Bill White
Select another critic »For 178 reviews, this critic has graded:
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50% higher than the average critic
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3% same as the average critic
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47% lower than the average critic
On average, this critic grades 3.5 points lower than other critics.
(0-100 point scale)
Bill White's Scores
- Movies
- TV
| Average review score: | 62 | |
|---|---|---|
| Highest review score: | The Holy Mountain | |
| Lowest review score: | Underclassman | |
Score distribution:
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Positive: 100 out of 178
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Mixed: 57 out of 178
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Negative: 21 out of 178
178
movie
reviews
- By Date
- By Critic Score
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- Bill White
Where other documentarians look for a charismatic personality to enliven their films, Berlin and Fab focus on the community as a whole.- Seattle Post-Intelligencer
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- Bill White
The cast is perfect, but the script is like a low ceiling, keeping a lid on what should have been a confluence of riotous misadventures.- Seattle Post-Intelligencer
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- Bill White
Before the movie reaches its climax, it has created a mess that requires divine intervention.- Seattle Post-Intelligencer
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- Bill White
Suffers from a simplistic reductionism that suggests buying from local organic farmers might help avert the possibility of a worldwide famine triggered by Monsanto's suicide gene. It is a noble and quaint solution to a situation that won't be easily swayed by consumer votes.- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
From the floating particles of dirt that open the film to the final image of a man and woman on a beach, Yes insists that we live with our mistakes since there is no escaping them.- Seattle Post-Intelligencer
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- Bill White
As sketch comedy, The Ten often is imaginative and sometimes hilarious...Still, like precursors from "The Groove Tube" to "Jackass," it doesn't make for much of a movie.- Seattle Post-Intelligencer
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- Bill White
The life of a prison guard is dull, no matter who is in the cell. Director Bille August makes what he can of this material, always holding our interest but never fulfilling the promise of a close encounter with one of the 20th century's most controversial leaders.- Seattle Post-Intelligencer
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- Bill White
Margaret Brown's honest and non-judgmental film captures the artist's high and low points, from early appearances on regional television shows such as "Nashville Now" to the drunken and disorderly performances that defined his later years.- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
And who would have guessed that, in this age of excess and one-upmanship, when bigger is always better, the year's most romantic screen kiss would last a mere two seconds.- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
The pleasure of watching such well-crafted entertainment offsets the small disappointments.- Seattle Post-Intelligencer
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- Bill White
Most of the film, however, goes down easily enough. The Queer Strokes, an all-gay rowing team, provide a humorous contrast to the less sexually confidant characters.- Seattle Post-Intelligencer
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- Bill White
The script offers neither character revelations nor plot twists. It unfolds by the numbers, like the product of an amateur screenwriter's salon. Its second-hand ideas originate in movies ranging from 1960's "The Apartment" to 1997's "The Ice Storm."- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
Peled's film, much of it shot clandestinely with smuggled cameras, is commendable in its fair depiction of the problems faced by the textile industry.- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
While their stories are well worth telling, first-time director Ruskin fails to shape his material into the dynamic film it might have been.- Seattle Post-Intelligencer
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- Bill White
Rampling is fascinating as Ellen, the aging romantic who hardens her vulnerability with a materialist philosophy regarding the buying and selling of sex. The other two actresses give more superficial performances, with Young totally unconvincing as a Southern neurotic.- Seattle Post-Intelligencer
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- Bill White
This is a film about brave women who left home as teenagers and have been on their own ever since. Now, nearing the end of that road, they face their inevitable decline with a cheerful vivacity.- Seattle Post-Intelligencer
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- Bill White
In its best moments, The Cats of Mirikitani captures both the tragedy and transcendence of his life, from the Sacramento-born, Hiroshima-raised youth who returned to the States in 1937 rather than join the Japanese Imperial Army, to the proudly self-sufficient man who struggled through New York's fierce winters until gaining recognition both as an artist and a human being.- Seattle Post-Intelligencer
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- Seattle Post-Intelligencer
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- Bill White
If the Polish brothers haven't quite mastered the mechanics of mainstream filmmaking, they have succeeded in bringing an independent spirit to the studio film.- Seattle Post-Intelligencer
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- Bill White
Never more than a dull and confused film about Bolivia's 2003 presidential election.- Seattle Post-Intelligencer
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- Bill White
With adventurous forays into questionable neighborhoods and stimulating tours through street markets, "Crossing the Bridge" is about the city as much as its music.- Seattle Post-Intelligencer
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- Bill White
Plays like a pilot for a situation comedy about a 40-year-old carpenter who decides to return to the boxing ring.- Seattle Post-Intelligencer
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- Bill White
The dark, rotting interiors and sunless winter skies create a festering atmosphere of unexpiated guilt as Kremer ponders the question of how a decent man is to navigate the rivers of hell.- Seattle Post-Intelligencer
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