For 41 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 1.3 points lower than other critics. (0-100 point scale)

Sam Fragoso's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 95 Moonlight
Lowest review score: 0 Yoga Hosers
Score distribution:
  1. Positive: 26 out of 41
  2. Negative: 10 out of 41
41 movie reviews
    • 69 Metascore
    • 59 Sam Fragoso
    Hold the Dark is a perfectly adequate film made by an especially talented director, Jeremy Saulnier. Alternately pulse-racing and somnambulant, it’s a thriller that starts strong before running out of gas.
    • 57 Metascore
    • 58 Sam Fragoso
    This journey to cobble together the old squad should be more fun that it is. Although you could say that about most of Uncle Drew. The onus is less on the performances; each former player holds his/her own.
    • 69 Metascore
    • 70 Sam Fragoso
    Beirut contains all the elements of a fun, snappy, pre-summer jaunt. And yet the film is actively in competition with itself. The tone is grim and honest when it wants to be, but not necessarily when it needs to be.
    • 67 Metascore
    • 80 Sam Fragoso
    By nature of its central subject, it’s a piece of work that infuriates and excites. It’s a deeply upsetting movie, and then, sporadically, a hopeful one.
    • 55 Metascore
    • 65 Sam Fragoso
    There’s still something thrilling about watching Chan, even at 63, fight people half his age. There’s a graceful fluidity to his punching and kicking. He’s poetry in motion. No film can take that away from him — not in 2017, not ever.
    • 47 Metascore
    • 65 Sam Fragoso
    Wirkola is more comfortable engaging with gunfire than people.
    • 47 Metascore
    • 60 Sam Fragoso
    It’s a movie about two people that ends up being about no one at all.
    • 36 Metascore
    • 77 Sam Fragoso
    It didn’t take long for this fleet-footed sequel, spry and charming, to win me over.
    • 86 Metascore
    • 75 Sam Fragoso
    Chasing Coral is not impartial. It’s staunchly pro-life, in the truest sense of the term.
    • 39 Metascore
    • 25 Sam Fragoso
    Unconscionably overlong while offensively appealing to the lowest common denominator of filmgoers, this film would appear to lack a single reason to exist.
    • 57 Metascore
    • 50 Sam Fragoso
    Despite this noble intention to create palpable tension — and dialogue — between two strangers, Dwain Worrell’s script repeatedly falls short.
    • 66 Metascore
    • 80 Sam Fragoso
    Unhinged and witty, Slack Bay is one of those rare movies that looks like it was fun to make, and is even more fun to watch.
    • 60 Metascore
    • 70 Sam Fragoso
    Gifted finds a collective of competent people making a perfectly competent movie — nothing more, nothing less.
    • 71 Metascore
    • 85 Sam Fragoso
    Gemini strives to be something different — something more ambitious, more potent. The results vary, as will your mileage. But the thing to remember about swinging and missing is that you still swung. Katz is putting himself in the game, and more often than not, he connects
    • 76 Metascore
    • 85 Sam Fragoso
    Aside from the undercurrent of pathos, it’s James Franco’s impeccable comedic timing that is the film’s ace in the hole.
    • 86 Metascore
    • 75 Sam Fragoso
    Rarely do we see a filmmaker start so strong only to end with a whimper. All in all, though, Baby Driver is still worth seeking out, if only for that first hour. Inside those opening 60 minutes is the best action-comedy of the last ten years — full stop — featuring a breathtaking amalgamation of rip-roaring combat, a star-making performance by Ansel Elgort, and a string of clever bits.
    • 33 Metascore
    • 30 Sam Fragoso
    Collide has been sitting on the shelves for over three years; no need to get up now and see it.
    • 41 Metascore
    • 70 Sam Fragoso
    Levy and Till prove to have chemistry together despite their predictable romantic arc. Wedge (whose other previous credits include “Robots” and “Epic”) knows how to keep the proceedings generally casual and breezy. The action sequences unfold with an air of lightness and youthful irresponsibility.
    • 30 Metascore
    • 15 Sam Fragoso
    Issues of continuity and logic pale in comparison to how the film forces Eckhart to act. It’s rare that we see someone as talented as Eckhart be relegated to work this shoddy and dispiriting.
    • 25 Metascore
    • 30 Sam Fragoso
    Ideologically, morally, and narratively, the film contains no point of view, no perspective that suggests human beings joined forces to create a piece of art they can stand behind.
    • 64 Metascore
    • 68 Sam Fragoso
    Ultimately, In a Valley of Violence thrives is in its final 20 minutes. In one of the more impressive sudden upticks in quality by a film in 2016, West seems to finally figure out what kind of a movie he wanted to make: a comedy. The concluding combat sequences are occupied by physical and witty gags.
    • 65 Metascore
    • 90 Sam Fragoso
    Equal parts horror masterclass and internal home-invasion thriller, “Ouija” is as chilling and nerve-racking as they come. It’s a sort of cinematic heart attack — irreparably damaging to the body and mind, with a slow recovery time.
    • 22 Metascore
    • 30 Sam Fragoso
    If the past is any indication, Hendler, Winchell, Bello and everyone else involved have the capacity to create interesting, original, and engaged art. Max Steel is none of those things.
    • 69 Metascore
    • 80 Sam Fragoso
    It’s not groundbreaking cinema, but Do Not Resist effectively begins (and furthers) this ongoing conversation about the escalating police state, racial profiling, and beyond.
    • 37 Metascore
    • 35 Sam Fragoso
    The ending of this movie is monumentally, historically, even catastophically bad. Its big reveal is so mind-numbingly asinine that it nearly retroactively erases any intelligence you may have had before watching this movie. Yes, it’s that agonizing.
    • 68 Metascore
    • 55 Sam Fragoso
    It’s a thrilling film with impressive set pieces, solid acting and a pulse-pounding climax. Movie-wise, mission mostly accomplished. But to experience Deepwater Horizon and ignore the external circumstances surrounding its creation is a difficult task.
    • 99 Metascore
    • 95 Sam Fragoso
    It’s a humanist film; it’s about people, and it’s got a pulse. It presents characters as idiosyncratic, domineering, but mostly fearful — timid creatures ambling through life in the hopes of finding refuge.
    • 23 Metascore
    • 0 Sam Fragoso
    Instead of a film that’s gleefully outlandish (see: “Sausage Party”), Yoga Hosers is a drag. It contains none of the vivacity of “Clerks,” “Mallrats” or “Chasing Amy,” and plenty of references to those days of yesteryear. It’s a cannibalization of all that we once loved about Smith and his movies.
    • 23 Metascore
    • 35 Sam Fragoso
    The Sea of Trees is a movie about guilt and grief that elicits just that in its viewers: guilt and grief. Because for every ephemeral moment to admire in Gus Van Sant‘s latest film, there are about a half-dozen more that make you wonder what went wrong.
    • 76 Metascore
    • 80 Sam Fragoso
    Neither obtuse nor obvious, Spa Night finds the perfect balance in communication. It shows enough, but not too much; it articulates its ideas, but it doesn’t asphyxiate the audience with them.

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