Film Journal International's Scores

  • Movies
For 225 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Alien
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Negative: 31 out of 225
225 movie reviews
  1. First-time feature director Eytan Rockaway (also producer and co-author, with screenwriter Ido Funk, of the film's story) does a commendable job of ratcheting up the scary atmosphere and images.
  2. This is a more-than-promising directorial debut, well worth seeking by adventurous moviegoers.
    • 80 Metascore
    • 40 Critic Score
    Perhaps not surprisingly, Selma seems to understand King best when he's behind a podium or at the head of a march. After all, that public Martin Luther King, Jr. is the one engrained in our collective memory, representing the kind of person we all should be so lucky to aspire to be.
  3. A tragic romance of identity embedded in a voluptuous atmosphere, Moonlight flirts with visual and thematic excess. But the emotional integrity of its characters, seamlessly maintained from one set of actors to the next, who so desperately want to love, pulls it back from the brink.
    • 87 Metascore
    • 91 Critic Score
    It’s a perfect pairing of sensibilities; Jenkins and Baldwin share a nuanced, lyrical style that conveys the beauty and hope in even the most despairing of situations, with a focus on the emotional truths of their characters. Like the novel, the film is a love story, as well as a powerful indictment of systemic racism and the criminal-justice system.
  4. Never Look Away, a cohesively integrated collage of many genres (history, war, crime, medical drama with romance and spectacle), is also a feast of fine acting and magnificent visuals. But with so much going on, viewers, as if confronting impressionistic paintings or pixel-based photorealistic portraitures, need to step away to get a better picture.
  5. Compositionally often quite gorgeous and filmed largely in luminous, at times otherwordly black-and-white, The Great Buddha is compelling due to its mordant wit, authentically observed performances and distinctive cynical/lyrical outlook.
  6. Rachel Weisz, Emma Stone and particularly an astonishing Olivia Colman find a perfectly pitched acid tone in harmony with the director's edgy vision.
  7. Their most potent commentary is often their silence, their wordless responses to those questions that are unanswerable. Their restraint and dignity are an emotional sucker punch.
  8. Jordan really commits, and his scenes with Thompson have genuine warmth and intimacy.
  9. Not only do the Coens remember and reproduce it well, so does their French cinematographer, Bruno Delbonnel
  10. Under the Wirecements Colvin’s legacy as it illustrates the value of getting to the truth and making it public. In Martin’s hands, Conroy’s story is no less compelling.
  11. Schnabel's film is not so much about the artist as a journey into his inner being, so we experience the world in much the same blissed-out, tormented and chaotic way he himself did.
  12. There is nothing grand about Anchor and Hope. It is only that which is extraordinarily difficult to make: a simply well-executed film.
  13. Welcome Home also features surprisingly strong performances from Ratajkowski, Scamarcio and Paul (“Breaking Bad”) and ends with a nifty little parting shot whose implicit condemnation of mindlessly consuming the lives of others should give audiences a little chill.
  14. The smartest kind of sequel, Ralph Breaks the Internet remembers what you liked about the first film. And then, not only gives you more of the same, but something different.
  15. This exquisitely mounted sequel to Fantastic Beasts and Where to Find Them (2016) skims past any narrative shortcomings through the complete and convincing totality of the wizarding world it creates, drawing you into another reality with perhaps more verisimilitude than any film in the Harry Potter canon.
  16. The switch between moods—obvious comedy and sermonizing message—comes often, and clumsily.
  17. As it is, it’s a bit of a slog. A well-crafted slog. But a slog nonetheless.
  18. There’s something almost inevitable about these real-life characters getting a feature showcase, so unusual, engaging and inspiring is their journey from antagonism to deep friendship.
  19. Cam
    Unfortunately, a solid premise can only carry a film so far, and Goldhaber fails to deliver on Cam’s potential.
  20. With heavy-hitters like Melissa Leo and a particularly terrific John Hawkes backing up a magnetic deGuzman, the slight, 80-minute movie makes for strange and surprising entertainment.
  21. Even middling Welles is better than none, and it's a treat to see his longtime collaborators like Paul Stewart and Mercedes McCambridge performing as brilliantly as ever. John Huston is a special delight.
  22. A Private War certainly gets viewers to care about Colvin. The screenplay, by Arash Amel, drops Marie (and viewers) into several war zones where she reports about various horrors. Heineman wisely does not shy away from showing some of the blood and the carnage, lest anyone forget the very real human stories that Colvin reported.
  23. They'll Love Me When I'm Dead gives a rich, flavorful account of a self-destructive genius on one of his last creative benders.
  24. Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders is a truly engrossing film, one that balances the big picture and the small one.
  25. What might be considered devastating or dead funny here will be highly subjective, but none of it captures the wit of producer Eminem’s “Slim Shady,” which rolls under the closing credits.
  26. Weightless is a bleak slice-of-life movie that’s tightly focused and stylistically cohesive. The narrative is not without interest and the film’s atmospheric mood is effective. But ultimately its slow pacing (unremittingly so) grows tedious and the ending is a non-ending.
  27. Ultimately, Speed Kills feels startlingly like a 1990s direct-to-video action movie with an inexplicably inflated budget.
  28. It’s only when River Runs Red gets to about the hour mark that a story begins to cohere. Up until that point, it had taken the most perfunctory of stabs at being a ripped-from-the-headlines drama about police shootings.

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