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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    • 54 Metascore
    • 76 Andrew Crump
    Becky
    Don’t confuse Becky for a smart movie. It won’t teach audiences anything valuable, or even new, about the disease of white supremacist ideology. It won’t leave folks holding hands in solidarity against racism and prejudice at a time when solidarity is like oxygen. It will, however, provide a brief burst of catharsis through the brutal slaughter of white supremacist ideologues, for whatever that catharsis is worth.
    • 70 Metascore
    • 76 Andrew Crump
    Mohawk
    Mohawk is exciting on its own merit. Seen as a piece of Geoghegan’s growing filmography, it’s positively thrilling, a great extension of its author’s fascinations.
    • 65 Metascore
    • 75 Andrew Crump
    Bully. Coward. Victim. The Story of Roy Cohn
    Bully. Coward. Victim. The Story of Roy Cohn isn’t really about justice, per se, but about peeling back the layers on the man.
    • 58 Metascore
    • 75 Andrew Crump
    Dean
    It’s missing bite, but you’ll appreciate its tender humors all the same.
    • 57 Metascore
    • 75 Andrew Crump
    Klown Forever
    Wannabe shock comedies toe boundaries of decorum but don’t have the stones to cross them, which in a way is more off-putting than the alternative. For Hvam, Christensen, and Klown Forever, boundaries aren’t a problem, only substance, but if you’re looking for a moral or a message, then you’re looking at the wrong film.
    • 55 Metascore
    • 75 Andrew Crump
    Butcher's Crossing
    Butcher’s Crossing is a gorgeous travelog. It’s also a warning about what happens when people fail to tread lightly in the natural world, both as a consequence of nature and themselves.
    • 64 Metascore
    • 75 Andrew Crump
    Gaia
    Gaia is a weird damn movie, but Bouwer’s filmmaking centers the weirdness so well that once it subsides, we remain assured that we’re on firm ground.
    • 65 Metascore
    • 75 Andrew Crump
    Agnes
    Agnes should excite viewers who like their demonic possession films and nun content fresh; there are nuns, and there is demonic possession, but there’s also Reece’s stubborn commitment to picking a niche and sticking with his aesthetic, which can be summed up as “characters kibitzing in dingy spaces.”
    • 71 Metascore
    • 75 Andrew Crump
    Theo Who Lived
    Theo Who Lived is a cross-pollination of performance art and self-purging, a cleansing act that allows Curtis to face the demons that still torment him today from within the safety of a film production.
    • 41 Metascore
    • 75 Andrew Crump
    Arizona
    Arizona bathes its absurdist satire in the bleakest humor and takes a sober glance at the consequences of America’s worst modern economic calamity.
    • 75 Metascore
    • 75 Andrew Crump
    F.T.A.
    Most of all, the chance to spend 90 or so minutes in Fonda’s orbit offers a welcome reminder of what cancellation actually means. For her, and for F.T.A., it means silence. Bravo to the folks responsible for putting the film under a spotlight at a moment where a lesson in genuine cancellation is so desperately needed.
    • 58 Metascore
    • 75 Andrew Crump
    The High Note
    The pleasures found in The High Note are many and often minor; Ganatra builds the film on casual chemistry between Johnson and Ross, with Harrison Jr., fresh off of his 2019 one-two punch of “Luce” and “Waves,” popping up as Johnson’s alternative foil.
    • 57 Metascore
    • 75 Andrew Crump
    Tornado
    It’s more that the specific combination of jidaigeki period piece, highland character study, and frontier justice that’s new, making Tornado a harrowing, blustery, violent amalgamation of an idiosyncratic spirit.
    • 48 Metascore
    • 75 Andrew Crump
    The Banishing
    We all have our own regrets and sins to reconcile with. The Banishing reminds us that sometimes we’re forced to answer for the sins of others, too.
    • 67 Metascore
    • 75 Andrew Crump
    No Man of God
    No Man of God has a purpose: The truth. This isn’t a Ted Bundy movie, but rather a movie about Ted Bundy.
    • 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.
    • 64 Metascore
    • 75 Andrew Crump
    Cold Storage
    That Cold Storage hews closer to comedy doesn’t lessen the unnerving sensation of watching its horror unfold. Funny as the film is, the speed with which a biological agent can spread—when the powers that be find the very notion laughable—still makes one squirm in their seat.
    • 67 Metascore
    • 75 Andrew Crump
    The Workers Cup
    More than a documentary, the film is an exposé on the world of global capitalism’s callousness that handily demonstrates their inhumanity.
    • 78 Metascore
    • 75 Andrew Crump
    birth/rebirth
    Normally, ego married with naivety is a bummer. In “birth/rebirth,” it’s gut-chilling.
    • 57 Metascore
    • 75 Andrew Crump
    Happy Death Day 2U
    Happy Death Day 2U makes deliberate moves away from horror, adding both science fiction and comedy to muddle the original mixture for better and also worse. For better: The film is even more of a gas than its predecessor. For worse: It’s not as much of a horror movie.
    • 66 Metascore
    • 75 Andrew Crump
    Clara's Ghost
    It’s often said that going into business with family is a terrible, horrible, no good, very bad idea, but Clara’s Ghost provides an exception to this particular rule.
    • 64 Metascore
    • 74 Andrew Crump
    Unwelcome
    Where Grabbers is a raucous gem, Unwelcome is subdued, more polished but sadder.
    • 67 Metascore
    • 74 Andrew Crump
    All You Need Is Death
    The power of Fouéré’s performance echoes across the film to its gruesome, tragic ending – further supporting evidence of the past’s grip strength on people of any generation.
    • 56 Metascore
    • 74 Andrew Crump
    Summerland
    Arterton’s at a peak in her career here, repurposing bits and pieces of her work in Their Finest for a film with much more intentional sentiment.
    • 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.
    • tbd Metascore
    • 74 Andrew Crump
    The Last Matinee
    The Last Matinee embraces the cat-and-mouse game between the killer and those to be killed as horror’s naughty pleasure. It’s central to the genre’s function in cinema.
    • 57 Metascore
    • 74 Andrew Crump
    The Strange Ones
    The Strange Ones is a solid movie on first watch that becomes a seriously good movie on second watch. Maybe that’s a poor framework for an endorsement, but the film is more than the shock of its climax.
    • 43 Metascore
    • 74 Andrew Crump
    The Princess
    Backstory is fine. Seeing King introduce scores of anonymous leering henchmen to their varying deaths is better.
    • 60 Metascore
    • 74 Andrew Crump
    The Commune
    All the components for bite are here, from unflattering character portraits to hideous amorality, but The Commune never clamps down quite as hard as you’d like it to. Your time won’t be wasted with the movie, but it won’t send you out of the theater scarred, either.
    • 70 Metascore
    • 73 Andrew Crump
    Color Out of Space
    Color Out of Space feels shaggy at the edges but so rich within them that the flaws of the DIY aesthetic matter less than the merits of Stanley’s perspective.
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