Brian Tallerico

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For 333 reviews, this critic has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Brian Tallerico's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Florida Project
Lowest review score: 12 The Cobbler
Score distribution:
  1. Negative: 81 out of 333
333 movie reviews
    • 62 Metascore
    • 75 Brian Tallerico
    Not unlike “Mandy,” some of both halves feel self-indulgent, and I’m not sure Apostle quite justifies its 130-minute running time, but you have to say this about it: It’s like nothing else you could include in your annual Halloween horror marathon this year.
    • 81 Metascore
    • 75 Brian Tallerico
    He’s a fascinating cinematic creation and a pronouncement of a major talent in Jim Cummings, the star, writer, and director of the SXSW Grand Jury winner, Thunder Road.
    • tbd Metascore
    • 63 Brian Tallerico
    Malevolent is far from perfect — it kind of sabotages a solid first hour with a clunky, tone-changing climax more likely to leave you queasy than scared — but it’s still better than A) a lot of theatrically-released horror films and B) a lot of Netflix original films.
    • 74 Metascore
    • 75 Brian Tallerico
    It’s not a groundbreaking piece of work, and I wish it embraced its indie, Hartley-esque roughness a bit more instead of trying to be too polished in the final act, but it’s always nice when a movie with little to no buzz sneaks up on you like this one did for me.
    • 65 Metascore
    • 50 Brian Tallerico
    Joan Jett deserves a great rock doc. This isn't it.
    • 82 Metascore
    • 75 Brian Tallerico
    It’s a really difficult film to capture tonally and even narratively in a review, largely because it is such a stylish, visceral experience that it demands you give yourself over to it actively instead of passively analyzing it.
    • 63 Metascore
    • 63 Brian Tallerico
    It’s a brutal slog of a film, admirable in its fearlessness in terms of dark subject matter, but the brutality doesn’t feel worth it in the end.
    • 72 Metascore
    • 75 Brian Tallerico
    Despite a few very funny beats, and a charming performance from the great Ben Mendelsohn, there’s an air of tragedy throughout “Steady Habits,” as if everyone is one bottle of wine away from doing or saying something they will regret forever. In other words, it’s an insightful portrait of middle-age in the ‘10s.
    • 96 Metascore
    • 100 Brian Tallerico
    Cuaron has made his most personal film to date, and the blend of the humane and the artistic within nearly every scene is breathtaking. It’s a masterful achievement in filmmaking as an empathy machine, a way for us to spend time in a place, in an era, and with characters we never would otherwise.
    • 79 Metascore
    • 88 Brian Tallerico
    However suave the movie itself may be, it's another accomplished piece of work from a filmmaker who is now four for four, and continues to surprise with the range of his interests and output. And it’s a love letter to a cinematic legend, serving as a perfect final film for someone who long ago surpassed mere actor status to become an icon.
    • 69 Metascore
    • 75 Brian Tallerico
    The scattershot approach sometimes works to the detriment of his message, but “Fahrenheit 11/9” is ultimately Moore’s best film in years because its message is really simple and nonpartisan: get mad about something and do something about it.
    • 88 Metascore
    • 88 Brian Tallerico
    This story has been told several times before—and influenced other similar romances—but Cooper and Gaga find a way to make this feel fresh and new. It’s in their eyes.
    • 81 Metascore
    • 88 Brian Tallerico
    This is an accomplished, moving piece of filmmaking, one that cares about its characters and trusts its performers. It comes from a relatively old school of dramatic storytelling but it connects emotionally because of Dano’s tender but confident work and what he’s able to draw from two of the best performers of their generation.
    • 68 Metascore
    • 50 Brian Tallerico
    Green and McBride are playing with some interesting themes and there’s a female empowerment story of trauma here that’s interesting (but underdeveloped), but do you know the biggest sin of the new “Halloween”? It’s just not scary. And that’s one thing you could never say about the original.
    • 48 Metascore
    • 75 Brian Tallerico
    Shane Black’s The Predator is a fun, brutal, fighting machine that wastes no time getting down to business — not unlike its title character.
    • 52 Metascore
    • 50 Brian Tallerico
    For despite how much I liked about Hunnam’s work here, I could never completely engage with Papillon given how little it adds to the story that’s already been told and the overdone genre of humans surviving outright torture.
    • 30 Metascore
    • 38 Brian Tallerico
    Sporadically, one can see the movie that Slender Man could have been, but it disappears like the title character’s victims.
    • 86 Metascore
    • 100 Brian Tallerico
    It’s got that finely-tuned, perfect blend of every technical element that it takes to make a great action film, all in service of a fantastic script and anchored by great action performances to not just work within the genre but to transcend it. This is one of the best movies of the year.
    • 69 Metascore
    • 75 Brian Tallerico
    It’s an infectiously goofy film, but also deceptively smart about why we love comic book heroes and the amount of stupidity we’re willing to accept within the genre.
    • 39 Metascore
    • 25 Brian Tallerico
    Zoe
    The non-stop, navel-gazing, faux philosophical dialogue about love starts to feel like some strange experiment itself. It reaches points of near-parody, not unlike overhearing drunk college kids talk about dating apps and the meaning of love at 3 AM at a party you really want to leave.
    • 32 Metascore
    • 38 Brian Tallerico
    It’s not as abrasively awful as the worst of Netflix/Madison projects (“The Ridiculous Six” still holds the standard), it’s just forgettable. It’s akin to a mediocre sitcom you might catch on network TV on a Monday night. You won't hate the experience of watching it, but you’ll forget you saw it before it’s even over.
    • 68 Metascore
    • 75 Brian Tallerico
    It will likely fall through the cracks a bit between “After the Storm” and “Shoplifters,” but it’s worth the time for fans of Kore-eda, a group that seems to be growing every day.
    • 36 Metascore
    • 25 Brian Tallerico
    How It Ends had me thinking about endings in general. How it felt like the close of this film would never come. How we so commonly return in cinema, especially lately, to visions of the end of the world. How the actual ending of this film is an atrocious cheat. Trust me, you’re better off not even beginning.
    • 54 Metascore
    • 50 Brian Tallerico
    Genndy Tartakovsky brings back all the fan favorites from the previous two films and sets them all on an overcrowded, doomed cruise, but the thin plot feels less engaging than the previous films and the jokes less inspired.
    • 49 Metascore
    • 50 Brian Tallerico
    This is a surprisingly toothless and ultimately flat film. It’s salvaged by a truly genuine, sometimes great performance from Josh Brolin, but he’s the only reason to take a look.
    • 81 Metascore
    • 88 Brian Tallerico
    An adrenalin-shot of a comedy and a fearless dissection of identity politics, corporate malevolence, and the American tendency to look the other way when confronted with horror.
    • 69 Metascore
    • 38 Brian Tallerico
    Everything in Dark River feels like it’s designed not with real people in mind but with Serious Independent Cinema in mind. It’s a movie so filled with pregnant pauses and pretentious looks that it never develops an emotional undercurrent at all.
    • 61 Metascore
    • 50 Brian Tallerico
    Some will be turned off by the exploitative violence and some by the shallow storytelling, but what struck me most about “Day of the Soldado” was the predictability of it all.
    • 24 Metascore
    • 25 Brian Tallerico
    There may one day be a great movie made about John Gotti. This one ain’t it.
    • 80 Metascore
    • 88 Brian Tallerico
    Incredibles 2 understands something that most family sequels, even the Pixar ones, fail to comprehend—we don’t just want to repeat something we loved before. We want to love it all over again. You will with Incredibles 2.

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