Brianna Zigler

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Paste Magazine, The A.V. Club, The Film Stage
For 125 reviews, this critic has graded:
  • 27% higher than the average critic
  • 3% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 9 points lower than other critics. (0-100 point scale)

Brianna Zigler's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 91 If I Had Legs I'd Kick You
Lowest review score: 15 He's All That
Score distribution:
  1. Positive: 57 out of 125
  2. Mixed: 40 out of 125
  3. Negative: 28 out of 125
125 movie reviews
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per page
    • 79 Metascore
    • 83 Brianna Zigler
    Look Into My Eyes
    All of the psychics are sensitive, artistic, outcasted people, who are more empathetic to the feelings of others than the average person might be. It makes their readings a space not just for potential supernatural experience, but one in which someone who is vulnerable and emotionally in need is being heard by someone who’s willing to receive them.
    • 54 Metascore
    • 25 Brianna Zigler
    Everything's Going to Be Great
    Everything’s Going To Be Great tries to tackle ideas related to perceptions of success, acceptance, family, religion, love, homosexuality, and probably some other things thrown in there too. But there is no commitment to any of them.
    • 78 Metascore
    • 67 Brianna Zigler
    Girl Picture
    Girl Picture is sweet, tender, and frequently amusing: a love letter to that time we ache to leave in the rearview mirror but which shapes who we are and how we love more than anything else.
    • 78 Metascore
    • 91 Brianna Zigler
    If I Had Legs I'd Kick You
    Byrne excels at evoking pain and exhaustion, but also selfish ambivalence, and the kind of frazzled mother character she played in the Insidious franchise is put to far better use by Bronstein.
    • 54 Metascore
    • 40 Brianna Zigler
    Arthur the King
    A frequently heartstring-tugging inspirational dog movie that does little to excel beyond acceptability yet manages to not be a complete drag to watch.
    • 77 Metascore
    • 80 Brianna Zigler
    The Feeling That the Time for Doing Something Has Passed
    The Feeling That the Time for Doing Something Has Past beautifully observes how the ridiculous mundanities of being alive are some of the most difficult.
    • 77 Metascore
    • 80 Brianna Zigler
    Love Lies Bleeding
    The tactile world Glass has crafted is just as immersive and erotic in its design as it is physically between her two lead lovers.
    • 76 Metascore
    • 58 Brianna Zigler
    Father Mother Sister Brother
    Father Mother Sister Brother depicts with earnest melancholy the things taken for granted in life that don’t become real until after death, but its stiffness keeps it from being a work of true emotional significance.
    • 76 Metascore
    • 60 Brianna Zigler
    No Sudden Move
    Regardless of whether or not Soderbergh once again made iPhone filmmaking look more visually elegant than most modern Hollywood blockbusters, No Sudden Move suffers from low stakes and a disconnect from the world of our characters.
    • 75 Metascore
    • 85 Brianna Zigler
    The French Dispatch
    The film becomes a wry showcase for the director’s evolution as a creative who has been refining an unparalleled style for over two decades, with a sharper humor but without the more deeply felt pulse of films like The Darjeeling Limited, Fantastic Mr. Fox or most recently, and most effectively, The Grand Budapest Hotel.
    • 75 Metascore
    • 75 Brianna Zigler
    Together
    The profound depth of feeling generated by Brie and Franco in the midst of this genre film, one perhaps unattainable if they weren’t also married in real life, gives Together a real shot as the greatest romance of the year.
    • 75 Metascore
    • 50 Brianna Zigler
    Bring Her Back
    There is a better film somewhere in Bring Her Back, but it has instead been formatted into an unrewarding and unrelenting exercise in unpleasantness.
    • 75 Metascore
    • 85 Brianna Zigler
    Titane
    Titane is not just 108 bloody minutes of bodily mutilation and perversion, but of blazing chaos inherent in our human need for acceptance. Ducournau has wrapped up this simple conceit in a narrative that only serves to establish her voice as one which demands our attention, even as we feel compelled to look away.
    • 74 Metascore
    • 56 Brianna Zigler
    Bones and All
    Bones and All is a heart-tugging portrait of wayward spirits searching for belonging that deadens the genre of cannibal horror into digestible, prestige-glossy arthouse.
    • 74 Metascore
    • 82 Brianna Zigler
    Armageddon Time
    Armageddon Time is a thoughtful examination of one’s own limited perspective of whiteness, expounding upon how a young child’s naivete can be as dangerous as a direct act of prejudice.
    • 73 Metascore
    • 70 Brianna Zigler
    Val
    As can be said of its real-life subject, Val is moving, inspiring, funny and fractured. It’s a look at the man and an expansion of the myth, revealing just as much as it continues to obscure.
    • 47 Metascore
    • 35 Brianna Zigler
    AGGRO DR1FT
    Aggro Dr1ft is less interesting than the video game cutscene it resembles, padded by a narrative peppered with the tropes of a hit man action film but lacking substance.
    • 72 Metascore
    • 40 Brianna Zigler
    El Conde
    The concept behind the film is an amusing, if obvious, one-note gag stretched out to nearly two hours, and not a gag that’s particularly novel or one that offers Larraín much to expand upon. As a would-be political satire and a vampire film, El Conde simply doesn’t have much (sorry, sorry, I know) bite.
    • 72 Metascore
    • 75 Brianna Zigler
    Society of the Snow
    Disaster is horror, and Bayona’s direction allows for a deeper comprehension of a tragedy that exists beyond our grasp.
    • 72 Metascore
    • 50 Brianna Zigler
    Aloners
    For a directorial debut, Aloners showcases Hong Sung-eun as an exciting new voice—hopefully next go around she’ll give us a little more to chew on.
    • 72 Metascore
    • 70 Brianna Zigler
    The Shrouds
    The Shrouds might not be Cronenberg’s most accessible or cohesive film, but it’s just as muddled as the process of coping with mortality in a world where we are pulled steadily further from what makes us human.
    • 70 Metascore
    • 65 Brianna Zigler
    Sundown
    Sundown is not a sunny film, it’s true. It’s deeply nihilistic and unpleasant, and even a bit silly. But Franco’s film is nonetheless a warped and fascinating take on class as it ties to egotism.
    • 70 Metascore
    • 45 Brianna Zigler
    A Complete Unknown
    In the end, A Complete Unknown neither meaningfully conveys Dylan’s mythology nor exposes him as human. There’s more fulfillment to be gained from listening to “The Very Best of Bob Dylan.”
    • 67 Metascore
    • 50 Brianna Zigler
    Deep Cover
    The central conceit quickly feels like window dressing for a film that wants to be in a particular genre but hasn’t put in any real effort to fit there.
    • 68 Metascore
    • 75 Brianna Zigler
    Leave the World Behind
    The themes of Leave the World Behind—and the place where everything ends up, which is funny and charming but a little unfinished—aren’t as tautly composed as the body encasing them. But considering ideas of “us against them” in times of crisis, and who exactly is “us,” and who is “them,” are worth considering in our current time.
    • 67 Metascore
    • 70 Brianna Zigler
    Scout's Honor: The Secret Files of the Boy Scouts of America
    While Scout’s Honor may only anger and dismay the audiences that watch it, it’s still a brutal depiction of the foundation of violence, ignorance and apathy which the entire country is built upon, and of the perpetrating parties who continue to profit from it. In that way, Scout’s Honor is as American as apple pie.
    • 67 Metascore
    • 45 Brianna Zigler
    Victim/Suspect
    Victim/Suspect manages to be at once fascinating, improperly focused and somewhat redundant.
    • 67 Metascore
    • 88 Brianna Zigler
    The Last Duel
    Ridley Scott directing a grand, riveting medieval epic that doubles as an analysis of gender dynamics might be unexpected, but The Last Duel manages to effortlessly combine Scott’s action sensibilities with an empathetic thread between the past and present.
    • 67 Metascore
    • 70 Brianna Zigler
    Sanctuary
    Ultimately, Sanctuary’s psychology—which I found a bit muddled at times—is less persuasive than the artistry of shifting, gendered dynamics between Hal and Rebecca, and less enthralling than watching Abbott and Qualley play off of one another.
    • 67 Metascore
    • 58 Brianna Zigler
    Sovereign
    Though Offerman buoys the film with terrifying aplomb, Sovereign is a missed opportunity to examine the cascading fallout from living in a country that fails its people and breeds violence.
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