Charles Bramesco

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For 37 reviews, this critic has graded:
  • 27% higher than the average critic
  • 2% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 21.4 points lower than other critics. (0-100 point scale)

Charles Bramesco's Scores

  • Movies
  • TV
Average review score: 42
Highest review score: 80 Stonehearst Asylum
Lowest review score: 0 Jersey Shore Massacre
Score distribution:
  1. Positive: 4 out of 37
  2. Negative: 15 out of 37
37 movie reviews
    • 49 Metascore
    • 40 Charles Bramesco
    The Equalizer pictures operate under a false moral imperative, using the mission of cleaning up the streets as a cover for the same pat hyper-stylized, near-pornographic brutality.
    • 43 Metascore
    • 20 Charles Bramesco
    Tau
    For the impressively moronic dialogue, Oldman brings a lack of imagination so complete that he could plausibly explain this performance away as a high-concept ironic joke.
    • 52 Metascore
    • 80 Charles Bramesco
    This high-gloss take on Gordon Parks Jr’s funky vision of the hustle goes so far into sheer, unabashed rap-video excess that calling it gratuitous would miss the point. Until it suddenly, brutally isn’t.
    • 66 Metascore
    • 60 Charles Bramesco
    Whannell’s finite reserves of creativity have been meted out in an imbalance, going all in on world-building while giving the fight choreography and the cinematography listlessly documenting it the short shrift.
    • 46 Metascore
    • 60 Charles Bramesco
    Hunnam and Malek both hold up their end of the deal. Noer, for his part, meets them halfway by conjuring golden-hued beauty for the jungle surroundings and a due griminess for the danker chambers of their holding compound. He doesn’t overcomplicate things for himself, keeping the clunky dialogue to a minimum and focusing on the guiding light of Papi’s indomitable willpower.
    • 73 Metascore
    • 40 Charles Bramesco
    The character dynamics are still as rich as when Sherriff first realised them, and C Company’s supporting servicemen add a few complementary hues to this portrait of militarised despair.... And yet Dibb’s direction doesn’t leave the actors enough room to breathe.
    • 30 Metascore
    • 20 Charles Bramesco
    It’s by no means impossible to carve a challenging, meaningful story out of difficult interchanges between the east and west. To return to Scorsese, consider Silence, a fine film about European men slowly realizing just how little they understand of Japan. But neither Zandvliet, Baldwin, nor Leto care to look beyond themselves. They’re worse than the simple gaijin, or the over-affectionate weeaboo – they’re tourists who think they own the place.
    • 35 Metascore
    • 20 Charles Bramesco
    Watching Jones passively bob in the deep end of his imagination, a viewer longs for the compulsory baseline competence of the big studios – anything but the blandness masquerading as future cult bait.
    • 55 Metascore
    • 58 Charles Bramesco
    While pretty consistently amusing, the film still suffers from a chronic case of Wikipediitis, recreating Kenney’s bullet-point moments as substitution for original wit or drama.
    • 68 Metascore
    • 40 Charles Bramesco
    Hall’s marching in lockstep with a lengthy platoon of directors who have already blazed this same path through enemy territory. And though he’s got some upstanding troops at his disposal, his plan of attack lacks that crucial unexpected element that can take an opposing battalion – or an audience – off guard.
    • 17 Metascore
    • 25 Charles Bramesco
    A sequel so wholly anodyne that it doesn’t even deserve its exclamation point.
    • 51 Metascore
    • 30 Charles Bramesco
    Theory’s premise dares to interrogate what, if anything, the apparent randomness of life means. Brown and screenwriter Michael J. Kospiah haven’t the foggiest, but they’re willing to unload as many harebrained plot twists as it takes to obfuscate the question.
    • 27 Metascore
    • 30 Charles Bramesco
    Bound To Vengeance is not necessarily an evil film, or even a hateful one. It’s confused at best, though it’s more likely that the film’s misguided pseudo-feminist subtext is a result of simple thoughtlessness.
    • 58 Metascore
    • 60 Charles Bramesco
    The film’s greatest virtue is Disney’s ability to poke fun at sports-flick tropes while simultaneously embracing them. No cliché goes untackled; Disney and his first-stringers leave it all on the field.
    • 29 Metascore
    • 70 Charles Bramesco
    The first-time feature director still has some growing up to do—the glaring genuflections to his influences betray his rookie status—but Patch Town has just enough laughs, imagination, and sincerity to follow through on its naked bids for cult adoration.
    • 47 Metascore
    • 30 Charles Bramesco
    Though the memory of Hooper’s picture haunts every frame of nü-Poltergeist, Kenan’s will fade unseen into the great beyond first.
    • 68 Metascore
    • 40 Charles Bramesco
    Silver threatens to tease out some compelling emotional dimensions from Robbie and Nina, but stops just short of profundity. Uncertain Terms has no problem amounting to the sum total of its markedly basic component parts.
    • 41 Metascore
    • 30 Charles Bramesco
    Barbarash doesn’t do much to compensate for the misshapen script, either. Fumbling camerawork and incoherent editing rob the film’s generous fight sequences of their oomph, and amateurish green screen hobbles a car-chase sequence.
    • 30 Metascore
    • 10 Charles Bramesco
    There’s nothing clever or subversive about Playing It Cool, which makes the film’s overt self-satisfaction exponentially more infuriating.
    • 58 Metascore
    • 60 Charles Bramesco
    100-Year-Old sometimes feels like a rote biopic of a famous figure who never was, congratulating viewers on whatever recognition has rolled over from grade-school history class, then moving on to what comes next.
    • 39 Metascore
    • 30 Charles Bramesco
    After The Ball commits its most garish faux pas in rooting its plot in the thorny politics of high fashion, despite an apparent lack of any understanding of how the business works.
    • 44 Metascore
    • 60 Charles Bramesco
    This Bizarro-universe Coen brothers mash-up has the decency to be sporadically fun, even when it isn’t especially original or steady.
    • 62 Metascore
    • 70 Charles Bramesco
    [A] solid, well-executed testament to the horrors of the great outdoors.
    • tbd Metascore
    • 60 Charles Bramesco
    X/Y
    The trouble is in Williams’ execution: His characters convincingly strive and struggle with love, but then go ahead and express their angst in the most typical, banal ways imaginable.
    • 45 Metascore
    • 20 Charles Bramesco
    Cross gathers a lot of narrative strands and elegantly knots them during a big, farcical climax. But that’s the one aspect of the film that truly works as it should. Just about every other element of Hits, from its eagerness to snigger at the expense of small-town yokels to its sneering disdain for the common-rabble forum YouTube, leaves a sour taste.
    • 29 Metascore
    • 30 Charles Bramesco
    Old Fashioned fails in more banal ways, too. It’s a flatly predictable sort of romance; numerous leaves are turned over, both figuratively and literally. The film’s predilection for screamingly obvious symbols gets old fast.
    • tbd Metascore
    • 40 Charles Bramesco
    The film’s unexpected nastiness has a way of livening up its otherwise tired story beats.
    • 36 Metascore
    • 30 Charles Bramesco
    A film that could only succeed by sorting through gradually darkening shades of gray works exclusively in embarrassingly bold strokes.
    • 47 Metascore
    • 50 Charles Bramesco
    The fundamental predictability of Before I Disappear’s main plot is just one of the missteps that betray Christensen’s inexperience.
    • 56 Metascore
    • 40 Charles Bramesco
    Too frequently, Monk With A Camera feels like a character study with no interest in studying its character.

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