Johnny Oleksinski

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For 29 reviews, this critic has graded:
  • 58% higher than the average critic
  • 0% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 6.4 points lower than other critics. (0-100 point scale)

Johnny Oleksinski's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Coco
Lowest review score: 0 Dark Crimes
Score distribution:
  1. Positive: 16 out of 29
  2. Negative: 12 out of 29
29 movie reviews
    • 24 Metascore
    • 0 Johnny Oleksinski
    I’d rather wake up next to a severed horse head than ever watch Gotti again.
    • 56 Metascore
    • 75 Johnny Oleksinski
    Tag
    One of the funniest films of the summer so far, it tells the story of five scruffy Peter Pans, who have been playing the same game of tag for 30 years. Sounds ridiculous, right? Well, the tale is (almost) all true.
    • 52 Metascore
    • 75 Johnny Oleksinski
    “Fallen Kingdom” is a more interesting, and less obvious, story than the usual Tyrannosaurus romps, which tend to be death-defying games of hide-and-seek.
    • 60 Metascore
    • 50 Johnny Oleksinski
    Danes and Parsons are a weird pairing, who carry their TV personas with them like tote bags. Their “Homeland” and “Big Bang Theory” shticks don’t quite click. Even so, when Danes’ mother comes to realize that her sweet kid is more than just a talking point, she’ll have you wiping away tears.
    • 24 Metascore
    • 0 Johnny Oleksinski
    That this exercise in vulgarity was made at all is shameful. Dark Crimes is punishing to watch.
    • 63 Metascore
    • 63 Johnny Oleksinski
    While the film is best for fans of the cloth, non-Catholics, too, will gain insight into one of the most prominent leaders in the world.
    • 62 Metascore
    • 25 Johnny Oleksinski
    “Solo,” sadly, should be frozen forever in carbonite.
    • 42 Metascore
    • 25 Johnny Oleksinski
    Hollywood isn’t just churning out crummy remakes of great films anymore — now it’s doing awful remakes of mediocre films. For evidence, see Overboard. Or, rather, don’t.
    • 63 Metascore
    • 75 Johnny Oleksinski
    Their clashing on the court has steam heat. For well over 10 minutes, the electrifying finals match is re-created realistically and with unexpected suspense, even though we’ve known the result for 38 years.
    • 67 Metascore
    • 75 Johnny Oleksinski
    Chappaquiddick is far from a love letter to the famous family. It paints them as a hollow dynasty of pretty faces hiding behind a powerful name, while real men of intellect and influence puppeteer their every move. Camelot, it’s not. And, as this terrific movie suggests, the American people fall for their polished BS every time.
    • 82 Metascore
    • 88 Johnny Oleksinski
    A jalapeño popper of a movie — fast, filling and punchy — and a likable throwback to the films of M. Night Shyamalan. The good ones, anyway.
    • 69 Metascore
    • 38 Johnny Oleksinski
    Blockers is the latest example of the millennium’s most dispiriting film trend: Stupid drunk people making stupid drunk decisions for two stupid hours.
    • 82 Metascore
    • 88 Johnny Oleksinski
    Anderson’s gorgeous stop-motion animated film is much more than just a transdermal patch for America’s cuteness addiction. Instead, he’s crafted a wicked smart satire of moronic local politicians that fits in snuggly with his eclectic oeuvre.
    • 72 Metascore
    • 75 Johnny Oleksinski
    It’s a canny blend of “Degrassi” and John Hughes, but here the kids mostly behave like angels. Love, Simon is the rare, feel-good gay movie.
    • 48 Metascore
    • 38 Johnny Oleksinski
    A film so rife with plot holes that it would make a decent pasta strainer.
    • 31 Metascore
    • 38 Johnny Oleksinski
    Preying on a hurting city might be forgiven if the movie was any good. But Willis, who was once a formidable action star, is performing “Die Hard With an Ambien” as he exhibits zero emotion and mutters under his breath like an accountant who’s upset with his boss.
    • 66 Metascore
    • 75 Johnny Oleksinski
    A riotous dark comedy in which a cute suburban get-together becomes a lethal nightmare.
    • 51 Metascore
    • 75 Johnny Oleksinski
    The Death Cure doesn’t work on every level. The movie has, for the most part, jettisoned many of the story’s previous science fiction elements to focus more on action. In so doing, it relies on a lot of repeat devices to earn its thrills — namely perfectly-timed, life-saving rescues, often from the sky. Sometimes, you just want to hear some scientists talk shop for a minute.
    • 59 Metascore
    • 38 Johnny Oleksinski
    Aspires to be a scary suburban satire like “Get Out” or “Hot Fuzz.” But watching adults murder or attempt to murder toddlers, teens and even a newborn baby just isn’t funny. At times, it’s downright sickening.
    • 88 Metascore
    • 88 Johnny Oleksinski
    It’s a perfect flick for families, but also a jolly time for anyone with a pulse.
    • 22 Metascore
    • 38 Johnny Oleksinski
    The scenes are either too heavy (the climax is the downer of the year), too sedate or too gross.
    • 40 Metascore
    • 75 Johnny Oleksinski
    It really all comes down to the Bellas. With brilliant actresses like Wilson, who has a badass fight scene this time, and Kendrick, the stealthily vicious pixie, the studio could drop this cast in a DMV with a pitch pipe and they would make a decent movie out of it — a movie that I would pay to see.
    • 72 Metascore
    • 88 Johnny Oleksinski
    Plummer’s last-minute performance is smashing. In fact, the whole film is excellent.
    • 48 Metascore
    • 38 Johnny Oleksinski
    The preachy “Showman” argues that Barnum should be celebrated for bringing “freaks” like the bearded lady and others out of the shadows and into his shows, but those characters are sketchily drawn.
    • 58 Metascore
    • 25 Johnny Oleksinski
    Who’s the audience for this movie? It’s not smart, scary or funny enough for adults and older teens, and it’s inappropriate for young kids.
    • 81 Metascore
    • 100 Johnny Oleksinski
    Coco is packed with terrific original tunes such as “Remember Me” (by Robert Lopez and Kristen Anderson-Lopez of “Frozen”) and “Proud Corazón” (co-written by Adrian Molina, the film’s co-director). But it’s not your average musical, in which characters wail their wants and feelings. That’s a refreshing change.
    • 58 Metascore
    • 75 Johnny Oleksinski
    There’s a lot going on here, but Washington’s complex, emotionally turbulent performance makes it all work.
    • 52 Metascore
    • 25 Johnny Oleksinski
    Murder on the Orient Express has been . . . murdered!
    • 65 Metascore
    • 75 Johnny Oleksinski
    The song that rolls at the end credits is Bob Dylan’s “Not Dark Yet.” It’s a perfect coda for Linklater’s movie — it mimics the steady pulse of “Flag”, its warmth and Doc’s cautious optimism in the face of personal tragedy.

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