Tomris Laffly

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For 52 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 9.9 points higher than other critics. (0-100 point scale)

Tomris Laffly's Scores

  • Movies
  • TV
Average review score: 74
Highest review score: 100 Happy as Lazzaro
Lowest review score: 38 Happy Death Day 2U
Score distribution:
  1. Positive: 38 out of 52
  2. Negative: 3 out of 52
52 movie reviews
    • 61 Metascore
    • 63 Tomris Laffly
    I must admit: this skilled, historical action film was one of the toughest, most disquieting sits I can remember in a while — tougher than Paul Greengrass’ “July 22” and on par with the same filmmaker’s masterful “United 93.”
    • 77 Metascore
    • 88 Tomris Laffly
    The Mustang becomes an emotional powerhouse in its final act.
    • 85 Metascore
    • 75 Tomris Laffly
    In part shocking and gentle while trekking between chaotic and serene extremes, Black Mother is a fresh piece of work in both how it progresses and how it's assembled like a scrapbook of remembrances.
    • 78 Metascore
    • 88 Tomris Laffly
    Panahi can’t help but flaunt optimism wherever he sees it — he lets it rise above it all despite the odds.
    • 81 Metascore
    • 88 Tomris Laffly
    A thoughtful and dynamic blend of genres, Benedikt Erlingsson’s contemporary environmental fable Woman At War continually thrills with a side of laughs.
    • 76 Metascore
    • 75 Tomris Laffly
    A marvelously kooky, occasionally laugh-out-loud funny buddy comedy.
    • 57 Metascore
    • 40 Tomris Laffly
    More troubling is Neeson’s baffling disappearance for long stretches of time, when screenwriter Frank Baldwin gets too enamored with the supporting clan while failing to expand upon them.
    • 57 Metascore
    • 38 Tomris Laffly
    If you can fend off the recurring bores of Happy Death Day 2U, Landon and Lobdell have some chuckles reserved up their sleeves.
    • 64 Metascore
    • 80 Tomris Laffly
    Taking on tricky subject matter with gravity and depth, Honey Boy can’t be dismissed as yet another LaBeouf caper. It’s a reminder of a talent that, despite its own worst instincts, refuses to be snuffed out.
    • 87 Metascore
    • 80 Tomris Laffly
    Delightfully embracing the specificity of Eastern culture, The Farewell reflects on collective considerations versus individualism, not unlike Crazy Rich Asians. It unearths the universality of complex familial love that defies borders and language barriers.
    • 70 Metascore
    • 60 Tomris Laffly
    The most radical observation Late Night makes concerns the extreme maleness of showbiz that turns women into rivals. But the film brushes over this insight and ultimately falls short of even its more modest intentions.
    • 75 Metascore
    • 80 Tomris Laffly
    Colaizzo successfully walks a fine line between inspiration and caution, never presenting Brittany as a patronizing role model for weight loss, nor a clichéd case of inner beauty. The film grasps the complex nature of Brittany’s self-image without ignoring its dark side.
    • 86 Metascore
    • 88 Tomris Laffly
    Throughout its majestic 188-minute running time, there is a profound sum of self-negotiation in Turkish auteur Nuri Bilge Ceylan’s The Wild Pear Tree; a slow-burning and unexpectedly humorous character study as reflective and impenetrable as anything in Ceylan’s filmography.
    • 68 Metascore
    • 75 Tomris Laffly
    Ejiofor’s movie eloquently harnesses all these customary elements and yields them into an irresistible family film that plays like a brand-new “October Sky” with an urgent human-interest dimension at its heart.
    • 40 Metascore
    • 38 Tomris Laffly
    While Chappelle neatly outlines the tragic events caused by his spiritually bruised protagonist, it’s hard to stay engaged with his philosophical query that divides arguments into distinct rights and wrongs early on, and only asks shallow questions.
    • 50 Metascore
    • 75 Tomris Laffly
    This may all sound too shameless and syrupy, but to its credit, A Dog’s Way Home scratches the surface of something I, as a pit bull obsessive, have never seen a “dog movie” do.
    • 59 Metascore
    • 80 Tomris Laffly
    Well-paced and directed with gusto, On the Basis of Sex finds an accessible, near-perfect tone, balancing serious courtroom drama and frequent legal jargon with tastefully Hollywood-ized emotional embellishments.
    • 90 Metascore
    • 100 Tomris Laffly
    An aching film on such exquisite pains of impossible love, Paweł Pawlikowski’s Cold War concurrently swells your heart and breaks it, just like the sore memory of a lover that drifted away from your life, or an intensely craved kiss that never was.
    • 75 Metascore
    • 88 Tomris Laffly
    There is an undeniable neorealist quality to Labaki’s work, bringing to mind not only the first half of Garth Davis’ "Lion," but also the likes of Vittorio De Sica’s "Shoeshine" and Sean Baker’s "The Florida Project" (even though it falls short of the artistic command of these titles).
    • 66 Metascore
    • 38 Tomris Laffly
    Throughout Clara’s Ghost you can’t help but think that you’re watching a quaint home video that would appeal to the members of the subject family only — the unnecessary square aspect ratio certainly doesn’t help with the amateurish feel of the whole thing.
    • 86 Metascore
    • 100 Tomris Laffly
    Easily among this year’s finest films and laced with an unapologetic social message, Happy As Lazzaro dares one to imagine a reality where each individual would task themselves to be as selfless and morally whole as its main protagonist. If only.
    • 90 Metascore
    • 88 Tomris Laffly
    Even if this unique absurdist has not exactly been your cup of tea previously, he might finally win you over with this deliciously “Dangerous Liaisons”-esque and thoroughly female-driven period film, co-written by Deborah Davis and Tony McNamara.
    • 78 Metascore
    • 60 Tomris Laffly
    An incomplete exercise that lacks crucial emotional brushstrokes despite a rich palette and a piano-heavy score, At Eternity’s Gate still offers the thrill of being inside an artistic process, adoringly interpreted.
    • 77 Metascore
    • 75 Tomris Laffly
    An empathetic examination of the traditional lifeline of a tight-knit community, threatened to be torn apart by an inevitable wave of capitalist takeover.
    • 55 Metascore
    • 50 Tomris Laffly
    A thoughtfully feminist spin on “Pretty Woman,” this film is not.
    • 69 Metascore
    • 75 Tomris Laffly
    The most emotionally arresting moments of Boy Erased are delivered through quieter scenes between Jared and his parents.
    • 68 Metascore
    • 50 Tomris Laffly
    With its script (co-written by German and Yulia Tupikina) that lacks the traditional structure of a three-part act, Dovlatov managed to evoke in me an overall feeling of internment. Along with it crept in a gloomy mood, gradually formed through the collective frustrations of the time’s hampered dwellers.
    • 88 Metascore
    • 80 Tomris Laffly
    Shirkers is at its most gripping when it doesn’t overestimate Cardona’s narrative worth—the multifaceted women at the documentary’s heart are far more appealing.
    • 76 Metascore
    • 63 Tomris Laffly
    Unlike Kahn’s acclaimed and much tidier 2003 documentary “My Architect,” The Price of Everything has a meandering nature and explores one too many avenues in building a thesis, while losing the viewer in the midst at times.
    • 75 Metascore
    • 75 Tomris Laffly
    Both scrupulous and fittingly hazy, Gyllenhaal captures her character’s outsider-ly state-of-mind with astonishing depth, through the subtlest of details in the way she carries herself.

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