For 182 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Mark Feeney's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Hermia & Helena
Lowest review score: 12 The Inbetweeners Movie
Score distribution:
  1. Negative: 25 out of 182
182 movie reviews
    • 63 Metascore
    • 63 Mark Feeney
    All in all, Beaton could have been a character in an Evelyn Waugh novel — both belonged to the Bright Young Things, in ’20s London — except that he and Waugh detested each other.
    • 67 Metascore
    • 63 Mark Feeney
    “Don’t Worry” is not a conventional biopic. That makes sense — Callahan sure isn’t a conventional biopic subject — but that unconventionality can present problems. Sometimes the movie is sentimental. More often, it’s scabrous. Maybe if the movie didn’t feel overlong (trim and tight it’s not), those qualities might seem better balanced.
    • 70 Metascore
    • 75 Mark Feeney
    The idea behind Eugene Jarecki’s nonfiction film The King — you can’t really call it a documentary — is crazy-good inspired.
    • 57 Metascore
    • 50 Mark Feeney
    Is the movie any good, and does Irving embarrass himself? The answers are: sort of, and nowhere near.
    • 72 Metascore
    • 75 Mark Feeney
    Holding it all together is his voice-over narration: always intelligent and thoughtful, sometimes wistful, occasionally navel-gazing annoying. Even when annoying, the narration sounds great, thanks to the murmury musicality of Salles’s Portuguese.
    • 45 Metascore
    • 38 Mark Feeney
    The Leisure Seeker is slack and episodic in a way that only a committee could love. The sense of energy and surprise that one expects from a road movie is nowhere to be found. The pleasure of Mirren and Sutherland’s company is considerable, but not that considerable.
    • 72 Metascore
    • 63 Mark Feeney
    A better title might have been “All the Movies in the World.” We get a thriller, of sorts, and a crime movie, of sorts (Romain Duris, as a kidnapper, gives the most appealing performance). It’s also a morality tale crossed with family melodrama.
    • 78 Metascore
    • 50 Mark Feeney
    The film’s episodic nature, which serves to underscore the moments of grim drama, adds to the problem. One can only salute the filmmakers’ ambition and seriousness of purpose, but it’s hard to see who The Breadwinner audience is.
    • 66 Metascore
    • 63 Mark Feeney
    Much as there is right with Wonder, there’s just as much that isn’t. Emotionally, the movie rarely feels false.
    • 77 Metascore
    • 75 Mark Feeney
    Beautifully shot and deeply dispiriting, the documentary examines the global refugee crisis.
    • 23 Metascore
    • 63 Mark Feeney
    Director Tomas Alfredson and cinematographer Dion Beebe have given The Snowman a gloriously subdued look.
    • 58 Metascore
    • 63 Mark Feeney
    There’s a reason the names in the title don’t appear in alphabetical order. Abdul is the far more interesting character, but it’s her majesty the movie dotes on. God save the queen? Oh yes, and God help the rest of us.
    • 71 Metascore
    • 88 Mark Feeney
    Swinton’s vocal performance as Bell is so vivid and absorbing it could be entered as evidence for the defense. Swinton makes Bell so compelling it’s easy to overlook what a paradoxical figure she was.
    • 80 Metascore
    • 88 Mark Feeney
    Most of all, California Typewriter is an elegy. “The truth is, no good typewriters are going to be made again,” Hanks laments. There’s a reason that the title of the first tune on the fine musical soundtrack is “Stolen Moments.”
    • 87 Metascore
    • 88 Mark Feeney
    A glorious late-summer pendant.
    • 79 Metascore
    • 100 Mark Feeney
    That’s how the gifted young Argentine writer-director Matías Piñeiro makes his movies, in a style that seems casual and feels sure-handed — casual and sure-handed being about as good a combination as artistry, in any medium, has to offer.
    • 64 Metascore
    • 63 Mark Feeney
    The film has two big things going for it: Stanfield and Asomugha. Their characters could easily become capital-letter caricatures — Victim, Loyal Friend — but the actors give Warner and King a sense of personality, and deeply felt hurt, that stays with you.
    • 88 Metascore
    • 75 Mark Feeney
    Mostly people talk. Lovely to look at, In Transit is even better to listen to. The documentary tells us straightaway that what we hear matters just as much as what we see.
    • 71 Metascore
    • 63 Mark Feeney
    Ingrid Goes West doesn’t offer Plaza a breakout role so much as a dig-deeper role. There’s a bravery to her performance that recalls De Niro as Pupkin. Actors really, really like to be liked — and understood. Ingrid is intensely unlikable — and opaque.
    • 33 Metascore
    • 50 Mark Feeney
    New York looks very appealing: uptown, downtown, even the little bit of Brooklyn we see. Think of “Boy” as a Bridges highlight reel and Gotham travelogue, instead of precious coming-of-age story, and it’s not half bad. But it isn’t, so it is.
    • 66 Metascore
    • 75 Mark Feeney
    The proof that the “Trip” formula hasn’t become formulaic? How often, and hard, these two can make an audience laugh.
    • 47 Metascore
    • 63 Mark Feeney
    Even by the junk-food standards of summer action comedies, The Hitman’s Bodyguard is overlong, over-violent, and over the top.
    • 73 Metascore
    • 75 Mark Feeney
    All three actors are excellent. So’s Gil Birmingham, as the victim’s father.
    • 68 Metascore
    • 75 Mark Feeney
    The movie reaches its emotional climax with the signing of the accords. But even under the best of circumstances, climate change offers no quick solutions. “This is a mission I have dedicated myself to,” Gore says, a mission that remains “a constant struggle between hope and despair.”
    • 60 Metascore
    • 63 Mark Feeney
    In other words, it’s hopeless tosh — but expertly done hopeless tosh.
    • 59 Metascore
    • 63 Mark Feeney
    This is the rare movie that might benefit from silence. Partly that’s because of the squeezed syrup of Randy Newman’s score.
    • 73 Metascore
    • 75 Mark Feeney
    Some of the best scenes show the family gathering after court sessions to discuss strategy, support each other, and vent.
    • 70 Metascore
    • 63 Mark Feeney
    A bit more internal tussle would have both better honored her spirit and made for a better documentary.
    • 39 Metascore
    • 63 Mark Feeney
    Much as Bardem enlivens things, the real source of zip is Kaya Scodelario (“Maze Runner: The Scorch Trials”). Charming and spirited, she’s Daisy Ridley dialed up a notch.
    • 69 Metascore
    • 63 Mark Feeney
    The documentary variously consists of archival performance footage, home movies, photographs, pointlessly flashy graphics, and many, many talking heads.

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