Angie Han

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The Hollywood Reporter
For 79 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Angie Han's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Power Ballad
Lowest review score: 10 Bride Hard
Score distribution:
  1. Positive: 40 out of 79
  2. Mixed: 36 out of 79
  3. Negative: 3 out of 79
79 movie reviews
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    • tbd Metascore
    • 50 Angie Han
    Family Movie
    Family Movie is a project that seems to exist entirely because the Bacon-Sedgwick clan just thought it’d be fun to collaborate on something, and that’s being released for the rest of us entirely because the Bacon-Sedgwicks are the Bacon-Sedgwicks. For some fans, maybe that’ll be enough. I think I preferred the actual home movies of the actual Kevin, Kyra, Sosie and Travis that play over the ending.
    • 51 Metascore
    • 50 Angie Han
    Pretty Lethal
    The impression Pretty Lethal leaves behind is one of unfulfilled potential, an exciting premise executed as a fitfully fun but mostly forgettable distraction.
    • 68 Metascore
    • 60 Angie Han
    Kill Me
    If its exploration of these ideas is ultimately too incomplete to feel fully satisfying, its performances are strong enough to draw attention throughout.
    • 63 Metascore
    • 50 Angie Han
    Heel
    If the concept has a way of grabbing one’s attention, however, the execution proves too uneven to leave a lasting impression. Though Good Boy gets by for a while on the strength of its performances and the sheer oddness of its plot, the flimsiness of its characters drains the film of energy long before its 110 minutes are up.
    • tbd Metascore
    • 50 Angie Han
    For Worse
    For Worse isn’t all bad; bits of it are intriguing and the rest is too anodyne to get worked up about. But it’s hard to shake the disappointment that this is just an okay movie, when it seems like it should’ve been a good one.
    • 43 Metascore
    • 40 Angie Han
    Anaconda
    The film leans into action-comedy, and for a while, coasts by on the pre-sold likability of its cast.
    • 63 Metascore
    • 60 Angie Han
    H Is for Hawk
    As an appreciation of birds and our connection to them, it’s engrossing and endearing — a fresher take, certainly, than yet another weepie about dog or cat owners. But as an exploration of grief, it’s hindered by a 128-minute run time that spreads its emotional potency too thin.
    • 38 Metascore
    • 40 Angie Han
    Oh. What. Fun.
    A forgettable blend of unearned saccharinity and unacknowledged sourness, the Michael Showalter-directed dramedy capably proves that Mom is the true angel of the season but falls well short of proving that Christmas is worth all her fussing in the first place.
    • 47 Metascore
    • 50 Angie Han
    Taylor Swift: The Official Release Party of a Showgirl
    While there’s something to be said for the communal experience of absorbing an album surrounded by dozens of likeminded fans, what’s actually being served up on screen is more filler than killer.
    • 51 Metascore
    • 50 Angie Han
    Doin' It
    The comedy never quite settles into a comfortable rhythm, and eventually backs itself into a corner so far away from any recognizable reality that it threatens to undermine the very message it wants to send.
    • 58 Metascore
    • 50 Angie Han
    Charlie Harper
    Only once we’ve gotten the full picture, near the end of the movie, does Charlie Harper finally start to come into its own. The film’s last scenes are its finest.
    • 42 Metascore
    • 40 Angie Han
    Swiped
    While the Hulu release ultimately adopts a tone of triumph, its themes of empowerment ring hollow coming from such a thinly written script. It’s most persuasive as a portrait of the frequently toxic culture surrounding those apps to begin with.
    • 46 Metascore
    • 50 Angie Han
    Ballad of a Small Player
    Ballad of a Small Player has plenty of flash, as befits the story of a man whose everyday wear consists of jewel-tone velvet suits and silk ascots. But there’s not much substance to be found underneath the consciously cheap glamour.
    • 54 Metascore
    • 50 Angie Han
    Everything's Going to Be Great
    It’s not entirely a bad time, as things involving Allison Janney and Bryan Cranston tend not to be. But it’s not exactly a satisfying one, either.
    • 66 Metascore
    • 60 Angie Han
    Elio
    Elio feels just a tad too familiar in its sights and story beats to seem totally fresh.
    • 68 Metascore
    • 60 Angie Han
    The Luckiest Man in America
    As a mood piece, the Samir Oliveros-directed The Luckiest Man in America is plenty evocative, full of retro flair tinged with dread or dreaminess. But as a character study or a narrative, it’s too rooted in its particular place to extend its impact beyond it.
    • 41 Metascore
    • 40 Angie Han
    O'Dessa
    There’s a distinctive eye here, and a promising sense of ambition. But in its current form, there’s not enough meat on its (admittedly cool-looking) bones to justify its 106-minute run time.
    • 46 Metascore
    • 50 Angie Han
    Lonely Planet
    Neither dull enough to be painful nor fun enough to be engaging, it’s simply too bland to make much of an impression at all.
    • 71 Metascore
    • 60 Angie Han
    Gazer
    As painstakingly crafted as this mystery-thriller is, it remains something to be admired from a distance rather than felt viscerally.
    • 37 Metascore
    • 50 Angie Han
    Atlas
    The robot war is mere pretext for the saga of a woman learning to love again, starring a celebrity whose public persona is largely built around her willingness to let herself love again. Never mind the fact that there is no actual human love interest — in structure and theme, Atlas is a J.Lo rom-com in shiny metal packaging.
    • 64 Metascore
    • 60 Angie Han
    Cora Bora
    If the film’s strength lies in its affection for its title heroine, its greatest flaw is a comparative lack of attention toward the characters surrounding her — yielding a film that, for all its likable beats, feels flimsier than it should.
    • 69 Metascore
    • 50 Angie Han
    Magpie
    Despite a juicy hook built on heated emotions and drastic actions, Magpie proves too cold and ultimately too timid to spark much of a reaction.
    • 37 Metascore
    • 50 Angie Han
    Family Switch
    The body-swap comedy isn’t good so much as it is completely and totally innocuous. Its characters are drawn in the broadest of strokes and the plot points unfold along creakily predictable beats, but it’s too blandly sweet to be irritating or offensive.
    • 54 Metascore
    • 40 Angie Han
    The Critic
    It should hurt to watch such a relentlessly ruthless piece of work. Yet its savagery feels blunted when nearly every character but Jimmy feels underwritten and nearly every relationship built on plot contrivance.
    • 53 Metascore
    • 60 Angie Han
    Anna Nicole Smith: You Don't Know Me
    You Don’t Know Me aims to cut past the mythology to reveal the flesh-and-blood woman underneath, and in doing so assembles a mostly sympathetic, mostly compelling portrait of an all-American tragedy. But when even a movie aimed at capturing the “true” Anna Nicole Smith seems unsure exactly who that might be, it’s hard not to wonder who any of this is really for.
    • 46 Metascore
    • 40 Angie Han
    Shotgun Wedding
    Shotgun Wedding amounts to an action romantic comedy in which the action is uninspired, the romance tepid and the comedy flat — such that not even rom-com queen Jennifer Lopez can elevate it above aggressive mediocrity.
    • 54 Metascore
    • 50 Angie Han
    Don't Make Me Go
    For most of its 110-minute run time, Don’t Make Me Go is a solidly likable drama, anchored by lovely, lived-in chemistry between John Cho and Mia Isaac as a father-daughter duo. But a misguided third-act choice throws off its bittersweet vibe, leaving a distinctly sour aftertaste.
    • 51 Metascore
    • 40 Angie Han
    Taurus
    While Taurus does eventually get around to making a point — something about how the toxic combination of fame, addiction, and the music biz can destroy a young talent — it feels for most of its 98-minute run time like a plotless meander through one dude’s very awful week
    • tbd Metascore
    • 50 Angie Han
    Last Survivors
    Last Survivors doesn’t only aim to offer up the usual pleasures of postapocalyptic thrillers like A Quiet Place or It Comes at Night — it also tries to deconstruct their dark appeal, with intriguing but uneven results.
    • 50 Metascore
    • 40 Angie Han
    Summering
    Its potential for magic is dulled by uneven performances, unconvincing chemistry and an uninspiring script. Summering ends up a movie that’s easier to appreciate for what it’s trying to do than love for what it’s actually doing.
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