Stephanie Zacharek

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For 1,843 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 0.1 points higher than other critics. (0-100 point scale)

Stephanie Zacharek's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Creed
Lowest review score: 0 Over Her Dead Body
Score distribution:
1843 movie reviews
    • 85 Metascore
    • 80 Stephanie Zacharek
    Feldstein and Dever have a kind of mad, cartoon chipmunk chemistry, playing characters who know each other so well that they finish each other’s sentences and step on each other’s lines. What their friendship really needs is a little room to breathe. Booksmart is smart about that too.
    • 88 Metascore
    • 100 Stephanie Zacharek
    This is a tender, rapturous film, both joyous and melancholy, a reverie for a lost past and a door that opens to myriad imagined possibilities.
    • 76 Metascore
    • 40 Stephanie Zacharek
    It tells us nothing new about evil or our need to take a stand against it; it barely makes us feel what it’s like to stand against evil. All it has to offer is soft-focus piousness. Its ethical purity is inert, a dead butterfly in a jar.
    • 80 Metascore
    • 90 Stephanie Zacharek
    Everything about Pain and Glory is awake and alive, and Almodóvar’s nerve endings become ours, too.
    • 73 Metascore
    • 80 Stephanie Zacharek
    Rocketman is magnificent and ridiculous, a feathered melanage of clichés and originality, of respectful homage and unrepentant nostalgia. Sometimes it’s comfortingly conventional; other times it’s gloriously off the charts. Even when it doesn’t quite work, it’s just so damn alive, meeting right at the intersection of the human heartbeat and the also-human love for shiny things.
    • 93 Metascore
    • 90 Stephanie Zacharek
    Hogg has made a gorgeous, haunting movie drawn from a very real place and time.
    • 57 Metascore
    • 50 Stephanie Zacharek
    The Dead Don’t Die is better when it’s riffing on zombie heritage, or just being silly. But it’s best when Jarmusch is acknowledging, in that characteristically Jarmuschian way—half resigned, half jubilant — that the world of people, even with all their terrible flaws, is worth preserving
    • 56 Metascore
    • 50 Stephanie Zacharek
    Wine Country springs to life here and there, but there’s something dispiriting about the way these women seem to be working hard for laughs rather than just being funny.
    • 67 Metascore
    • 80 Stephanie Zacharek
    She’s (Theron) a marvelous comic actor, as at home with bawdy humor as with the brainier kind, and her timing has its own rare and specific style: her lines tend to tilt sideways, with the quiet finesse of a balsa-wood glider, before coming in for a soft but neat landing. She’s an elegant goofball, funny in an over-the-shoulder way, not an in-your-face way, and every moment spent watching her is a pleasure. Hail to the chief.
    • 78 Metascore
    • 80 Stephanie Zacharek
    Avengers: Endgame isn’t a great movie, but there are flashes of greatness in it, and quite a few of them belong to Evans. His Captain America rewards us with a revelation and escapes with a secret. The best thing in Avengers: Endgame is everything he doesn’t say.
    • 63 Metascore
    • 70 Stephanie Zacharek
    As played by Rodriguez, Wise and Snow, these women embrace one another’s differences and help ease the way through tough times. The city is theirs for the taking, a backdrop for their raunchy jokes, furtive sexual encounters and procurement of various feel-good substances.
    • 69 Metascore
    • 60 Stephanie Zacharek
    Her Smell is an uneven movie, occasionally dipping into clichés. But Moss’s performance works as a distillation of one of Love’s signature lines, from the song “Doll Parts”: Becky knows what it costs to be the girl with the most cake.
    • 49 Metascore
    • 60 Stephanie Zacharek
    Although Little bears some similarities to the 1988 kid fantasy "Big," it’s a thoroughly modern comedy, one that lives comfortably with the idea that women can hold power and authority–though because they’re human, they can misuse it, too.
    • 57 Metascore
    • 50 Stephanie Zacharek
    Pet Sematary is creepy for a time, before it becomes stupid. Then it’s creepy again: The final image will make you want your mommy.
    • 77 Metascore
    • 90 Stephanie Zacharek
    Denis’s movies can be imaginative and poetic; sometimes they’re unflinchingly brutal. High Life, her first English-language picture, is all of those things, a work of great beauty that’s also at times difficult to watch.
    • 66 Metascore
    • 70 Stephanie Zacharek
    Even if you’ve never heard of the Peterloo Massacre, this picture–beautifully staged and shot, with a you-are-there urgency–will reward your patience.
    • 70 Metascore
    • 80 Stephanie Zacharek
    Shazam! just breathes, and it’s bliss.
    • 55 Metascore
    • 70 Stephanie Zacharek
    The Beach Bum is barely a movie; it’s more of a joyous squiggle adorned with a paper cocktail umbrella, a “What did I just see?” dollar-store trinket. But in these dark times, it’s just the ticket.
    • 51 Metascore
    • 40 Stephanie Zacharek
    The new Dumbo is ostentatious and overworked, less a work of imagination than a declaration of how imaginative Burton thinks he is.
    • 81 Metascore
    • 60 Stephanie Zacharek
    Us
    With the ambitious home-invasion horror chiller Us, Peele goes even deeper into the conflicted territory of class and race and privilege; he also ponders the traits that make us most human. But this time, he’s got so many ideas he can barely corral them, let alone connect them. He overthinks himself into a corner, and we’re stuck there with him.
    • 77 Metascore
    • 80 Stephanie Zacharek
    You can probably guess every beat of The Mustang ahead of time, but what does that matter? The picture, shot by Ruben Impens, is gorgeous to look at.
    • 80 Metascore
    • 90 Stephanie Zacharek
    With Gloria Bell, Lelio revisits a story he’s told before: It’s a close remake of his 2013 Spanish-language film "Gloria," starring the superb Chilean actress Paulina García. Both films are terrific, but with Gloria Bell, Lelio may have buffed out a few rough edges; the new picture feels subtler, more shimmering.
    • 64 Metascore
    • 40 Stephanie Zacharek
    By the time I got to the end of Captain Marvel...I heard the voice of my own inner superhero, Peggy Lee, whispering in my ear: Is that all there is? The most heinous supervillain of all is Boredom.
    • 83 Metascore
    • 90 Stephanie Zacharek
    You’ll learn a lot from Varda’s narration, about filmmaking, about life, about her. If you want to know how to turn scraps into gold, this is the masterclass for you.
    • 28 Metascore
    • 30 Stephanie Zacharek
    The Golden Glove is, in the most basic sense, well constructed. It’s also the kind of movie you may end up wishing you’d never seen. Even hardcore Akin devotees should proceed with caution, and be ready for disillusionment. The craftsmanship is there. But Akin’s judgment has gone AWOL, and with it, his heart.
    • 60 Metascore
    • 90 Stephanie Zacharek
    It’s ridiculous, and it’s wonderful. Falling in love is stupid like that.
    • 57 Metascore
    • 50 Stephanie Zacharek
    The big problem is that Neeson drops out of the story for long stretches, and the movie needs him: None of the drug-biz guys, not even the classy, serene White Bull, can match his craggy charisma. When he’s absent, the landscape is very cold indeed.
    • 43 Metascore
    • 30 Stephanie Zacharek
    The mythology he tries to build in Glass is rushed and sloppy; the surprise twist at the end is really just more of a damp wrinkle. Shyamalan believes so strongly in the dramatic impact of this trilogy that he almost makes you believe in it too — that’s his secret superpower. But the illusion is fragile. You don’t need a sixth sense to know you’re in for a letdown. The five you’ve got should be plenty.
    • 46 Metascore
    • 50 Stephanie Zacharek
    Neither great nor terrible. It quavers in that middle ground of pictures you think you might watch on a plane someday, and you could make a worse choice.
    • 55 Metascore
    • 80 Stephanie Zacharek
    In its best moments, Aquaman is transportive. There are worse ways to spend a Saturday afternoon.

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