Stephanie Zacharek

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For 1,801 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 0.2 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Hamlet
Lowest review score: 0 Speed Racer
Score distribution:
1801 movie reviews
    • 35 Metascore
    • 50 Stephanie Zacharek
    Neither the most super-awesome Marvel movie nor the worst. It exists in that micro-millimeter’s breadth of in-between. Venom has energy, style and Tom Hardy — all good things. But it doesn’t really make sense, a bad thing.
    • 82 Metascore
    • 80 Stephanie Zacharek
    It’s so gripping to watch — as well as being, in places, just delightfully funny — that you never feel you’re being preached to.
    • 43 Metascore
    • 60 Stephanie Zacharek
    A movie featuring Kevin Hart is going to be a Kevin Hart movie: at this point, his personality is too big to fold up; his jackrabbit energy dominates. That doesn’t leave much oxygen for Haddish, whose loopy, billowing spirit needs lots of airspace. And still, somehow, she’s the movie’s guiding presence.
    • 21 Metascore
    • 0 Stephanie Zacharek
    What hurts the most is the wholehearted dedication each of these actors brings to such truly horrendous material: they make Life Itself almost watchable – almost –but there’s no effective cure for this kidney stone of a movie. Please, please, just let it pass.
    • 72 Metascore
    • 70 Stephanie Zacharek
    We all make mistakes, and we all have the ability to wound when we’re just trying to be clever: Holofcener makes allowances for all of that. But she always favors warmth over sarcasm. And as if she could read our minds, she puts in her characters’ mouths words that we ourselves have sometimes failed to find the guts to say.
    • 60 Metascore
    • 70 Stephanie Zacharek
    In its best moments, Sierra Burgess, directed by Ian Samuels and written by Lindsey Beer, has the charm of a Shakespearean mistaken-identity gambol.
    • 77 Metascore
    • 40 Stephanie Zacharek
    This new Suspiria is bland, grisly, boring and silly. There is nothing poetic or erotic about it.
    • 76 Metascore
    • 80 Stephanie Zacharek
    It’s effective in a somber way, and as shot by cinematographer Bruno Delbonnel, it’s dazzling to look at, a reinvention of classic literature of the old west with a storybook feel.
    • 88 Metascore
    • 90 Stephanie Zacharek
    It’s wonderful to see a first-time filmmaker who’s more interested in effective storytelling than in impressing us; telling a story effectively is hard enough. Best of all, Cooper has succeeded in making a terrific melodrama for the modern age.
    • 91 Metascore
    • 90 Stephanie Zacharek
    The Favourite is a wicked delight, a fantastic little cupcake of a movie laced with thistle frosting.
    • 96 Metascore
    • 100 Stephanie Zacharek
    This glorious, tender picture, a memoir written in film language, is only indirectly about the man who made it. He stands off to the side, in the shadows, beckoning us toward something. Roma is filmmaking as gesture, an invitation to generosity that we perhaps didn’t know we could feel.
    • 84 Metascore
    • 60 Stephanie Zacharek
    This is a respectful movie, even a genuflecting one; there’s never a moment when Chazelle fails to let you know he’s doing important, valuable work. But that’s the problem: The movie feels too fussed-over for such a low-key hero.
    • 74 Metascore
    • 80 Stephanie Zacharek
    The two leads, Wu and Golding, are charming and genuine, and the supporting performers around them keep the whole mad story spinning—this thing is never boring.
    • 65 Metascore
    • 70 Stephanie Zacharek
    It’s simply a movie that makes you feel welcome.
    • 46 Metascore
    • 70 Stephanie Zacharek
    Statham is the real thing, and he’s key to the effectiveness of this good-natured and often highly ridiculous adaptation of Steve Alten’s 1997 sci-fi potboiler.
    • 69 Metascore
    • 60 Stephanie Zacharek
    The Miseducation of Cameron Post may not hit as hard as it should. But it at least suggests that the only real losers in life are those who presume to read God’s mind.
    • 60 Metascore
    • 70 Stephanie Zacharek
    The picture has a charming, low-key vibe that is, here and there, brushed with just a trace of adult melancholy. It’s good for kids, but maybe even better for adults who could use a little calming something.
    • 52 Metascore
    • 50 Stephanie Zacharek
    A well-meaning handspring of a movie that doesn’t necessarily land on its feet.
    • 86 Metascore
    • 80 Stephanie Zacharek
    Mission: Impossible—Fallout may be the best Mission: Impossible movie since the first, made in the dawn of the cat-Internet age, 1996, by Brian De Palma. Or perhaps it’s just the one with the mostest: even by the franchise’s extravagant standards, Fallout throws off Hope-diamond levels of grandeur.
    • 76 Metascore
    • 90 Stephanie Zacharek
    Blindspotting is entertaining, but it also packs an emotional punch. Sometimes, even the place you call home can make you feel like a ghost.
    • 60 Metascore
    • 70 Stephanie Zacharek
    Mamma Mia! Here We Go Again is terrible. And irresistible. How a movie that’s almost not even a movie can be both of those things at once is one of the mysteries of filmgoing, and one of its puckish pleasures.
    • 51 Metascore
    • 80 Stephanie Zacharek
    It’s all just Dwayne Johnson getting the job done. There ain’t no mountain, nor skyscraper, high enough for him.
    • 81 Metascore
    • 70 Stephanie Zacharek
    The most of-the-moment movie on the landscape right now — it may end up being the most politically and culturally relevant movie of the year. As a piece of filmmaking, it’s far from perfect.
    • 70 Metascore
    • 60 Stephanie Zacharek
    It has to be more of the same, but better, and the movie doesn’t quite succeed. You can’t really make a bigger, better Ant-Man — that just means defying the diminutive, carefree scale that made the earlier movie work in the first place.
    • 88 Metascore
    • 90 Stephanie Zacharek
    There’s no such thing as perfect love in families; often it’s the fine threads of tension that actually hold things together. Granik’s "Winter’s Bone" was greatly admired for the way it presented “ordinary people” of the Ozarks. But Leave No Trace is better.
    • 61 Metascore
    • 50 Stephanie Zacharek
    If you’re looking for a movie that speaks to the moment, a mindless action-thriller probably isn’t it.
    • 70 Metascore
    • 90 Stephanie Zacharek
    Perceptive, probing and ultimately devastating, The King is for anyone who cares about where this country has been and where it’s headed.
    • 51 Metascore
    • 50 Stephanie Zacharek
    Fallen Kingdom is so committed to thunderous spectacle that it fails to capture the poetry of these beasts in all their spiky, scaly, long-necked wonder. They deserve better.
    • 65 Metascore
    • 80 Stephanie Zacharek
    Movies don’t have to be bigger and bolder than we ourselves are. Haley’s films are things we can reach toward – there’s an intimacy and candor about them that feels welcoming.
    • 52 Metascore
    • 50 Stephanie Zacharek
    The new Superfly isn’t a great work of artistry or of cheap thrills — it’s so in between it’s practically bourgeois — but in the swagger department, it just squeaks by.

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