For 199 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% 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: 62
Highest review score: 100 Hermia & Helena
Lowest review score: 12 Compliance
Score distribution:
  1. Negative: 26 out of 199
199 movie reviews
    • 45 Metascore
    • 63 Mark Feeney
    What makes The Upside work as well as it often does is how the actors are able to convey the unlikely affinity these unlikely people share.
    • 71 Metascore
    • 75 Mark Feeney
    Tom Volf’s distinctive and affecting documentary makes plain how much the persona also owed to appearance and intelligence and life history.
    • 63 Metascore
    • 63 Mark Feeney
    For much of its first half, Chef Flynn feels like an after-school special with a difference — a big, big difference.
    • 84 Metascore
    • 63 Mark Feeney
    All movies are phony. What, you think beautiful people doing ugly things on a screen is real? Some movies are phonier than others. Widows is one of those. The always thin line between a twisty plot and a silly one gets crossed about an hour in.
    • 82 Metascore
    • 75 Mark Feeney
    So it’s a sort of grace note that Julien Faurat’s unusual and absorbing documentary, John McEnroe: In the Realm of Perfection, includes a snippet from the soundtrack of “Raging Bull,” probably the greatest and certainly the fiercest and most aestheticized of boxing movies.
    • 76 Metascore
    • 63 Mark Feeney
    The documentary has its memorable moments. Period footage of the now-legendary 1973 auction of contemporary art by the collector Robert Scull is riveting.
    • 70 Metascore
    • 63 Mark Feeney
    The documentary is good on the gay aspect of 54, and disco generally. Schrager became highly successful as an impresario of boutique hotels. Still, when he talks about Studio 54 there’s a touch of wonder in the tough-guy growl.
    • 60 Metascore
    • 63 Mark Feeney
    A line gets crossed. It isn’t the one between California and Nevada. It’s the one from “Bad” to worse.
    • 85 Metascore
    • 88 Mark Feeney
    Each of these dames of the realm gets to play the choicest of roles: herself.
    • 80 Metascore
    • 75 Mark Feeney
    Director David Lowery (“Ain’t them Bodies Saints,” “A Ghost Story”) did the adaptation of David Grann’s New Yorker magazine article. His direction is winningly relaxed, and his script has real flavor.
    • 69 Metascore
    • 38 Mark Feeney
    Moore shows newsreel footage of Hitler delivering a speech. Only it’s not Hitler’s voice we hear. It’s Trump’s. Get it? Sure you do, and as you do the documentary slips the surly bonds of sanity — even of agitprop — to enter a realm of its own polemical making. Words cannot do justice to such an editorial decision. Well, maybe five can: intellectually null and morally contemptible.
    • 62 Metascore
    • 50 Mark Feeney
    The Children Act isn’t all that interesting a movie, despite the many talented people involved and the generally high level of work they do. The most interesting thing about it is how it presents a case study in the very different way style can determine what works on the screen vs. what works on the page.
    • 59 Metascore
    • 75 Mark Feeney
    So the big surprise about White Boy Rick is how well the movie works. It’s one thing to know a story is based on nonfiction. Being made to believe its plausibility is something else. White Boy Rick you believe.
    • 67 Metascore
    • 75 Mark Feeney
    Wilson gives a performance that in its own way is as striking as Gleeson’s.
    • 35 Metascore
    • 63 Mark Feeney
    Kin
    So, yeah, Kin is a bit of a biker movie, too. More important, it’s also a family drama. In their first-time feature-directing effort, twin brothers Jonathan and Josh Baker — speaking of kin — turn Cain and Abel inside out and upside down. Why be east of Eden when you end up that far west of Motown?
    • 67 Metascore
    • 63 Mark Feeney
    Telling all is not necessarily the same thing as telling the truth, even if Bowers’s memory seems as clear as the glint in his bright blue eyes. Maybe it’s his ego that’s not clear — or too much so.
    • 74 Metascore
    • 63 Mark Feeney
    Maybe the key is how nicely self-aware the move is. On the soundtrack, for example, we hear both “Material Girl” and “Money (That’s What I Want)” sung in Mandarin. Everything’s so over the top it’s a bit weightless, which in this context is a compliment.
    • 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.

Top Trailers