Andrew Crump

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Paste Magazine, Polygon, The A.V. Club, The Playlist
For 365 reviews, this critic has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 6.1 points higher than other critics. (0-100 point scale)

Andrew Crump's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Hale County This Morning, This Evening
Lowest review score: 0 The Last Days of American Crime
Score distribution:
  1. Positive: 281 out of 365
  2. Mixed: 63 out of 365
  3. Negative: 21 out of 365
365 movie reviews
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    • tbd Metascore
    • 82 Andrew Crump
    Where the Devil Roams
    The payoff is grand, as a macabre exercise and a moving gut punch.
    • 70 Metascore
    • 78 Andrew Crump
    Rotting in the Sun
    It takes a shock to the system to draw honesty out of an influencer, and Rotting in the Sun is absolutely a shocker. But rooting himself in the fabrication-friendly space of social media leads Silva, and his film, toward an earnestness that outmatches even his best work to date.
    • 78 Metascore
    • 87 Andrew Crump
    Ernest and Celestine: A Trip to Gibberitia
    Comedy is a welcome release for the genuine harms couched in Gibberitia’s philistine precepts. Authoritarians are self-important, humorless fools. We should make fun of them and laugh at them. Ernest & Celestine: A Trip to Gibberitia encourages viewers to join in the mockery, but not at the expense of its central motif, because ripping on autocrats alone isn’t enough.
    • tbd Metascore
    • 80 Andrew Crump
    Metalocalypse: Army of the Doomstar
    Army of the Doomstar prioritizes well-earned sentimentality over grisly comedy, and balances the film’s heart with the best animation of the series to date.
    • 78 Metascore
    • 75 Andrew Crump
    birth/rebirth
    Normally, ego married with naivety is a bummer. In “birth/rebirth,” it’s gut-chilling.
    • 60 Metascore
    • 78 Andrew Crump
    Aporia
    If Aporia’s airiness gives the story a bit of distance from the world we’re living in right now, the film nonetheless does what good science fiction is supposed to, forcing viewers to bring the future conundrums it raises to their present.
    • 60 Metascore
    • 74 Andrew Crump
    The Pod Generation
    Like many of the bright suggestions The Pod Generation offers, it would have been better left trimmed from the story, not because the outcomes and repercussions of the tech shouldn’t be explored but because there isn’t room to explore them all in under two hours.
    • 85 Metascore
    • 95 Andrew Crump
    The Beasts
    The sensation of observing these details fold into one another and unfold as a narrative isn’t that far off from turning the pages of a novel, or even a newspaper; that’s the journalistic effect of Sorogoyen’s filmmaking.
    • 47 Metascore
    • 66 Andrew Crump
    Bird Box Barcelona
    The film’s admirable attempts at preserving its enigmas, while finding the greatest unsettling effect in commonplace human fanaticism, offer an experience unique from Bier’s work with Bullock. But Bird Box Barcelona’s lack of grit and prevailing aversion to the gruesome realities of its own premise are a drag on the details that click.
    • 77 Metascore
    • 82 Andrew Crump
    The League
    What Pollard pulls from his subjects is ease of storytelling; even at an hour and forty minutes, the film keeps a lively pace, and for all of the work’s academic value, it’s endlessly, almost effortlessly engaging.
    • 43 Metascore
    • 71 Andrew Crump
    Maggie Moore(s)
    Slattery and Bernbaum’s adherence to genre standards may hold Maggie Moore(s) back from doing anything new in its space, but not from doing anything worthwhile. There’s nothing wrong with a messy low-level crime movie done right.
    • 59 Metascore
    • 23 Andrew Crump
    Dalíland
    The worst choice Mary Harron makes in Dalíland is relying on convention to make an end-stage portrait of an unconventional figure.
    • 52 Metascore
    • 58 Andrew Crump
    Kandahar
    In place of new, at least, we get to see Butler in his element as a man of compassion first and blazing guns second.
    • 51 Metascore
    • 72 Andrew Crump
    The Wrath of Becky
    It’s possible to fuse pulp with prestige while still saying smart things about the seismic political shifts required for creeps like the Proud Boys to skitter from the rocks they live under and infest society’s better elements. The Wrath of Becky makes no such effort. It’s built to thrill and made for chuckles, offset by Seann William Scott’s looming menace.
    • 78 Metascore
    • 80 Andrew Crump
    Chile '76
    The sensation of the film, on the other hand, is suspicion, the relentless and sickening notion that nobody can be trusted. Whether the thrumming electronic soundtrack or Rodríguez’s photography, composed to the point of feeling suffocating, Chile ’76 drives that anxiety like a knife in the heart.
    • 70 Metascore
    • 83 Andrew Crump
    Sisu
    Sisu communicates the basics without glossing over the record, and best of all without taking up time better spent liquifying bad guys.
    • tbd Metascore
    • 55 Andrew Crump
    The Tank
    Unfortunately, The Tank’s take on the “creature” component of “creature feature” is so muscular in execution and performance that Walker’s slow-burn approach does his team’s efforts an unintended disservice.
    • 66 Metascore
    • 58 Andrew Crump
    Mustache
    Mustache does its job. It gives Ilyas catalysts for growth other than the cookie duster hanging out under his nose, and the writing invites us to laugh with him, not at him because it’s one thing to laugh and another thing to sneer.
    • 58 Metascore
    • 68 Andrew Crump
    Boston Strangler
    Ruskin’s examination of the social and political elements that enabled the Strangler, and which held people like McLaughlin in contempt for attempting to serve the public good, is bold. In his next film, he should apply that same boldness toward an aesthetic purpose, too.
    • 64 Metascore
    • 74 Andrew Crump
    Unwelcome
    Where Grabbers is a raucous gem, Unwelcome is subdued, more polished but sadder.
    • 73 Metascore
    • 86 Andrew Crump
    Unicorn Wars
    A story about drug addiction, corrupt authorities, and environmental collapse sounds grim on paper and plays grim on screen, but Unicorn Wars is more than “grim.” It’s deranged.
    • 51 Metascore
    • 68 Andrew Crump
    Operation Fortune: Ruse de Guerre
    Either Ritchie didn’t bring his typical slickness for the ride, or he’s chopped up Operation Fortune: Ruse de Guerre intentionally to take the piss out of the genre. The effect at least feels more like comfort than boredom.
    • 61 Metascore
    • 42 Andrew Crump
    The Year Between
    There’s a way to find the humor in life with mental illness. The Year Between, with exceptions, isn’t it.
    • 81 Metascore
    • 82 Andrew Crump
    Bruiser
    Warren’s craftsmanship keeps the audience from swallowing a breath. He’s a merciless filmmaker, deeply considerate of his choices in staging and casting.
    • 75 Metascore
    • 77 Andrew Crump
    Emily
    Undoubtedly, filmmakers like O’Connor wish to honor their subjects instead of idly speculating. Emily performs that complicated maneuver with casual ease, proving that for the right kind of movies, actors make the best kind of directors.
    • 60 Metascore
    • 45 Andrew Crump
    Kompromat
    A remarkable real-life, low-artifice spy thriller becomes unremarkable fiction.
    • 73 Metascore
    • 67 Andrew Crump
    In My Mother's Skin
    When a horror movie goes out of its way to make its viewers feel as terrible as “In My Mother’s Skin” does, then that movie might just as well make feeling terrible worth it. Dagatan’s eye for gnarly practical and CG effects is buttressed by solid visual sensibilities, occasionally hamstrung by stray washed-out nighttime sequences, and wicked morality.
    • 37 Metascore
    • 59 Andrew Crump
    Life Upside Down
    Life Upside Down is a clunky, graceless movie, but it’s utterly engrossing as a stage for letting Odenkirk, Mitchell, Huston and the rest vent their own stir craziness. If you think of the film as more of an outlet than a functioning narrative, it gains value. But that reflective detail isn’t enough to hold our attention, no matter how likable and gifted its authors.
    • 51 Metascore
    • 35 Andrew Crump
    Kids vs. Aliens
    Kids vs. Aliens is a harmless trifle. A filmmaker with this many years under their belt should have more to show for themselves than that.
    • 70 Metascore
    • 96 Andrew Crump
    Jethica
    Jethica is impressive as a feat of economy—there’s a lot of movie packed into that 70 minutes—and miraculous as an act of empathy rolled up in a spooky, constitutionally American ghost fable, where the lost souls wandering the shoulder of far-flung highways may really be that, and where a simple traffic sign gains new meaning contextualized with Ohs’ thoughts on death: “Pass with care.”
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