Gary Thompson

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For 206 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Gary Thompson's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 After Auschwitz
Lowest review score: 25 The Snowman
Score distribution:
  1. Negative: 11 out of 206
206 movie reviews
    • 84 Metascore
    • 75 Gary Thompson
    He's not an easy man to read, and he's not meant to be (Foy carries most of the emotional load). First Man relies on Gosling's own low-rev screen presence to hold the viewer's interest. Not until we reach the surface of the moon does the movie really venture into his head (almost literally in terms of camera point of view).
    • 79 Metascore
    • 75 Gary Thompson
    It's a nice gesture that he's chosen The Old Man and the Gun as his exit vehicle, gifting fans with heaping helpings of his relaxed charm, making a nod to the Sundance Kid, and even the flimflam fun of The Sting.
    • 78 Metascore
    • 75 Gary Thompson
    Phoenix has a way of drawing most of the camera's energy toward him, but Reilly, in his own mysterious and quiet way, can hold his own with anyone, be it Ricky Bobby or King Kong.
    • 35 Metascore
    • 50 Gary Thompson
    As a symbiote, Brock/Venom is sometimes funny, and for a while the movie finds a rhythm that seems to suit director Ruben Fleischer, best known for Zombieland.
    • 83 Metascore
    • 63 Gary Thompson
    Jenkins does something daring with the story's resolution – conceptually brilliant, but you may think that it pays a small dividend on a large emotional investment.
    • 82 Metascore
    • 75 Gary Thompson
    At every turn, Starr's situation gets more nuanced and more engrossing, and in the hands of director George Tillman Jr., the movie maintains a confident, sweeping scope without every losing command, or its nerve.
    • 74 Metascore
    • 63 Gary Thompson
    We're meant to thrill at Colette's emancipation, but when she breaks it off with wild Willy and finds true love (with Denise Gough) for the first time – built on respect and honest affection — it looks dreadfully dull.
    • 88 Metascore
    • 75 Gary Thompson
    You see that Cooper has taken the frayed ends of American culture and knitted them together — male and female, urban and rural, folksy and hip, rich and poor, finding common ground through music. You see songs move through different musical idioms, and you see the power that can have, as long as people are willing to listen.
    • 82 Metascore
    • 75 Gary Thompson
    Sometimes these anecdotes show courageous and admirable striving, and a genuine love of science. Sometimes they show something less inspiring – the way systems can be gamed by competitors whose specialized knowledge of rules combine with tactics and strategies that give them an advantage, so what's being measured and honored is not always aptitude and innate genius.
    • 43 Metascore
    • 50 Gary Thompson
    All of this is in Hart's wheelhouse, and Night School might have fared better if it had surrendered completely to random comedy one-offs. It keeps coming back, though, to the desultory story of Teddy's strained romance, the least-compelling feature of the movie.
    • 53 Metascore
    • 50 Gary Thompson
    A Heathers meets The Purge meets Russ Meyer free-for-all that takes elements of the Salem witch trials and transposes them to the age of the internet. That's a lot to take on, and there are diminishing returns by the time the movie reaches its bloody conclusion.
    • 62 Metascore
    • 75 Gary Thompson
    Based on a novel by Ian McEwan, The Children Act wanders into the tricky space created when what is moral and what is legal diverge, and law is made to suffice.
    • 76 Metascore
    • 63 Gary Thompson
    The movie's best window into Foley comes via his music, played expressively by Dickey, whose performance finds humor in Foley's rather sad life.
    • 69 Metascore
    • 63 Gary Thompson
    The most engaging passages in the scattershot Fahrenheit 11/9 address the water scandal in Flint.
    • 67 Metascore
    • 75 Gary Thompson
    There's something to be said for the movie's heavy pour of mommy noir — a jigger of Bombeck, a dash of Highsmith. It's a cocktail with a kick.
    • 67 Metascore
    • 50 Gary Thompson
    Waters' novel was content to let the evil within Hundreds Hall remain shapeless and nameless. Director Lenny Abrahamson's (Room) movie wants to give it definite shape, and even a name, though the movie is not better for it.
    • 67 Metascore
    • 75 Gary Thompson
    You could call Juliet, Naked a romantic comedy, and you could probably predict with some accuracy how the relationships play out. But it's the details here that count, and they paint a substantive and truthful picture of middle age, and the way it is acquainted with regret and failure.
    • 77 Metascore
    • 75 Gary Thompson
    It's Close who nearly rescues The Wife, grabbing control of it in the crucial final moments, managing to transcend the script to suggest a more complex portrait of Joan, whose life choices form their own narrative, with their own reward.
    • 35 Metascore
    • 50 Gary Thompson
    Kin
    Kin positions itself as a B-movie cobbled together from sci-fi favorites of the past, and so we grant the movie wide latitude to be goofy. It's meant to be out there. Even by those lax standards, though, Kin tries the patience.
    • 58 Metascore
    • 63 Gary Thompson
    Isaac and Kingsley are game, and their scenes have decent dramatic tension, but of course the outcome is never in doubt, and in the end, Weitz is left to rely on more contrived thriller elements to give the movie a finishing kick, which feels nonetheless like a letdown.
    • 85 Metascore
    • 75 Gary Thompson
    This is another fine performance from Hall, who's given a good character to play by writer-director Andrew Bujalski.
    • 83 Metascore
    • 75 Gary Thompson
    The story is nonlinear, a collection of images that can suddenly assemble into an emotion.
    • 38 Metascore
    • 50 Gary Thompson
    The action is frantic and brutal, and the movie itself has an ugly tone.
    • 63 Metascore
    • 75 Gary Thompson
    The movie will play in IMAX theaters and 3-D, which is the best way of seeing it. Director Albert Hughes (yep, the same guy who along with brother Allen did Menace II Society and Dead Presidents) and cinematographer Martin Gschlacht (the recent creep-out Goodnight Mommy) capture and construct some compelling images.
    • 74 Metascore
    • 75 Gary Thompson
    Crazy Rich Asians is a romantic comedy and a fairy tale, and it helps to keep the latter in mind as you ramp up suspension of disbelief to necessary levels.
    • Philadelphia Daily News
    • 46 Metascore
    • 75 Gary Thompson
    The movie is a cheerful pastiche, unpretentious and efficient, and the giant shark, when it finally shows up, is a pretty good special effect, although I’m not sure I’d value it at $150 million (the amount of Chinese money it took to make the movie).
    • 66 Metascore
    • 63 Gary Thompson
    Khan and Macdonald make it watchable.
    • 83 Metascore
    • 75 Gary Thompson
    The title promises something of a biography, but I left the movie wanting to know more about Stallworth.
    • 53 Metascore
    • 50 Gary Thompson
    Greenfield makes an ambitious attempt to tie all of these things together as symptoms of capitalism gone wrong in Generation Wealth, although her thesis is weakly argued, and thinly sourced – the movie often turns out to be a curiously insular polling of family, friends, and high school and college classmates.
    • 79 Metascore
    • 75 Gary Thompson
    Night Comes On isn’t a docudrama, but it’s informed enough to give us a sense of the obstacles facing young women like Angel.

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