Gary Goldstein

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For 806 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 4.4 points lower than other critics. (0-100 point scale)

Gary Goldstein's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Left Behind
Score distribution:
806 movie reviews
    • tbd Metascore
    • 40 Gary Goldstein
    The modestly watchable, at times intriguing romantic mystery Intersection is never quite skillful or convincing enough to forget for even a moment how many far better haunted hunk-meets-femme fatale thrillers have come before it.
    • tbd Metascore
    • 80 Gary Goldstein
    Throughout, Reynolds approaches the range of people and issues he encounters with warmth, candor and earnest support.
    • 25 Metascore
    • 50 Gary Goldstein
    Although this unsettlingly sympathetic biopic covering around the last 30 years in the life of famed New York mobster John Gotti is mostly well-acted and frequently entertaining, it bites off more than it can — or even needs to — chew, packing it all into a less-than-epic running time.
    • tbd Metascore
    • 70 Gary Goldstein
    Its plot can be opaque and its characters often too remote and inscrutable to embrace, but Guilty Men, Colombia’s official Oscar entry for 2018, remains an absorbing, visually gripping crime-thriller from writer-director Iván D. Gaona.
    • tbd Metascore
    • 70 Gary Goldstein
    Zoo
    It all plays out more convincingly than it may sound, with McIvor layering in depth, dimension and grace. Period re-creation is also first rate and, for animal fans, there’s eye candy aplenty in the form of giraffes, lions, chimps, flamingos and, of course, one soulful elephant.
    • 54 Metascore
    • 70 Gary Goldstein
    A largely inspiring and transporting portrait.
    • tbd Metascore
    • 30 Gary Goldstein
    Spotty acting and casting, many thinly drawn or over-the-top characters, weak stabs at humor, and some awkward editing and dialogue further undermine this well-intentioned effort.
    • 65 Metascore
    • 70 Gary Goldstein
    At its best, That Summer proves an effective time capsule aimed squarely at Beale devotees, adding light and context to the saga of this endlessly baffling and singularly captivating mother-daughter duo.
    • 81 Metascore
    • 90 Gary Goldstein
    Ultimately, this is a memorable look at our desire to love and feel safe, to connect and belong — and the unexpected ways in which families can reshape and grow.
    • 31 Metascore
    • 60 Gary Goldstein
    It all plays out a bit randomly, but the leapfrogged plot points, thin characters and blunt messaging in Max Botkin and Marc Hyman's peppy script prove forgivable, given how this nicely modulated film largely avoids the hyper-aggressive jokiness and desperate stabs at relevance that often plague kidpics.
    • 61 Metascore
    • 70 Gary Goldstein
    This is a soothing and transporting journey sure to inspire gardeners of all stripes to create their own slice of heaven.
    • tbd Metascore
    • 30 Gary Goldstein
    The endless sharing and chaotic conflicts that ensue among these largely uninviting men prove more tedious than convincing, with flashback bits that are more redundant than enlightening.
    • 77 Metascore
    • 70 Gary Goldstein
    Thanks to Savage's immersive, often improvisational approach and a compellingly raw, internal turn by Arterton ("Gemma Bovery," "Their Finest") as an everyday woman who seemingly has it all... Tara's claustrophobic world and increasingly checked-out mindset feel undeniably authentic. It's also all a bit grueling to watch.
    • 59 Metascore
    • 70 Gary Goldstein
    Although the action, set in the early 1900s, unfolds almost entirely in and around a Russian lakeside estate, the film rarely feels static or stagy, with enough brisk editing, active camerawork and intimate framing to make for satisfying cinema.
    • tbd Metascore
    • 50 Gary Goldstein
    The Con Is On takes off like a shot: a stylish caper with enjoyably wry, martini-soaked dialogue and a terrific comedic turn by Uma Thurman as a glamorous British scam artist. Then there's the film's second half — which sinks like a stone.
    • 58 Metascore
    • 70 Gary Goldstein
    Although it may evoke such films as "Gremlins" and "The Lobster," as well as David Cronenberg's earlier work, writer-director Bobby Miller's oozy, eerie, yet weirdly soulful yarn feels like an original.
    • tbd Metascore
    • 30 Gary Goldstein
    This choppy film, which is saddled with a subplot about a dogged insurance agent (Richard Portnow), becomes more mechanical than emotional, leapfrogging time, logic and process as it scrambles to its too clever-by-half conclusion.
    • 60 Metascore
    • 70 Gary Goldstein
    Director Cordula Kablitz-Post, who scripted with Susanne Hertel, effectively presents Lou as neither heroine nor genius but as a flawed, complex, fascinating pacesetter.
    • 61 Metascore
    • 80 Gary Goldstein
    This Is Our Land emerges as a vital portrait of political machination, human duality, the power of fear-mongering and how people can reflexively divide into "us and them."
    • 49 Metascore
    • 60 Gary Goldstein
    If this swift, entertaining film, set during the post-9/11 run-up to the Iraq war, brashly leans left, it has history on its side as well as, it seems, the interests of our soldiers.
    • 37 Metascore
    • 70 Gary Goldstein
    An effective weekend-from-hell thriller with a vital message, a terrific lead performance by Paula Patton and some unexpectedly dimensional storytelling from writer-director Deon Taylor ("Meet the Blacks").
    • 73 Metascore
    • 80 Gary Goldstein
    Hopefully, Nwandu's compact tale, so rich with jarring authenticity and boldly configured social commentary, can now reach a wide and appreciative audience via Lee's provocative, propulsive film.
    • 66 Metascore
    • 80 Gary Goldstein
    Producer-director Kenneth A. Carlson (a teammate of Catena's at Brown) absorbingly, unfussily captures Catena's daily challenges and feats while also painting a vivid, often heartbreaking portrait of a forgotten people trapped in an underreported sociopolitical nightmare.
    • tbd Metascore
    • 60 Gary Goldstein
    Although first-time feature writer-director West Liang misses the boat on depth and any sort of memorable emotional unraveling, he touches on a range of realistic, recognizable feelings and dynamics: romantic, marital, parental, professional, sororal.
    • 64 Metascore
    • 70 Gary Goldstein
    Bye Bye Germany is a deeply felt yet unsentimental, often wry look at a group of Jewish friends — all Nazi-era survivors — who, in 1946 Frankfurt, unite to sell high-end linens to raise the funds to emigrate to America. Not your typical Holocaust-inspired drama.
    • 37 Metascore
    • 40 Gary Goldstein
    Despite a strong lead cast and good intentions, Aardvark is a drag. Writer-director Brian Shoaf may have much to say about family dysfunction and its emotional effects but never finds a persuasive enough way to mine this oft-tread territory.
    • 39 Metascore
    • 40 Gary Goldstein
    The Dixie-set, coming-of-age tale Krystal, directed by William H. Macy and written by Will Aldis, is too forced, chaotic and randomly eccentric to make for a fully engaging and cohesive emotional experience.
    • 66 Metascore
    • 70 Gary Goldstein
    Anchored by Jacobson's touchingly layered turn as a dutiful enabler, this risk-taking piece has an effectively anxious, naturalistic feel (it was inspired by producer Samantha Housman's own experience), with Franco bringing credible charm and desperation to the messed-up Seth.
    • 44 Metascore
    • 60 Gary Goldstein
    Director-editor Simon Kaijser takes an often choppy approach to the narrative, the catch-a-mouse symbolism is a bit heavy-handed and the ending could use more oomph.
    • 65 Metascore
    • 70 Gary Goldstein
    Pacino bites off an awful lot here, yet, as our puckish, ebullient and, later, prickly guide on this kaleidoscopic journey, he manages to present an intriguing and passionate view of artistic risk and reward.

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