 53 Metascore
    • 75 Vince Mancini
    Deep Water is not only a refreshing throwback to the days of mid-budget thrillers aimed at adults, but perfect for at-home binging.
    • 55 Metascore
    • 67 Vince Mancini
    It’s a toe-tapper, and Levy excels at this kind of upbeat, PG-friendly action rendered in major key. It looks great, and you can tell what’s happening — a bar most action movies fail to clear these days, including the most recent one, The Batman.
    • 83 Metascore
    • 83 Vince Mancini
    Turning Red is fun and sweet and strange, and really, what more could you ask of it?
    • 72 Metascore
    • 42 Vince Mancini
    The Batman wants so badly to be hard boiled, to be “a vibe,” but it attempts to squeeze in so much that it feels frantic.
    • 66 Metascore
    • 58 Vince Mancini
    Cyrano is gorgeous to look at and periodically to listen to, but narratively it’s a lazy take on the material, combining Victorian ideas of purity with Love Actually clichés prizing impotent schoolboy pining over actual connection. In spirit it’s a lot more like the boring, beautiful Christian than it is the audacious homely Cyrano.
    • tbd Metascore
    • 30 Vince Mancini
    Shut In is boring, inconsistent, imbued with some kind of inscrutable code, and above all lazy, a perfect reflection of the rightwing media ecosystem.
    • 61 Metascore
    • 83 Vince Mancini
    Dog
    Dog attempts and mostly does a solid job walking a perilous line, being honest about and sympathetic to the concerns and inside jokes of veterans without licking boots or justifying endless war.
    • 27 Metascore
    • 33 Vince Mancini
    Blacklight’s filmmakers seem to have spent a lot time trying to figure out why Neeson would have to bonk some heads, and not nearly enough time storyboarding and staging elaborate, gloriously executed head bonks.
    • 23 Metascore
    • 67 Vince Mancini
    Home Team is one of the most conceptually-strange cinematic ventures I’ve ever seen, an image management exercise disguised as a scruffy kids comedy.
    • 74 Metascore
    • 75 Vince Mancini
    To say that I was mildly disappointed in Jackass Forever is true. To say that I spent the entire movie screaming, stomping my feet, covering my face with my hands, and squealing with joy, and would’ve happily sat through another 90 minutes of it is also true.
    • 90 Metascore
    • 100 Vince Mancini
    I find myself at a bit of a loss when trying to explain exactly what about it had me so engaged, probably for the same reasons Julie can’t seem to decide on a career. The Worst Person In The World feels like life. And how do you sum up a life?
    • 62 Metascore
    • 63 Vince Mancini
    Finland is a weird little place, and Dual is a weird little movie.
    • 64 Metascore
    • 50 Vince Mancini
    To its credit, When You Finish Saving The World is only 85 minutes long, so even if it doesn’t exactly set the world on fire at least it doesn’t overstay its welcome. There was maybe something here but it feels a little undercooked.
    • 67 Metascore
    • 75 Vince Mancini
    It’s silly without being stupid, smart without being dull, and broad without being corny. It’s a hell of a feature debut for Mimi Cave and a solid sophomore effort for Lauryn Kahn.
    • 76 Metascore
    • 75 Vince Mancini
    Hand of God is a charming, frequently funny coming-of-age tale shot so exquisitely that it would make any Italian-American angry at his ancestors.
    • 49 Metascore
    • 67 Vince Mancini
    Don’t Look Up is a strong idea (with story credit to McKay and journalist David Sirota), and lots of the individual jokes work, but at times it gets so caught up trying to make fun of so many different things that it seems to lack an internal logic. Satire in and of itself isn’t quite a story.
    • 86 Metascore
    • 83 Vince Mancini
    Flaws aside, Gyllenhaal genuinely feels like a new voice as a storyteller, and not just an actor stretching, which is a rare thing.
    • 60 Metascore
    • 58 Vince Mancini
    We seem to be doing the same old Aaron Sorkin thing, and in the absence of any meaningful expansion of his skill set, that thing has become defined by increasingly diminishing returns.
    • 73 Metascore
    • 91 Vince Mancini
    Benedetta is the rare, almost miraculous, really, two-hour-plus movie (131 minutes, to be precise) that only seems to get better in its second hour. The momentum builds and builds until the action comes to a glorious crescendo.
    • 90 Metascore
    • 100 Vince Mancini
    Licorice Pizza seems to further all of Paul Thomas Anderson’s pet themes while adding a personal twist, and at this early stage it’s hard to think of it as anything other than a masterpiece.
    • 76 Metascore
    • 91 Vince Mancini
    Baker’s indelible portrait has the natural rebelliousness of characters who refuse to perform the societal script they’ve been handed.
    • 52 Metascore
    • 40 Vince Mancini
    Halle Berry seems to have discovered that there are lots of stories in the world of MMA. Sadly it seems no one could convince her not to try to tell all of them at once.

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