For 25 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 8.4 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 90 Minding the Gap
Lowest review score: 10 The Master of Disguise
Score distribution:
  1. Positive: 10 out of 25
  2. Negative: 7 out of 25
25 movie reviews
    • 90 Metascore
    • 90 Dan Fienberg
    Minding the Gap starts out as one story, suggesting one set of character arcs, and then flows in unexpected directions and underlines new sets of themes, without ever feeling haphazard or ill-considered.
    • tbd Metascore
    • 60 Dan Fienberg
    As a movie it's OK, with very little worth raving about. As a story and message, though, it feels important and worth getting out there in as swift and mainstream a way as possible. Better to inspire some institutional change and maybe save a few lives than to be hailed as art.
    • 85 Metascore
    • 80 Dan Fienberg
    There's more to Fred Rogers than any 93-minute documentary can contain, and it was easy for me not to lament what Neville wasn't doing and just to embrace what Rogers was.
    • 68 Metascore
    • 60 Dan Fienberg
    Utterly and passionately hagiographic, the documentary Seeing Allred presents 96 minutes of reasons to stand and cheer for celebrated feminist lawyer Gloria Allred. That means, of course, that for ultra-conservative lovers of Netflix documentaries, it's doubtful that Seeing Allred is going to dramatically change any opinions about her.
    • 53 Metascore
    • 60 Dan Fienberg
    Easily the most ambitious film of the director's career, but also the most infuriating for all of the sociological and psychological points that it tries to make in ways that are too often unearned or poorly defended.
    • 87 Metascore
    • 75 Dan Fienberg
    What Gideon's Army does is make a respectful case on the behalf of a profession that too often gets maligned.
    • 68 Metascore
    • 75 Dan Fienberg
    Clement is the reason that Will is tolerable, because if you look at the character's on-the-page actions, he's not an especially well-developed man-child.
    • 69 Metascore
    • 83 Dan Fienberg
    Even though The Amina Profile works as a cyber-thriller of sorts, I think it's much more wide-reaching than that, a story about online identity, but also about the danger of media-constructed narratives, one that manages to salute both citizen journalists, but also establishment outlets like NPR.
    • tbd Metascore
    • 80 Dan Fienberg
    Kailash ends on the right notes of hope, without abusing sentiment.
    • tbd Metascore
    • 80 Dan Fienberg
    The Sentence is so committed to its concentration on emotion and heart that it's difficult not to get carried away, and it feels almost churlish to quibble with the intellectual responses it barely aspires to.
    • 31 Metascore
    • 30 Dan Fienberg
    Zombie wants his film to be gleefully demented, but he fails to grasp that loud, inbred evil people torturing stupid, grating benign people isn’t disturbing as much as tedious.
    • 12 Metascore
    • 10 Dan Fienberg
    The Master of Disguise represents Adam Sandler's latest attempt to dumb down the universe.
    • 37 Metascore
    • 30 Dan Fienberg
    Kids will probably enjoy the sight of huge, bumbling teddy bears -- Parents will exit wondering why this piece of unnecessary cross-promotion wasn't released straight to video.
    • 55 Metascore
    • 60 Dan Fienberg
    de Ayala is required to supply too much of the energy in a film that is, overall, far too staid for its subject matter.
    • 11 Metascore
    • 20 Dan Fienberg
    Visually sumptuous but intellectually stultifying.
    • 60 Metascore
    • 80 Dan Fienberg
    The Australian actor taps into something miraculous here -- LaPaglia's ability to convey grief and hope works with Weaver's sensitive reactions to make this a two-actor master class.
    • 23 Metascore
    • 10 Dan Fienberg
    Black cats, ill-timed power outages and children in peril are just a few of the hoary scare tactics ineffectively rendered in the style of so many films buried in the dark recesses of January.
    • 30 Metascore
    • 40 Dan Fienberg
    Schaeffer fails to develop the relationship beyond clichéd signpost events.
    • 49 Metascore
    • 50 Dan Fienberg
    While the film frequently concentrates on the wrong story, the humanity of the musicians comes through in their own words and actions.
    • 18 Metascore
    • 20 Dan Fienberg
    Cuba Gooding Jr.'s unrelenting energy can be galvanic in good films, but in lesser efforts it reeks of frenzied futility.
    • 55 Metascore
    • 80 Dan Fienberg
    Twohy moves effortlessly between conventions of the sub and horror genres, with long tracking shots and masterful sound design, shock cuts and mismatched mirrors and reflections.
    • 70 Metascore
    • 80 Dan Fienberg
    Taut and well-acted, faltering only when the filmmaker loses faith in the power of his story.
    • 47 Metascore
    • 50 Dan Fienberg
    The two encounters with the beast WXIII -- first in a darkened factory, and later in an empty stadium, to the strains of Beethoven’s Piano Sonata in G Minor (Pathétique) -- elevate the disappointingly flat animation into a vivid fable of monster and morality.
    • 51 Metascore
    • 50 Dan Fienberg
    His veiled misogyny and totally unguarded homophobia are unconvincing, and when he resorts to chestnuts like comparing how black and white people walk, he comes off as a Pryor caricature, rather than as a devotee.
    • 25 Metascore
    • 20 Dan Fienberg
    It's animated cockfighting for children.

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