Johnny Oleksinski

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For 76 reviews, this critic has graded:
  • 51% higher than the average critic
  • 0% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Johnny Oleksinski's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Coco
Lowest review score: 0 Gotti
Score distribution:
  1. Positive: 44 out of 76
  2. Negative: 25 out of 76
76 movie reviews
    • 53 Metascore
    • 63 Johnny Oleksinski
    An Aquaman sequel is reportedly in the works. The series already has a strong leading man and a feel for an epic. The filmmakers just need to find the heart of their ocean.
    • 65 Metascore
    • 75 Johnny Oleksinski
    Although “Ben” can get a little sentimental at times, Roberts and Hedges are a team to root for.
    • 63 Metascore
    • 38 Johnny Oleksinski
    It’s a royal chore.
    • 38 Metascore
    • 38 Johnny Oleksinski
    Nestled inside that warm setup is cloying dialogue, condescending voice work and confusing story tangents.
    • 63 Metascore
    • 63 Johnny Oleksinski
    What’s strangest about this almost-comedy, though, isn’t its mish-mash of unlikely genres, but the earnest approach to them. “Apocalypse” begins as a “High School Musical” look-alike with poppy group numbers in cafeterias and hallways. One song, “Hollywood Ending,” is a dead ringer for “Stick to the Status Quo.”
    • 85 Metascore
    • 88 Johnny Oleksinski
    The movie proves a New York teen superhero can do more than just excitedly swing around. He can move us, too. It’s the best stand-alone film to feature the iconic character so far. And it’s animated.
    • 91 Metascore
    • 100 Johnny Oleksinski
    The performance everybody will be soon talking about is Olivia Colman’s royal turn in the entrancing new drama, The Favourite.
    • 51 Metascore
    • 38 Johnny Oleksinski
    In this new, totally unnecessary version of Dr. Seuss’ holiday favorite, the mean one (voiced by Benedict Cumberbatch) isn’t all that scary or cruel.
    • 71 Metascore
    • 75 Johnny Oleksinski
    The climactic scene, in both story concept and design, is too complicated and peculiar for my tastes. But until that short blip, co-directors Phil Johnston and Rich Moore’s (“Zootopia”) film is supremely intelligent, and Reilly and Silverman once again give deep-feeling vocal performances.
    • 67 Metascore
    • 75 Johnny Oleksinski
    If the sequel is a notch less than its astounding predecessor, that’s because — like Adonis Creed does during moments of doubt — the filmmakers are overcomplicating things.
    • 32 Metascore
    • 25 Johnny Oleksinski
    The latest labored take on the old British legend, Robin Hood is little more than a pitch-black war film, complete with rudimentary medieval bombs and blood spatter on the camera lens.
    • 70 Metascore
    • 88 Johnny Oleksinski
    The lighthearted drama, about a road trip by two men — one white, one black — is unflinchingly optimistic.
    • 78 Metascore
    • 50 Johnny Oleksinski
    With The Ballad of Buster Scruggs, directors Ethan and Joel Coen venture to the frontier once more, after “True Grit” and “No Country for Old Men.” But this time, there’s only a little grit in this very slow country.
    • 43 Metascore
    • 38 Johnny Oleksinski
    A slow trudge devoid of suspense and adrenaline.
    • 53 Metascore
    • 75 Johnny Oleksinski
    Grindelwald gives us a proper villain and a purpose for this series of — gulp — five eventual movies.
    • 61 Metascore
    • 88 Johnny Oleksinski
    Jackman’s turn doesn’t have an Oscars wow quality; nor does the movie itself. The script’s zingers can occasionally come off as store-brand “West Wing.” But it’s a fun, endlessly fascinating watch in which the big questions outweigh the tiny problem.
    • 71 Metascore
    • 75 Johnny Oleksinski
    Boy Erased is the second gay conversion therapy movie of the year, after “The Miseducation of Cameron Post.” Both are worthwhile. Where “Cameron” was an intimate charmer focused on the importance of camaraderie to get through hard times, the more dramatic Boy Erased is about accepting our family for who they are, in whatever condition they arrive in.
    • 79 Metascore
    • 75 Johnny Oleksinski
    This dramedy, which began filming in 1970, is more than just a museum exhibit for film geeks. It’s a solid, entertaining, complex story packed with eccentric performances.
    • 39 Metascore
    • 25 Johnny Oleksinski
    Some of the powerful characters you thought were good are evil and vice versa. It’s like “Wicked,” but wretched.
    • 49 Metascore
    • 38 Johnny Oleksinski
    "Rhapsody” has a shallow script, oversize performances and looks like it was shot in a sauna.
    • 80 Metascore
    • 50 Johnny Oleksinski
    Gyllenhaal and Mulligan are in fine form here, but too much of the screenplay, written by Dano and Zoe Kazan, doesn’t ring true.
    • 87 Metascore
    • 88 Johnny Oleksinski
    Can You Ever Forgive Me?, based on Israel’s 2008 tell-all memoir, has a lot of laughs and a delicious setup, but it hits hardest as a drama about human desperation and survival.
    • 67 Metascore
    • 75 Johnny Oleksinski
    Most importantly, Halloween recovers its long-lost gravitas and self-respect. It makes us remember why we loved Carpenter’s original in the first place: It was artful, frightening and supremely well-acted — not “Scream 4.”
    • 63 Metascore
    • 50 Johnny Oleksinski
    Carell’s niche right now isn’t awkward anchormen, but parents going through hell. He makes a believable dad to the equally moving Chalamet, who writhes, screams and cries, but never showboats. The perfect pair is better than this movie.
    • 83 Metascore
    • 63 Johnny Oleksinski
    Private Life gives us an intrusive and often funny look into a couple’s struggle to conceive. If only director Tamara Jenkins’ dramedy stayed as grounded as its relatable premise.
    • tbd Metascore
    • 75 Johnny Oleksinski
    This British sci-fi thriller is like the violent offspring of “Black Mirror.”
    • 35 Metascore
    • 25 Johnny Oleksinski
    “Venom”? More like cyanide. The latest movie off the Marvel assembly line is a disaster on every level, from the hatchet-job writing to the horrid performances. Like so many recent superhero movies, Venom has put its focus on juvenile humor instead of heart or action.
    • 84 Metascore
    • 75 Johnny Oleksinski
    The movie succeeds thanks to director Damien Chazelle’s superb visuals, which land somewhere between the quiet indie look of his previous flick, “La La Land,” and the epic sweep of “Apollo 13.” Space has never looked so sexy, or felt so claustrophobic.
    • 80 Metascore
    • 75 Johnny Oleksinski
    “Old Man” isn’t hilarious or sleek. It’s mellow, like a campfire tale, or your grandpa’s stories set to whiskey. Redford’s voice never becomes louder than your average therapist’s.
    • 88 Metascore
    • 100 Johnny Oleksinski
    Most thrilling are the stage sequences. Cooper often films Ally’s thousands of screaming fans from her point of view — putting us in her lucky shoes for a minute...It’s that feeling of exhilaration that makes A Star Is Born the best film of the year so far.

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