Sarah Kurchak

Select another critic »
For 44 reviews, this critic has graded:
  • 59% higher than the average critic
  • 0% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 10.3 points higher than other critics. (0-100 point scale)

Sarah Kurchak's Scores

  • Movies
  • TV
Average review score: 74
Highest review score: 100 Anomalisa
Lowest review score: 16 The Assignment
Score distribution:
  1. Positive: 35 out of 44
  2. Negative: 1 out of 44
44 movie reviews
    • 53 Metascore
    • 67 Sarah Kurchak
    I might not be able to tell you what exactly Assassination Nation is, but the one thing I can confidently say is that it’s not easy to forget or dismiss.
    • 81 Metascore
    • 83 Sarah Kurchak
    It is, for all of its action, and unexpected hints of the underbelly of humanity, and bodily fluids, actually quite a languid, melancholy film. It doesn’t shock its viewers, nor does Denis seem to have any interest in doing so. It quietly, meticulously unmoors them instead.
    • 68 Metascore
    • 91 Sarah Kurchak
    As a writer and director, Hill demonstrates an endearing and encouraging empathy for his characters, crafting a portrait of adolescence that allows every emotion and every decision — from the most relatable at any age to the most boneheaded — to exist without irony, judgement, or condescension.
    • 84 Metascore
    • 75 Sarah Kurchak
    The way that Chazelle films the inside of a cockpit (claustrophobic, sensorily overwhelming, fraught with potential danger) and space (stark, haunting, stunning) are both testaments to what’s possible with the latest advancements in technology and vision in filmmaking. That said, it’s hard not to wonder why this particular film, as well-crafted as it is, was made now.
    • 96 Metascore
    • 83 Sarah Kurchak
    Roma is both visually and emotionally arresting, grandiose and intensely intimate all at once.
    • 88 Metascore
    • 91 Sarah Kurchak
    It’s all deliciously fun and deliriously devious, but Widows isn’t just an exercise in sheer escapism.
    • 88 Metascore
    • 100 Sarah Kurchak
    Weaving together the past and the present, masterful interpretations of Baldwin’s incredible prose, gorgeous visuals, and a sweeping score, If Beale Street Could Talk draws audiences into its overwhelming mix of emotions all at once.
    • 64 Metascore
    • 75 Sarah Kurchak
    Between its structure, its worldview, and its anti-heroine, Destroyer is almost impossible to ignore. Love it or hate it, it will still leave an impression and it will undoubtedly inspire discussion.
    • 68 Metascore
    • 58 Sarah Kurchak
    Halloween deserves credit for its efforts to balance old and new, for taking us back to Haddonfield in a way that isn’t purely for cheap nostalgia, but it’s hard to shake the feeling that there’s something more that it could have been achieved.
    • 69 Metascore
    • 83 Sarah Kurchak
    In a climate where far too much entertainment passes itself off as “resistance” for making empty gestures and landing easy punchlines, this is at least a step toward a more honest and open look at what America has always been, what it really is now, and what it’s going to take to make it live up to even a fraction of its dream.
    • 83 Metascore
    • 67 Sarah Kurchak
    As a parade of exaggerated neon-soaked atrocities, Climax is certainly never boring, but it often strains credulity where it aims to provoke genuine discomfort. It exhausts where it should provoke.
    • 87 Metascore
    • 100 Sarah Kurchak
    On almost every level, in almost every way, Jane is an exemplary work of documentation, storytelling, and filmmaking.
    • 87 Metascore
    • 91 Sarah Kurchak
    Filmed in aquatic hues and bathed in nostalgic mid-century style, The Shape of Water is both a love story and a love letter to monster movies, musicals, and classic cinema. Del Toro’s affection for the genres – and for the magic of film in general – is clear in so many charming and not-so-charming touches.
    • 68 Metascore
    • 67 Sarah Kurchak
    Angela Robinson, who wrote and directed the film, has managed to take what could have been a tawdry or salacious look into Wonder Woman’s naughty roots and give her real-life characters – and their genuine love for each other – the same amount of respect that any vanilla, monogamous heterosexual historical figure would receive.
    • 94 Metascore
    • 100 Sarah Kurchak
    Despite hitting so many classic coming-of-age hallmarks, Lady Bird never feels anything but fresh (and refreshing). This is, in part, due to the the film’s remarkably realistic performances.
    • 71 Metascore
    • 83 Sarah Kurchak
    Molly’s Game is a successful crime drama, but it’s also a film that acknowledges the presence of both good and bad luck in the pursuit of excellence. Most importantly, it allows failure to exist as a living and breathing entity, rather than a tragic ending or a fate simply suffered by the morally impure. And that is what you might call exceptional.
    • 63 Metascore
    • 50 Sarah Kurchak
    Payne’s heart might have been in the right place with this one, but the execution feels flippant at best.
    • 42 Metascore
    • 42 Sarah Kurchak
    It doesn’t work on a purely aesthetic level or as a political statement, and the combination of the two goes together about as well as a mid-level Coens comedy and a morality play about racism masquerading as a thesis.
    • 73 Metascore
    • 67 Sarah Kurchak
    While the quality of the film’s craft is up for little debate, though, it’s overall appeal and impact are far more polarizing.
    • 44 Metascore
    • 58 Sarah Kurchak
    Fans of [Herzog's] unique style and humor will find much to enjoy in Salt and Fire, even if the film does lack some proper cohesion. Anyone who’s wavering in their critical affections, however, can easily use this as an example of what happens when a good artist buys into their own hype and mythology.
    • 65 Metascore
    • 75 Sarah Kurchak
    A United Kingdom hits all of the necessary emotional notes and political intrigue of a solid historical figure drama.
    • 57 Metascore
    • 67 Sarah Kurchak
    It might be a lesser addition to the Guest oeuvre, but it’s a welcome one nonetheless
    • 63 Metascore
    • 83 Sarah Kurchak
    Free Fire might be a trifle of a quippy, feature-length shootout, but it’s the best damned trifle of a quippy, feature-length shootout you’ll ever see.
    • 93 Metascore
    • 75 Sarah Kurchak
    The superficial thrills of the genre are all present and adoringly rendered, but the actual purpose of the whole exercise is much harder to discern.
    • 34 Metascore
    • 16 Sarah Kurchak
    Once the giddy critical pile-on and hate-watching settles down, the (justified) moral outrage that (re)Assignment tries to thwart will end up being the regrettable and forgettable film’s only lasting legacy.
    • 81 Metascore
    • 100 Sarah Kurchak
    [A] truly remarkable film.
    • 67 Metascore
    • 50 Sarah Kurchak
    Lofty ideas of class, thwarted ambition, the superficiality of L.A. life, the nature of love, and the meaning of art are all explicitly addressed – and maybe discussed in a pretentious conversation or two – and then just as easily dropped, as if the simple act of naming themes is enough to establish their continued relevance in the film.
    • 85 Metascore
    • 67 Sarah Kurchak
    Given that The Salesman strives to be far more than a revenge thriller, Emad’s story isn’t enough to make it an unqualified triumph, but it’s still a genuinely good film, and worth watching.
    • 79 Metascore
    • 91 Sarah Kurchak
    Instead of simple heroes or avatars for big ideas about equality, Loving delivers complex, imperfect human beings who are struggling to find their place in a far from perfect world.
    • tbd Metascore
    • 67 Sarah Kurchak
    Posthumous still manages to charm more often than it disappoints.

Top Trailers