Jesse Hassenger

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For 266 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

Jesse Hassenger's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 91 American Honey
Lowest review score: 16 Mother's Day
Score distribution:
  1. Positive: 83 out of 266
  2. Negative: 31 out of 266
266 movie reviews
    • 51 Metascore
    • 67 Jesse Hassenger
    There is visual wit in Jurassic World: Fallen Kingdom, and some invention, too.
    • 37 Metascore
    • 58 Jesse Hassenger
    Although its resolution is admirably non-fantastical, Action Point is ultimately more interested in telling a story about a pretty nice dad who becomes a somewhat nicer dad.
    • 56 Metascore
    • 67 Jesse Hassenger
    Given the sweetly dull-witted relationship at its center, Adrift threatens to bog itself down with the endless intercutting back and forth in time. But the movie has a little more up its sleeves, narratively speaking, than first appears, and Kormákur converges the two timelines effectively.
    • 62 Metascore
    • 75 Jesse Hassenger
    Perhaps because Lando was less explored than Han in the original films, Glover manages the tricky task of both paying homage to role originator Billy Dee Williams while adding his own spin to the character. Like Ehrenreich, his version goes comic without tipping into outright spoofery.
    • 46 Metascore
    • 58 Jesse Hassenger
    The movie portrays Deanna’s rediscovery of a pre-mom life, and how she squares that freedom with her identity as a loving mother, with a lot of warmth, and its refusal to gin up tired conflicts or mawkish lessons is admirable. That does, however, leave Life Of The Party without much comic momentum.
    • 75 Metascore
    • 91 Jesse Hassenger
    Though Davis makes Tully convincing both as a human being and as a mysterious godsend, it’s Theron whose work is absolutely vital to Tully’s success.
    • 41 Metascore
    • 75 Jesse Hassenger
    Smigel may not want to take up permanent residence in the Happy Madison offices, but he raises his old friend’s game considerably.
    • 37 Metascore
    • 42 Jesse Hassenger
    Trying to figure it out makes Traffik weirdly compelling, but nowhere near good.
    • 57 Metascore
    • 42 Jesse Hassenger
    Though little about the technical skill of Sgt. Stubby: An American Hero brings to mind Spielberg, it’s hard not to think of "War Horse."
    • 44 Metascore
    • 42 Jesse Hassenger
    It is not unusual for an underdog sports picture to be predictable. But The Miracle Season seems downright preordained, and not just in its arc. The movie is constitutionally incapable of surprise even on a moment-to-moment level.
    • 69 Metascore
    • 75 Jesse Hassenger
    The comedy Blockers, which is not written, produced, or directed by Apatow but feels descended from some of his work, sets for itself a more ambitious challenge, daring itself to give each member of its ensemble a coming-of-age arc, and to pull off two different high-concept comedies at once in the process.
    • 71 Metascore
    • 83 Jesse Hassenger
    As visually appealing as much of Gemini is, it wouldn’t work nearly so well without Lola Kirke playing Jill.
    • 36 Metascore
    • 50 Jesse Hassenger
    Most of the movie’s star power has been harnessed without much obvious reason, right down to the movie’s seeming origins as a delivery system for the Elton John catalog.
    • 29 Metascore
    • 25 Jesse Hassenger
    This is an interesting idea, executed with a reductive, tin-eared understanding of what constitutes art to go along with a faith-based movie’s reductive, tin-eared understanding of what constitutes entertainment.
    • 53 Metascore
    • 67 Jesse Hassenger
    Only Reid and Pine feel like they’re playing fully imagined characters, and DuVernay wrestles with how to make the overstuffed material both contemporary and timeless.
    • 72 Metascore
    • 58 Jesse Hassenger
    Love, Simon is touching as a gesture. As entertainment, it’s nothing Degrassi hasn’t done better.
    • 52 Metascore
    • 58 Jesse Hassenger
    There are any number of metaphorical applications for A’s condition, some implied more strongly than others, including trans struggles, gender fluidity...teenage desire to fit in, even accidental catfishing.... Every Day is sweet and sincere enough to remain open to these interpretations, but too gentle to assert itself into anything of real consequence.
    • 53 Metascore
    • 67 Jesse Hassenger
    It’s about halfway between "Atomic Blonde" and a Focus Features late-summer thriller, which more or less fits the Francis Lawrence aesthetic. He brings to this material what he brought to "The Hunger Games": a sense of style that feels constrained by obligations to hit a certain number of plot points.
    • 33 Metascore
    • 50 Jesse Hassenger
    Because Hunter’s movie works best in its early, less crazed stretch, there aren’t any really memorable sequences here coming from the director or his distinctive star.
    • 30 Metascore
    • 50 Jesse Hassenger
    The movie starts out heedless in its desire to charm, but it winds up feeling constrained by self-consciousness, and more’s the pity.
    • 51 Metascore
    • 58 Jesse Hassenger
    For a Brit-inflected talking-animal picture in the wake of the "Paddington" series, it’s not good enough.
    • 51 Metascore
    • 67 Jesse Hassenger
    The runty little brother of "The Hunger Games" has gotten surprisingly proficient in that area of well-produced sci-fi junk where a lot of the dialogue consists of variations on, “Go, go, go!”
    • 36 Metascore
    • 33 Jesse Hassenger
    The movie isn’t as off-the-charts shameless as Sparks, but it lacks the Russian roulette death-guessing game to occupy viewers who get bored.
    • 65 Metascore
    • 58 Jesse Hassenger
    Above all else, this movie is so well-cast that the laugh line makes perfect sense coming from Black.
    • 22 Metascore
    • 33 Jesse Hassenger
    Its scenes aren’t really long or improv-heavy enough to qualify as rambling, but they’re often slow enough to qualify as excruciating.
    • 48 Metascore
    • 50 Jesse Hassenger
    For the most part, the movie’s ideas about Barnum are incredibly stupid and, at times, kind of sweet in their daftness.
    • 40 Metascore
    • 50 Jesse Hassenger
    It’s half-assed in every way but cast retention; almost all the major female characters return.
    • 48 Metascore
    • 58 Jesse Hassenger
    Its strongest evocation of poignant, imperfect memory has to do with its leading man, and the glimpse it provides of a fuller career that never was.
    • 42 Metascore
    • 50 Jesse Hassenger
    The stars work hard, and the movie goes slack. It seems like that old adage is true: Behind every Bad Moms is a couple of dudes without any discipline.
    • 39 Metascore
    • 42 Jesse Hassenger
    Jigsaw isn’t a series low point. It’s less aggressively unpleasant than some of the others.

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