Brian Tallerico

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For 349 reviews, this critic has graded:
  • 52% higher than the average critic
  • 1% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Brian Tallerico's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Jane
Lowest review score: 12 Abattoir
Score distribution:
  1. Negative: 83 out of 349
349 movie reviews
    • 58 Metascore
    • 88 Brian Tallerico
    Dunham displays a remarkable skill when it comes to using limited space, trapping his characters in a warehouse on a life-changing night and watching the insecurities that they have shrouded in macho masculinity come bubbling to the surface.
    • 42 Metascore
    • 50 Brian Tallerico
    There’s a truly ambitious film buried in Glass, and I do mean buried. The problem is that Shyamalan can’t find the story, allowing his narrative to meander, never gaining the momentum it needs to work.
    • 18 Metascore
    • 25 Brian Tallerico
    Truly dreadful...Replicas is completely ludicrous on a dozen or so levels, but it depressingly avoids the camp or style needed to make an implausible story work as pure entertainment. We’ll go with your goofy story, filmmakers, if you give us a cinematic reason to do so. Replicas never does. Not even remotely.
    • 59 Metascore
    • 50 Brian Tallerico
    What’s perhaps most interesting about director Jen McGowan’s film is how much she rescues it from that dreadful opening act, although she can’t quite get it back to something worth recommending, largely due to a major flaw that grows more prominent in contrast as the film gets better.
    • 61 Metascore
    • 38 Brian Tallerico
    The words that keep ringing in my head regarding Adam McKay’s Vice are courtesy of the bard: “Full of sound and fury, signifying nothing.”
    • 41 Metascore
    • 63 Brian Tallerico
    The film finds von Trier wrestling with the claims of misogyny and misanthropy that have followed him his entire career, but not in the way you’d expect. If anything, he leans into both, daring you to look into the abyss with him as he interrogates his own dark side and banishes himself to the underworld.
    • 51 Metascore
    • 63 Brian Tallerico
    Most of its strength emerges from a well-directed ensemble, one able to convey the high concept of a nightmarish situation without losing their relatable humanity.
    • 70 Metascore
    • 75 Brian Tallerico
    Watching young men become militarized is one of those gut-churning documentary topics. And yet the main subject of Of Fathers and Sons would argue that this is the only path to freedom and to happiness. The best parts of Talal Derki’s award-winning film not only seek to understand that but to reason with it.
    • 93 Metascore
    • 100 Brian Tallerico
    For the bulk of Shoplifters, Kore-eda works in a beautiful register that feels both detailed and genuine at the same time. We get to know these characters so deeply, watching them all at their jobs.
    • 71 Metascore
    • 75 Brian Tallerico
    Ralph Breaks the Internet dares to encourage kids to not only be themselves but allow their friends to be true to their wants and needs as well. Your friend doesn’t have to be exactly like you to be your friend. It’s a message that’s very well-threaded through an entertaining, clever ride.
    • 59 Metascore
    • 50 Brian Tallerico
    The fact is that as good as Plummer and McDermott are here, Ford ultimately writes himself into a corner that requires actions in the final act that don’t ring true.
    • 78 Metascore
    • 75 Brian Tallerico
    It’s an impressionistic film, concerned more with the atmosphere around genius than explaining it away.
    • 71 Metascore
    • 75 Brian Tallerico
    Cam
    This is the kind of clever jolt to the system we want from horror thrillers — an unexpected commentary on today’s society burrowing its way through an intense story.
    • 84 Metascore
    • 100 Brian Tallerico
    McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels like we have to take what we are owed or risk never getting it at all.
    • 59 Metascore
    • 50 Brian Tallerico
    So much time and energy put into something that, try as I might, I could only muster interest in sporadically. All of this well-meaning effort to waste on a film that never finds the right tone to connect with viewers. It takes a lot to make a movie like Outlaw King, even if it provides so little.
    • 83 Metascore
    • 88 Brian Tallerico
    A brilliant genre exercise, a cinematic study in tension, sound design, and how to make a thrilling movie with a limited tool box. The film’s own restrictions actually amplify the tension, forcing us into the confined space of its protagonist.
    • 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.
    • 82 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.
    • 66 Metascore
    • 50 Brian Tallerico
    Joan Jett deserves a great rock doc. This isn't it.
    • 81 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.
    • 71 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.
    • 80 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.
    • 80 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.
    • 67 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.

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