For 105 reviews, this critic has graded:
  • 66% higher than the average critic
  • 5% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 7.9 points higher than other critics. (0-100 point scale)

Andrew Crump's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Phantom Thread
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Positive: 83 out of 105
  2. Negative: 6 out of 105
105 movie reviews
    • 87 Metascore
    • 93 Andrew Crump
    As the crimes of the deportation haunts Bisbee and its inhabitants, so, too, are we haunted by them through the filter of Greene’s lens. But that experience, the experience of being haunted, proves vital. Maybe it’s necessary to let history haunt us. If we don’t, we’ll never be able to move beyond it.
    • 57 Metascore
    • 70 Andrew Crump
    As delightful as relentless CGI monster mayhem is—and there’s plenty to go round as The House with a Clock in Its Walls rolls through its final act—it’s the lovely character work that makes the story memorable. Roth and his cast pack a surplus of exuberance into a children’s fantasy mold that’s by now grown musty.
    • 73 Metascore
    • 61 Andrew Crump
    The film’s vistas are beautiful and Matthews’s aim, high, but those aspirations are not fully realized in what feels like a first draft attempt at brushing Western customs with textures drawn from a South African palette.
    • 41 Metascore
    • 75 Andrew Crump
    Arizona bathes its absurdist satire in the bleakest humor and takes a sober glance at the consequences of America’s worst modern economic calamity.
    • 83 Metascore
    • 100 Andrew Crump
    Like life itself, Hale County This Morning, This Evening doesn’t lend itself to immediate comprehension. It’s to Ross’ credit that his work remains so thoroughly accessible and engrossing regardless.
    • 88 Metascore
    • 83 Andrew Crump
    Crime + Punishment isn’t without hope, but it anchors that hope to the unflattering realities of American policing.
    • 66 Metascore
    • 64 Andrew Crump
    What Keeps You Alive’s forthright quality feels refreshing, and Minihan’s craft is a major plus, too.
    • 65 Metascore
    • 80 Andrew Crump
    Yuasa doesn’t care much for substance, so beyond the film’s surface charms there’s not much to hang onto. But those surface charms are substance enough. Colorful, madcap, and surprisingly sweet, The Night Is Short, Walk On Girl is the best nocturnal romp you never had, and a dizzying reignition of rom-com formula.
    • 70 Metascore
    • 79 Andrew Crump
    Trump plays no part in Rachel Dretzin’s Far from the Tree, a documentary distilled from Andrew Solomon’s nonfiction novel of the same name, but the film rebukes his cruelty regardless by doing what cinema does so well: highlighting humanity.
    • 89 Metascore
    • 84 Andrew Crump
    The greatest miracle of Eighth Grade is its warmth. The film reflects arguably the worst stretch of growing up in America’s education system, but it’s rarely if ever ugly. Instead, it’s compassionate, radiating retroactive kindness for the children we all were to soothe the adults we are now.
    • 68 Metascore
    • 70 Andrew Crump
    The Third Murder may not be Kore-eda’s best work, but the film proves a satisfying challenge, a complex exploration of sin and righteousness in an amoral world.
    • 54 Metascore
    • 68 Andrew Crump
    At its best The First Purge functions like a much-reduced Purge movie retread. It’s not that it’s bad, really. It’s that we’ve seen this before.
    • 75 Metascore
    • 83 Andrew Crump
    This Is Congo has a point to prove and a righteous fury with which to prove it. But it’s focused and precise, which makes the sheer breadth of context required to understand it much easier to digest.
    • 61 Metascore
    • 79 Andrew Crump
    If The Year of Spectacular Men makes any kind of statement, it’s that Madelyn and Zoey ought to work together more often. Put simply, they’re amazing, lively, sharp, snarky with a side of cheer—for the time being The Year of Spectacular Men feels like their gift to us, an unexpected blend of comedic tones and a perfectly bittersweet summertime respite.
    • 65 Metascore
    • 70 Andrew Crump
    As a showcase for its leads, it’s delightful. All it’s missing is a touch of honest-to-goodness gravity to keep the story anchored.
    • 68 Metascore
    • 45 Andrew Crump
    Layton’s failure is frustrating. American Animals is a rare thing, truth that’s legitimately stranger than fiction. Bereft of a cohesive structure, the movie loses purpose, and that rare, strange truth is lost in workaday heist tropes blended with workaday documentary portraiture.
    • 67 Metascore
    • 75 Andrew Crump
    More than a documentary, the film is an exposé on the world of global capitalism’s callousness that handily demonstrates their inhumanity.
    • 81 Metascore
    • 83 Andrew Crump
    Summer of 1993 does what movies do so well (and yet so rarely do), which is to let viewers see the world through the eyes of another.
    • 74 Metascore
    • 78 Andrew Crump
    Beast plays with enough restraint to sustain our doubts for most of its duration, its gentle and often lovely filmmaking lulling us toward false certainties about its underlying inhumanity.
    • 79 Metascore
    • 89 Andrew Crump
    The blend of artistry and genre is breezy and dense at the same time, a film worth enjoying for its surface charms and studied for its deeply personal reflections on intimacy. You may delight in its lively, buoyant filmmaking, but you’ll be awed by the breadth of its insight.
    • 81 Metascore
    • 87 Andrew Crump
    With Revenge, Fargeat has waved a blistering middle finger at rape culture and rape culture’s enablers. Revenge isn’t hers alone. It’s womanhood’s, too.
    • 62 Metascore
    • 77 Andrew Crump
    Does the experience improve under the influence? Possibly. Then again, Yuasa’s work is effectively intoxicating on its own merits, squiggly and colorful, animation off-kilter enough to send you on a cinematic trip so long as you let it wash over you.
    • 60 Metascore
    • 64 Andrew Crump
    There are problems with Mrs. Hyde that have nothing whatsoever to do with Bozon’s puzzling creative choices, though for perspective’s sake, the problems are dwarfed by the choices.
    • 34 Metascore
    • 20 Andrew Crump
    It’s genre salad, and every ingredient is wilted at a moment in America where Kings’ historical makeup remains fresh.
    • 41 Metascore
    • 69 Andrew Crump
    Juvenile is as juvenile does, but the Broken Lizard fellows supplement their puerile nonsense with abiding endearment. They’re idiots, but sincere, disarming idiots. Like the characters they play in both movies, they mean well, but meaning well comes in second to antics when spending your career making concerted efforts to avoid responsibility.
    • 55 Metascore
    • 50 Andrew Crump
    Godard Mon Amour captures the complications and the controversy, but Hazanavicius struggles to drum up meaningful insights into what makes Godard Godard.
    • 68 Metascore
    • 68 Andrew Crump
    Ghost Stories’ failure to see its established ideas through to the end doesn’t totally negate the viewing experience. Each segment remains effectively chilling in a vacuum where the movie’s climax doesn’t exist.
    • 58 Metascore
    • 56 Andrew Crump
    As Wildling’s center, Powley keeps our attention in her orbit, and Böhm constructs a universe around her that’s worthy of her talent (if at times too murkily filmed for its own good). But the movie loses its thread 15 minutes or so into its running time.
    • 68 Metascore
    • 80 Andrew Crump
    Newman has pretty serious filmmaking chops: She shoots action cleanly, coherently, with an eye for the poetry of a well-executed suplex and the brutality of a back alley brawl. Her strongest work, though, is seen in her characters and in her lead.
    • 67 Metascore
    • 71 Andrew Crump
    The China Hustle handily clarifies opaque topics and moves like a bullet, but the bullet catches us right in the gut. By the time the film ends you’ll wish you could go back to being ignorant again.

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