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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    • 81 Metascore
    • 100 Andrew Crump
    Riders of Justice
    Riders of Justice ties together gun fights seamlessly with melancholy and masculinity, putting them on similar footing without one gobbling up the others. The effect is complimentary. Remove one theme and the others crumble. Jensen quietly, and nearly constantly, adjusts his filmmaking to suit varying tones, softening for moments where the subject is human suffering and then hardening around muscular elements
    • 81 Metascore
    • 80 Andrew Crump
    Pandora and the Flying Dutchman
    Gardner’s a timeless actress, and it’s through her that Pandora and the Flying Dutchman gains its own timelessness. She’s so cool and controlled that any time the film starts tipping over the edge from fantasy to absurdity, her mere presence grounds it.
    • 81 Metascore
    • 89 Andrew Crump
    Premature
    It’s a gorgeous, shattering film. It’s an unapologetically real film about a number of very real subjects, plot-agnostic but driven by character, consequence and compassion.
    • 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.
    • 81 Metascore
    • 83 Andrew Crump
    Summer 1993
    Summer of 1993 does what movies do so well (and yet so rarely do), which is to let viewers see the world through the eyes of another.
    • 81 Metascore
    • 90 Andrew Crump
    She Dies Tomorrow
    She Dies Tomorrow is both the perfect film for this moment and also the worst viewing choice possible considering the circumstances.
    • 81 Metascore
    • 82 Andrew Crump
    Menashe
    The result is a sharp, moving dissection of personal identity and self-agency.
    • 81 Metascore
    • 62 Andrew Crump
    Ford v Ferrari
    It is intermittently a blast, particularly when Bale and Damon ham it up with each other, trading jabs and one-liners, and having childish slap fights in broad daylight as Miles’ saintly, patient wife Mollie (Caitriona Balfe) quietly observes. But when it isn’t a blast, Ford v Ferrari is politically muddled to the point of distraction.
    • 63 Metascore
    • 75 Andrew Crump
    Banana Split
    Fundamentally, Banana Split isn’t about making unexpected friendships under antithetical circumstances, but about figuring out how to maintain them no matter what difficulties it encounters. It’s an honest film, and unabashedly fun, with a really kickass soundtrack as a bonus.
    • 80 Metascore
    • 79 Andrew Crump
    Trophy
    It’s a calculated and logical film about an altogether illogical subject.
    • 80 Metascore
    • 100 Andrew Crump
    Costa Brava, Lebanon
    For a movie about government incompetence married to government malfeasance, Costa Brava, Lebanon is surprisingly funny.
    • 80 Metascore
    • 83 Andrew Crump
    Anne at 13,000 ft
    [Campbell] and Radwanski pair well. Together, they make Anne at 13,000 Ft. into a work that may leave the audience gasping for air.
    • 80 Metascore
    • 77 Andrew Crump
    The Endless
    In The Endless, Moorhead and Benson show how sustained paranoia and foreboding can keep an audience hooked as effectively as special effects.
    • 79 Metascore
    • 89 Andrew Crump
    Let the Sunshine In
    The blend of artistry and genre is breezy and dense at the same time, a film worth enjoying for its surface charms and studied for its deeply personal reflections on intimacy. You may delight in its lively, buoyant filmmaking, but you’ll be awed by the breadth of its insight.
    • 79 Metascore
    • 94 Andrew Crump
    Another Round
    Here, merriment and melancholy go hand in hand, partners in life’s dance just as a stiff drink is an accompaniment to life’s pleasures. The combination proves as intoxicating as the fancy-pants cocktails the boys whip up together—if not more so.
    • 79 Metascore
    • 90 Andrew Crump
    The Painter and the Thief
    Think better of art’s power, Ree’s filmmaking tells us, but especially think better of each other, too.
    • 78 Metascore
    • 83 Andrew Crump
    Angels Wear White
    The film looks heavenly, often bathed in light, as if Qu wants nothing more than to assuage these women of their suffering by suggesting paradise. But the brightness is just a veneer. Beneath the surface, “Angels Wear White” is as bleak as they come.
    • 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.
    • 78 Metascore
    • 86 Andrew Crump
    Luzzu
    What is a fishing community if restrictions deny their catch? The world continues to change no matter what anyone does. Camilleri understands that dilemma and puts it on film with humble clarity.
    • 78 Metascore
    • 75 Andrew Crump
    birth/rebirth
    Normally, ego married with naivety is a bummer. In “birth/rebirth,” it’s gut-chilling.
    • 78 Metascore
    • 64 Andrew Crump
    Love, Antosha
    Love, Antosha lays Yelchin’s immense spirit bare, but the film remains wanting for depth. Make no mistake: This is the definitive Encyclopedia of Anton Yelchin, a tome to chronicle the best of him. But there’s so much about him to learn, and so much breezed over to fit into a 90-minute running time, that Price’s study feels somewhat diffuse.
    • 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.
    • 78 Metascore
    • 91 Andrew Crump
    The Summit of the Gods
    What Imbert has done here, some years down the line, may solidify The Summit of the Gods, a work of fiction, as one of the greatest Everest films ever made. If nothing else it’s the Everest film that respects the mountain best.
    • 78 Metascore
    • 83 Andrew Crump
    Saloum
    Saloum is tense and, when it kicks into high gear, scary as hell.
    • 78 Metascore
    • 90 Andrew Crump
    The Breadwinner
    Twomey gives The Breadwinner ballast, binding it to the real-world history that serves as its basis, and elevates it to realms of imagination at the same time. It’s a collision of truth and fantasy.
    • 78 Metascore
    • 87 Andrew Crump
    Endless Poetry
    It’s a rapturous, gorgeous movie about the sad joy of living, the product of a filmmaker who has spent his life wrestling with the human desire to shed banality and elude our mortality, but for all its intellectual ambitions and philosophical gravity, Endless Poetry never reads as stuffy or self-serious.
    • 78 Metascore
    • 100 Andrew Crump
    Beach Rats
    If the film is tender, it’s merciless at the same time.
    • 78 Metascore
    • 83 Andrew Crump
    We're All Going to the World's Fair
    At its grimmest the film hits peaks of nerve-shredding dread. But more than being just frightening, We’re All Going to the World’s Fair is confidently weird and deeply sad.
    • 77 Metascore
    • 80 Andrew Crump
    Clemency
    The strength of ensemble’s performances can’t be overstated, especially that of Woodard and Hodge—she one of the greatest actors of her generation, he on the path to becoming one of the greats of his own.
    • 77 Metascore
    • 58 Andrew Crump
    Pity
    The film has an identity problem. It’s uncertain what it wants to be. This is too damn bad because its first mode, a parody of male self-obsession, is perfectly satisfying; the comedy makes us shift in our seats, but the shifting is pleasurable, complemented by well-timed gags and a mesmerizingly selfish performance from its leading man, Yannis Drakopoulos.
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