Gary Thompson

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For 232 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3 points higher than other critics. (0-100 point scale)

Gary Thompson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Lady Bird
Lowest review score: 25 Adrift
Score distribution:
  1. Negative: 11 out of 232
232 movie reviews
    • 61 Metascore
    • 75 Gary Thompson
    The story circles cleverly back on itself, putting an original spin on the familiar tale of the burned-out investigator reckoning with the defining event in a checkered career.
    • 61 Metascore
    • 63 Gary Thompson
    A more nuanced Bale portrait of a man enamored of secrecy, strong-arming, militarism, and vigilante impulses can be found in The Dark Knight.
    • 68 Metascore
    • 75 Gary Thompson
    Ben is Back, operating with the flexibility of fiction, flirts with the idea that a mother’s intuition and love can be decisive, even as it acknowledges the pitiless, relentless nature of the disease. Or maybe all the movie wants to propose is that miracles — rare as they are — can happen.
    • 40 Metascore
    • 63 Gary Thompson
    The movie works best when it falls back on plain old acting. Merritt Wever is sweet presence as the hobby shop worker and gentle soul who understands Mark’s obsessions, and appreciates his art. Her scenes with Carell are the movie’s least technological, and its best.
    • 55 Metascore
    • 50 Gary Thompson
    At least Aquaman has a different palette, and new shapes to work with. It’s still ultimately silly and dreary, and will test the endurance of fans who then must withstand an even longer credit sequence to get a whiff of the next DC story wrinkle.
    • 78 Metascore
    • 75 Gary Thompson
    The elegiac air that surfaces here and there in Bathtubs blends nicely with Young’s own final days on Late Show, reading his separation papers and wondering how to look for a job in his 50s.
    • 87 Metascore
    • 88 Gary Thompson
    The more-is-more approach to superhero movies is usually a deadly mistake, but it works nicely in the animated Spider-Man: Into the Spider-Verse.
    • 44 Metascore
    • 63 Gary Thompson
    While the movie is often dazzling, it’s also frequently dull.
    • 61 Metascore
    • 63 Gary Thompson
    Ronan is good (as usual) as the spirited and rather haughty Mary, making the most of what, to be fair, is the plum role.
    • 66 Metascore
    • 63 Gary Thompson
    This glossy, handsomely budgeted musical deploys topflight talent throughout, from casting to choreography to songwriting to animation and modern digital effects, and though it achieves a Poppins-like level of hyper-competence, it lacks the most elusive attribute we associate with Mary — magic.
    • 57 Metascore
    • 63 Gary Thompson
    The foster-care comedy Instant Family has more heart than laughs, but enough of the former to squeak by.
    • 84 Metascore
    • 75 Gary Thompson
    The premise is a borderline gimmick, but director Steve McQueen (12 Years a Slave) invests the movie with enough grit — it's set in the world of hardboiled Chicago politics — to draw us in.
    • 61 Metascore
    • 75 Gary Thompson
    As played by Jackman, he's imperious, self-righteous, and humorless, and it's hard to imagine such a figure capturing the imagination of the public, policy acumen notwithstanding. The movie is better at showing Rice (Sara Paxton) as a woman trampled by the press stampede — ditto Hart's wife Lee, played elegantly by Farmiga.
    • 79 Metascore
    • 88 Gary Thompson
    Buster Scruggs, it seems, is about not just the Old West, but The West in a larger sense.
    • 70 Metascore
    • 88 Gary Thompson
    Ali and Mortensen make the friendship feel real, using some unexpected tools from Farrelly's kit. His comedic instincts help the movie tiptoe through some dangerous cultural minefields.
    • 66 Metascore
    • 63 Gary Thompson
    The movie sticks to formula, and spells everything out.
    • 71 Metascore
    • 75 Gary Thompson
    Hedges is an efficient, expressive actor, and has the knack for conveying complex information with a look or a gesture, as he does here, suggesting the turmoil within his character on the night when his parents assign him to undergo therapy.
    • 76 Metascore
    • 75 Gary Thompson
    Pike plays Colvin as selfless, but also a woman who would have pitched a drink in your face for calling her that. The movie takes Colvin's cue. At no point is her personal drama bigger than the suffering of the people on whom she is reporting, and the concluding events in Syria are particularly well-handled and tactful.
    • 59 Metascore
    • 50 Gary Thompson
    Robert's relationship with Elizabeth is actually one of the film's better features – it is here that Pine's low-key charisma is put to its best use, and his chemistry with Pugh is useful in establishing the emotional foundation of their resilient marriage, which held together during the times of defeat, separation, and victory.
    • 76 Metascore
    • 75 Gary Thompson
    Kahn surveys artists, dealers, auctioneers, and gallery operators to provide a synopsis of the New York art world, and is at its most interesting when profiling artists who represent differing attitudes toward the way money affects their work.
    • 64 Metascore
    • 50 Gary Thompson
    The movie seems even longer – replacing Argento's splashy colors with dull, chilly greys, and lengthening the story (Argento clocked in at 96 minutes) with layers that feel over overwrought and overthought.
    • 87 Metascore
    • 88 Gary Thompson
    Can You Ever Forgive Me? charts the offbeat alliance and ultimately the friendship that develops between the Hock and Israel, a bond that exists somewhere between proximity and affinity.
    • 80 Metascore
    • 63 Gary Thompson
    It's a bold and borderline eccentric performance by Mulligan.
    • 72 Metascore
    • 75 Gary Thompson
    Psychologists quoted in the film have a scary-sounding term for one of the ingredients found in most exceptional athletes. It's called a "rage to master."
    • 58 Metascore
    • 75 Gary Thompson
    There are a number of movies about addiction scheduled to be released this fall, and although The Oath isn't mentioned as being among them, maybe it should be.
    • 64 Metascore
    • 50 Gary Thompson
    It finds the right harmonized note of melancholy and humor in its closing moments.
    • 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).
    • 80 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.

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