Gary Thompson

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For 268 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% 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 Lady Bird
Lowest review score: 25 Adrift
Score distribution:
  1. Negative: 12 out of 268
268 movie reviews
    • 78 Metascore
    • 75 Gary Thompson
    I wasn’t sure, after the tedium of Infinity War, that Marvel could wrap this up in a satisfying way. Turns out, it was a snap.
    • 67 Metascore
    • 75 Gary Thompson
    It’s a movie touching on labor issues that some may find a bit labored, but for the patient viewer there are insights — Leigh is giving us a history lesson that makes some pointed nods toward the current Brexit debate.
    • 65 Metascore
    • 50 Gary Thompson
    Fast Color is disciplined and restrained, yet feels a few tweaks away from being the rousing origin story it aspires to be.
    • 68 Metascore
    • 63 Gary Thompson
    Result[s] in pleasant but forgettable results.
    • 75 Metascore
    • 63 Gary Thompson
    High Life has the trippy profundity of 2001, the human treachery of Aliens, and it also includes an Orgasmatron.
    • 72 Metascore
    • 75 Gary Thompson
    Yeoh’s fantastic as usual, making an impressive series of moves while not disturbing a single hair on her period Joey Heatherton hairdo.
    • 49 Metascore
    • 63 Gary Thompson
    The idea that “little” Jordan’s response to attractive older men is guided by her inner adult yields some creepy-funny laughs that many will find mostly creepy.
    • 57 Metascore
    • 63 Gary Thompson
    The direction by Kevin Kölsch and Dennis Widmyer, is competent and efficient, if not especially stylish or ambitious, and the squeamish should know the movie is backloaded with stabby, graphic, slasher-movie content.
    • 87 Metascore
    • 88 Gary Thompson
    Pulling us through all of it is Place, who imbues her character with a touching persistence, and gives striking depth and dimension to this “regular” woman, who used to be a regular.
    • 71 Metascore
    • 75 Gary Thompson
    The movie itself is chill. The filmmakers were going for (and mostly achieve) the 1980s Amblin Entertainment feel of a movie out to have an unpretentious good time — a welcome throwback to days before comic books movies became gargantuan and grim.
    • 64 Metascore
    • 63 Gary Thompson
    Hotel Mumbai sometimes surrenders to melodrama and action-genre imperatives, and it mixes actual people like Oberoi with fictional composites in a way that strays from the stringent just-the-facts discipline of a docudrama like United 93. But there is value, too, in its subjective approach.
    • 77 Metascore
    • 88 Gary Thompson
    The small miracles that do occur in The Mustang feel real, and well–earned.
    • 43 Metascore
    • 50 Gary Thompson
    As Knightley and Skarsgard wrestle with this material and each other, the movie around them goes plot crazy.
    • 51 Metascore
    • 50 Gary Thompson
    This movie has nearly as high a body count as "Us"...Is this satire? Homage? More like the desperation of a director who’s supplanted “vision” for emotion. The story leaves Dumbo without meaningful links to the human characters, and the scattered story of Farrell’s cohering family falls flat.
    • 80 Metascore
    • 75 Gary Thompson
    The title character in Gloria Bell is a fiftysomething divorcée, and the movie is uncommonly generous to her by the sometimes standards of contemporary Hollywood.
    • 58 Metascore
    • 63 Gary Thompson
    Though mired in arcane subject matter, the movie is always lucid and reasonably engaging.
    • 81 Metascore
    • 75 Gary Thompson
    Us
    What Peele conjures here in the final moments is clever enough to remind us that he was telling an intricate story all along, and not just piling up bodies.
    • 52 Metascore
    • 50 Gary Thompson
    In the end, a coherent tone eludes Elba, but he shows promise as a scene-setter, and the movie displays an effective use of color.
    • 53 Metascore
    • 63 Gary Thompson
    The movie is actually not bad, until it goes full Lifetime Channel crazy in the third act.
    • 56 Metascore
    • 50 Gary Thompson
    Though fact-based movies are often guilty of bending truth to improve a story, Finding Steve McQueen goes in the other direction, downplaying strange-but-true elements that might have helped its saggy narrative.
    • 67 Metascore
    • 50 Gary Thompson
    I wonder if Noe is familiar with the work of Three Dog Night, and their 1970 rumination on a party gone bad, “Mama Told Me Not to Come.” Its lyrics apply here: “I’ve seen so many things I ain’t never seen before. I don’t know what it is, but I don’t want to see no more.”
    • 64 Metascore
    • 50 Gary Thompson
    Years from now, chances are that when people sit around and talk enthusiastically about that movie with Brie Larson and Samuel L. Jackson, the subject is most likely to be Kong: Skull Island.
    • 61 Metascore
    • 63 Gary Thompson
    Though it’s been many years in development, it remains a timely look at the dangers of our increasingly outsourced, privatized military-intelligence network.
    • 54 Metascore
    • 63 Gary Thompson
    Neil Jordan gives us a fancier version of the Lifetime staple in Greta.
    • 68 Metascore
    • 75 Gary Thompson
    It’s easy enough to guess where this is going, but the movie gets the details right, and the relationships play out in a satisfying way, aided by Merchant’s consistently funny writing and light touch.
    • 71 Metascore
    • 63 Gary Thompson
    The movie really soars when the dragons do the same — as in previous installments, the best shots are of dragons maneuvering through the clouds.
    • 54 Metascore
    • 63 Gary Thompson
    It’s a story with too many influences, no cohesion, no apparent narrative purpose.
    • 60 Metascore
    • 50 Gary Thompson
    In conceptual terms, the movie has more in common with Scream, in that it’s an examination of genre clichés (in this case romantic comedies) that both satirizes and embraces them.
    • 75 Metascore
    • 75 Gary Thompson
    The acting is fine throughout, and director Labaki (she plays Zain's lawyer) has a genius for handling untutored performers like Al Rafeea.
    • 91 Metascore
    • 88 Gary Thompson
    They Shall Not Grow Old avoids geopolitics to concentrate on the lives of the common soldier and the reality of trenches — the horseplay, camaraderie, boredom, disease, squalor, and terror that were all part of life on the front. It’s a sobering, moving success.

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