Gary Goldstein

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For 844 reviews, this critic has graded:
  • 54% higher than the average critic
  • 13% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Gary Goldstein's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 The Kind Words
Lowest review score: 0 The Remake
Score distribution:
844 movie reviews
    • 71 Metascore
    • 70 Gary Goldstein
    Ultimately, Studio 54 proves a nostalgic, sometimes wistful, other times unsettling look back at a singular period of time.
    • 62 Metascore
    • 80 Gary Goldstein
    It’s a film of decided care and forethought.
    • 60 Metascore
    • 80 Gary Goldstein
    It’s a film that begins as a raucous rural comedy and deftly evolves into a poignant and reflective, yet still wryly amusing, story of what becomes of a family.
    • 42 Metascore
    • 40 Gary Goldstein
    Tolerating Pablo might have better suited this unremarkable picture in which the wealthiest criminal of all time’s reported charisma takes a back seat to his badness.
    • 74 Metascore
    • 50 Gary Goldstein
    Sommer, who did fine supporting work on TV’s “Mad Men,” doesn’t prove a distinctive or charismatic enough presence to carry an entire film, especially one as uneven as this.
    • 88 Metascore
    • 90 Gary Goldstein
    Museo is a fun, stylish, singular heist flick that’s about so much more than the theft itself.
    • 87 Metascore
    • 80 Gary Goldstein
    All in all, Jane Fonda in Five Acts proves a captivating, extremely well-told and crafted, decidedly fitting tribute to a Hollywood legend, fighter and survivor who just might surprise us one day with a “sixth act.”
    • 35 Metascore
    • 40 Gary Goldstein
    Judy Greer, the wonderful film and TV actress, makes an inauspicious directing debut with this unevenly paced, tonally awkward comedy.
    • 47 Metascore
    • 70 Gary Goldstein
    Ultimately, it’s the social, sexual, political and artistic power of the same-sex dance phenomenon that gives the topic its unique heft and vitality.
    • 76 Metascore
    • 60 Gary Goldstein
    That Hawke so closely aligns his cinematic style, inventive as it is, with the story’s disorderly, scruffily offbeat characters and settings is both a strength and a liability. His kaleidoscopic, at times ghostly, approach proves a valiant if studied effort.
    • 62 Metascore
    • 60 Gary Goldstein
    Although it’s anchored by a deeply felt performance by the wonderful Emily Mortimer, with a marvelous supporting turn by the always-welcome Bill Nighy, the film, scripted and directed by Spanish filmmaker Isabel Coixet (“Elegy,” “Learning to Drive”), is at times a bit too mustily mounted and told to keep us as fully immersed as we might like.
    • tbd Metascore
    • 50 Gary Goldstein
    Although it’s a serviceable enough story, the script by Blake Harris, who co-directed with Chris Bouchard, is often too earnest and forced to prove sufficiently fun or wondrous.
    • tbd Metascore
    • 40 Gary Goldstein
    There are ultimately kernels of truth buried amid the film’s random yakking, mini-crises and bits of forced bad behavior, but they prove too little, too late.
    • 86 Metascore
    • 80 Gary Goldstein
    Although this quietly daring, decidedly nonjudgmental film doesn’t ask or answer a lot of questions, it paints a cumulatively vivid portrait of young love and early motherhood.
    • 76 Metascore
    • 90 Gary Goldstein
    It’s a haunting and masterful effort, but be warned: This is tough stuff.
    • 69 Metascore
    • 70 Gary Goldstein
    There are no spies who “dump” or “shag” anyone here, much less jump out of airplanes or buildings, but The Spy Gone North, based on the exploits of a true-life double agent code-named Black Venus, remains a taut, slowly engrossing, effectively old-fashioned Cold War thriller.
    • 47 Metascore
    • 60 Gary Goldstein
    As any dog lover will tell you, our four-legged friends make everything better. That’s especially true when it comes to the genial if overly familiar ensemble comedy “Dog Days,” whose four-legged stars bring out the best in the movie’s crisscross of humans — and in the film itself.
    • 52 Metascore
    • 50 Gary Goldstein
    As much a commercial for Royal Caribbean cruises as it is a dramedy about a bumpy daughter-dad reunion, Like Father swamps its workable emotional core and adept lead turns with some slapdash plotting and a raft of floating festivities.
    • tbd Metascore
    • 20 Gary Goldstein
    The movie, based on the novel “Seventy Times Seven,” is so laden with hoary gay stereotypes and references (enough with “The Golden Girls”!), anachronistic name-checks (Charo? Jeff Stryker?), groan-worthy silliness, overplayed emotion and amateurish crafting it never had a prayer.
    • 67 Metascore
    • 70 Gary Goldstein
    As a candid and involving socio-sexual time capsule of postwar to pre-AIDS Hollywood and how one free-thinking pioneer made a secret society of legendary artists and performers undeniably happy, “Scotty” definitely succeeds.
    • 80 Metascore
    • 70 Gary Goldstein
    An involving, stacked deck of a story plus strong acting and a mix of vital themes combine to make The Citizen a solid drama about immigration, nationalism and survival in an often unforgiving world.
    • 73 Metascore
    • 50 Gary Goldstein
    Despite its singular star and bursts of audio-visual vibrancy, the film may prove more ponderous and patience-testing than enlightening or involving for all but the most intrepid viewers.
    • 63 Metascore
    • 70 Gary Goldstein
    Snapshots nicely shuttles between past and present to tell its affecting, evocative tale of familial and romantic love among several generations of women. But it’s the flashbacks that prove more wholly compelling here, so much so that they could have made for their own standalone film.
    • tbd Metascore
    • 80 Gary Goldstein
    Larger Than Life: The Kevyn Aucoin Story is a rich, deeply dimensional documentary looking back at the legendary makeup artist who died in 2002 at 40.
    • 63 Metascore
    • 80 Gary Goldstein
    The cast, including Victoria Carmen Sonne, as the object of both Emil and Johan’s affections, and Lars Mikkelsen, as the quarry boss, is uniformly strong and singular.
    • 36 Metascore
    • 50 Gary Goldstein
    The serviceable but astonishingly generic Damascus Cover features the usual political-thriller tropes — tough but haunted protagonist, zigzag of foreign locales, rival spies, arcane twists, shifting allegiances, wedged-in romance — without adding much that feels unique or exciting.
    • tbd Metascore
    • 70 Gary Goldstein
    If the show’s hilarious first half gives way to a more modestly amusing second part, Noble Ape remains good, clean, relatable fun.
    • tbd Metascore
    • 10 Gary Goldstein
    Angels on Tap is an ill-conceived comic-fantasy filled with strained and creaky humor, cardboard characters, an inane framing device and, as directed by Trudy Sargent, zero cinematic style.
    • 54 Metascore
    • 70 Gary Goldstein
    The film takes liberties with certain truths about Gauguin and his time in the tropics, yet despite — or maybe because of — its concoctions manages to produce a highly compelling central character.
    • 57 Metascore
    • 40 Gary Goldstein
    Given the script’s basic dialogue and narrow characterizations, it’s fortunate that there’s such an evocative locale to help us further imagine the lives of the film’s idiosyncratic folks.

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