Dominick Suzanne-Mayer

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For 142 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.4 points higher than other critics. (0-100 point scale)

Dominick Suzanne-Mayer's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 American Honey
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 88 out of 142
  2. Negative: 22 out of 142
142 movie reviews
    • 25 Metascore
    • 16 Dominick Suzanne-Mayer
    When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.
    • 37 Metascore
    • 50 Dominick Suzanne-Mayer
    The movie is reasonably successful in its own modest way; its interests go no further than offering a handful of pratfall-driven laughs, and a few lessons about kicking back and cutting loose before you miss out on the simpler pleasures of life.
    • 73 Metascore
    • 75 Dominick Suzanne-Mayer
    Filmworker makes a compelling argument that the Kubrick who lives in cinematic legend may not have become the man he’s remembered for being without Vitali around.
    • 66 Metascore
    • 58 Dominick Suzanne-Mayer
    Deadpool 2 likes to situate itself as the subversive alternative to so many bloated X-Men films, with all their grave self-importance and bombastic action, but even more of this go-around resembles those movies than its predecessor, and if it reads to you as more than a bit hypocritical, just know you’re hardly alone.
    • 60 Metascore
    • 83 Dominick Suzanne-Mayer
    It’s intelligent, frequently resonant, and even wryly funny at points in its own weary way. This is sci-fi which trusts its audience to fill in the blanks and do just a little bit of the heavy lifting, and it’s better off for it.
    • 77 Metascore
    • 67 Dominick Suzanne-Mayer
    It’s a provocation, and for the most part, it’s an effective one. Yet for a film all about verbal and physical blows, Bodied seems to grow skittish when it comes to landing the nastiest ones, the ones that would call its own ideals into question. It’s just insightful enough to leave audiences wishing that it were more so.
    • 68 Metascore
    • 75 Dominick Suzanne-Mayer
    It’s exhausting, but it’s also frequently effective. It’s surface-level with its emotional beats, but a number of them still land, largely thanks to the continuously all-in performances of the series’ endlessly patient stars. It’s an event that advertises itself as an event in every way, while somehow still managing to justify the immense hype around it.
    • 45 Metascore
    • 33 Dominick Suzanne-Mayer
    It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.
    • 84 Metascore
    • 100 Dominick Suzanne-Mayer
    You Were Never Really Here is a masterpiece of form and performance, but somehow, its accomplishments in sound and aural texture manage to dwarf even those other accolades.
    • 32 Metascore
    • 33 Dominick Suzanne-Mayer
    That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.
    • 75 Metascore
    • 75 Dominick Suzanne-Mayer
    While Finley’s film may be slim on any truly insightful commentary about what makes Amanda and Lily tick, that’s almost beside the point. Instead, this is a film about the fine lines separating civility from chaos, and how it only takes a tiny push to send you across when you’re close enough to it.
    • 35 Metascore
    • 25 Dominick Suzanne-Mayer
    Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.
    • 88 Metascore
    • 91 Dominick Suzanne-Mayer
    There’s talent in every corner of the film, and it elevates Black Panther beyond so many of its superhero contemporaries even as it exhibits some formulaic tendencies. It’s a sterling example of formula done exceedingly well, however, particularly in the ways it uses the familiarity of that formula to tell a new kind of story.
    • 51 Metascore
    • 42 Dominick Suzanne-Mayer
    Director Wes Ball frames the film as one long siege on the central city with few exceptions, and while that lends it a certain sense of momentum, after a while the sensation of watching it turns into one of checking off boxes
    • 35 Metascore
    • 42 Dominick Suzanne-Mayer
    Henson, ever the magnetic performer, elevates so much of Najafi’s boilerplate direction with sheer presence alone; while the film consistently suffers from the tendency to bathe nearly every scene in maudlin strings and over-exposition, the actress manages to convey multitudes about Mary’s interiority with little more than a sustained gaze.
    • 65 Metascore
    • 67 Dominick Suzanne-Mayer
    It’s a sparse film, to be sure, but one authentic to the time in which it takes place, even if that authenticity reads in a significantly different light in our own time.
    • 29 Metascore
    • 33 Dominick Suzanne-Mayer
    It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.
    • 90 Metascore
    • 100 Dominick Suzanne-Mayer
    It’s at once subtle and outlandish, sensual and thoughtful, outrageously unconventional and yet one of its director’s most confidently assembled features.
    • 59 Metascore
    • 67 Dominick Suzanne-Mayer
    Voyeur leaves its viewers with more questions about what happened in the Manor House and what it meant than they’ll have coming in. If that’s hardly the note of finality that many will want or expect, it’s the aspect of the film that perhaps feels the most authentic and honest.
    • 58 Metascore
    • 67 Dominick Suzanne-Mayer
    Roman J. Israel, Esq. is sometimes a compelling movie and often a difficult one to keep with, but it’s a flawed challenge that you’ll be grateful you gave a chance all the same.
    • 88 Metascore
    • 91 Dominick Suzanne-Mayer
    Three Billboards may be a film chiefly concerned with rage, and pain, but it’s also one of the best dark comedies of recent vintage, and one of the better dramas as well. While some of McDonagh’s narrative threads do time out in unexpected and even unresolved ways, the film’s highs are exemplary.
    • 74 Metascore
    • 75 Dominick Suzanne-Mayer
    The film maintains a hum of stoic, nerve-trembling anxiety that carries through to its finale.
    • 72 Metascore
    • 75 Dominick Suzanne-Mayer
    This is a story with a message, and perhaps an overlong one, but the triumphant staging of the film’s action sequences often tends to erase any lingering doubts of its purpose before long.
    • 39 Metascore
    • 16 Dominick Suzanne-Mayer
    By now, you likely already know whether or not Jigsaw is for you. The series is nothing if not consistent, but the diminishing returns that led to its near-decade hiatus only continue here.
    • 21 Metascore
    • 25 Dominick Suzanne-Mayer
    Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.
    • 74 Metascore
    • 75 Dominick Suzanne-Mayer
    As many note throughout the doc, the best moments that film as a medium has to offer are found in the smallest details. And when you find something truly great, as with this scene, you can just keep looking and looking until you spiral into the same void on which the grisly sequence ends.
    • 79 Metascore
    • 91 Dominick Suzanne-Mayer
    It’s a striking debut, and the kind of outing that will invariably leave audiences wanting to see more from Lynch behind the camera in the future. But Lucky is a showcase for Stanton above all things.
    • 92 Metascore
    • 100 Dominick Suzanne-Mayer
    The film exudes pure humanity in every frame, in all of its messiness and splendor and tragedy, and much of that raw emotion is owed to the performances.
    • 39 Metascore
    • 50 Dominick Suzanne-Mayer
    There’s agony in the margins of every frame, but it remains muted beneath so many layers of color and so many hands drifting across surfaces.
    • 65 Metascore
    • 67 Dominick Suzanne-Mayer
    American Made speaks in shorthand, in its visual and narrative language alike, and it’s less the ribald ripped-from-the-headlines commentary it aspires to be than a cynically breezy take on an ugly, unduly buried chapter of American history.

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