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
    • 66 Metascore
    • 75 Brianna Zigler
    Blink Twice
    Blink Twice is undeniably palate-cleansing when compared with the surplus of sexless legacy sequels, romance novel adaptations, and dull–looking, repetitive franchise installments. Even if it’s simply drawing inspiration from superior films, Blink Twice uses these touchstones to create something appealing and original. At the very least, it marks an exciting first step for a director who’s got the skill to make something better.
    • 66 Metascore
    • 67 Brianna Zigler
    The Last Showgirl
    It’s Pamela Anderson’s deceptively fragile performance that shoulders The Last Showgirl, her breathy, girlish rasp the perfect match for Shelly’s fluttery chatterbox personality. She is captivating, fully dissolved in the character, and it’s evident the extent to which Anderson is injecting her performance with her own complicated feelings towards aging, success, and spectatorship.
    • 66 Metascore
    • 75 Brianna Zigler
    Mothering Sunday
    While countered by a throughline which is a bit on-the-nose—that loss comes for us all, and that what matters is how we choose to live with it—Mothering Sunday still succeeds as a moving, beautifully crafted and sensual period picture.
    • 65 Metascore
    • 55 Brianna Zigler
    Twisters
    Twisters is, at best, pretty fun—a decidedly breezy two hours. It has thrills, and chills, and Glen Powell doing his darndest to bring the concept of “movie star” back into the year 2024.
    • 65 Metascore
    • 58 Brianna Zigler
    Oh, Canada
    It’s no wonder why Schrader, an older artist whose life and career have been defined by a seemingly limitless series of controversies, took to bringing to the screen the story of Leonard Fife.
    • 65 Metascore
    • 80 Brianna Zigler
    The First Omen
    The First Omen is an exceedingly successful first feature, and an invigorating film within a genre’s increasingly limp mainstream.
    • 65 Metascore
    • 67 Brianna Zigler
    Last Breath
    A pulse-pounding, high concept bio-drama, Last Breath is a commendable technical feat, though its melodrama falls short.
    • 63 Metascore
    • 60 Brianna Zigler
    The Feast
    Jones suffuses slow-burn tension, disturbing visual elements and murky folk horror into a film that’s foundation rests on creeping uncertainties—making The Feast pleasantly obscure and occasionally quite upsetting.
    • 63 Metascore
    • 60 Brianna Zigler
    The Electrical Life of Louis Wain
    The Electrical Life of Louis Wain can’t quite live up to its magnetic subject, but it’s still a warm celebration of a renegade artist and revolutionary forbearer of the funny cat video.
    • 63 Metascore
    • 85 Brianna Zigler
    Knock at the Cabin
    Released a little under two years since Shyamalan’s previous film, Knock at the Cabin plays like an old dog who learned new tricks. It’s a sharper, more propulsive and formally exciting dramatic thriller that has far fewer disappointments in storytelling and visuals than 2021’s Old while revisiting and expanding upon familiar themes of family that Shyamalan has explored his entire career.
    • 63 Metascore
    • 53 Brianna Zigler
    Triangle of Sadness
    In reality, Triangle of Sadness is neither as smart nor as interesting as it clearly thinks it is.
    • 63 Metascore
    • 58 Brianna Zigler
    Maria
    The dueling personas of Jolie and Callas adds a dimension of time-spanning kinship to Maria that it might not have had if it had starred an actress with less publicized personal baggage. Saddled with the pasts of two world-renowned stars, Maria is more like an emblem of the burden of fame than a dissection of the humanity at its core.
    • 63 Metascore
    • 75 Brianna Zigler
    Beau Is Afraid
    Beau Is Afraid is very much a black comedy that utilizes well-placed horror techniques–Aster has a solid command of tension and loves to swing his camera to and fro to create a sense of vulnerability. Aster’s direction and sense of humor, the latter of which emerged more prominently in Midsommar, just seem more at home in a comedy.
    • 63 Metascore
    • 75 Brianna Zigler
    Thanksgiving
    Roth and Rendell find the perfect balance of humor and horror, understanding the absurdity of their premise while still making their characters buy into the world. What that creates is a film embracing its own silliness, free of irony, while avoiding the pitfalls of oversentimentality.
    • 62 Metascore
    • 75 Brianna Zigler
    The Sweet East
    I found myself oscillating between being impressed by The Sweet East and feeling like it was trying very hard to impress me. And it did, though probably less than it intended.
    • 62 Metascore
    • 50 Brianna Zigler
    Seven Veils
    Egoyan’s film is at once stylish and slipshod, a film that is both gorgeously shot—haunting shadows, deep colors—and inelegant in its themes of sexual trauma and assault.
    • 62 Metascore
    • 75 Brianna Zigler
    Cuckoo
    Cuckoo is a twisty, giallo-inspired, semi-body horror mystery that double acts as an impressive lead showcase proving that Schafer is more than just an “it girl.”
    • 61 Metascore
    • 58 Brianna Zigler
    Eric Larue
    Though carried by a subtle and strenuous performance from Greer, Eric LaRue‘s intentionally unanswered questions do less to provoke than render the film a collage of well-meaning, half-finished sentiments.
    • 52 Metascore
    • 30 Brianna Zigler
    Run Rabbit Run
    Run Rabbit Run never gets past the sensation of being a Mad Libs horror movie, where those blank spaces are filled in with the most obvious tropes.
    • 61 Metascore
    • 35 Brianna Zigler
    Peter Pan & Wendy
    I can’t imagine any child actually enjoying this film, let alone a child who is familiar with and fond of the original animated adaptation.
    • 61 Metascore
    • 35 Brianna Zigler
    John and the Hole
    A completely detached exercise in bewilderment that’s enigmatic nature comes off less Lynchian and more “unfinished scriptian,” director Pascual Sisto’s feature debut aims for intrigue but settles comfortably in mediocrity.
    • 60 Metascore
    • 70 Brianna Zigler
    House of Gucci
    Still, House of Gucci would not be what it is without the sheer weight of Lady Gaga’s portrayal of Patrizia, a woman who wants to “have it all” and then some.
    • 59 Metascore
    • 33 Brianna Zigler
    We Live in Time
    We Live In Time’s worst sin is making its thin characters so damn boring. They’re so likable and sweet, even their flaws are forgivable.
    • 57 Metascore
    • 50 Brianna Zigler
    The Gorge
    It’s kind of fun in just how predictable and boilerplate it all is, and The Gorge is never boring. But, frustratingly, it’s obvious that there is a better movie hidden somewhere within it.
    • 57 Metascore
    • 43 Brianna Zigler
    Arcadian
    Arcadian isn’t a time-waster, but its execution is too rote and unimaginative to warrant its existence as another addition to our post-apocalypse glut.
    • 57 Metascore
    • 40 Brianna Zigler
    Land of Bad
    Land of Bad is middle-of-the-road war movie gobbledygook.
    • 55 Metascore
    • 72 Brianna Zigler
    Old
    Old is not Shyamalan’s best film, nor is it the best film so far this summer, but it’s both a chilling summer escape and an empathetic reminder that other people are working against us as just as quickly as time, when all we have in our time left is each other.
    • 55 Metascore
    • 70 Brianna Zigler
    Love at First Sight
    The charm of the living memorial comes across quite earnestly, magnified by the sweet performances of Phillips and Dexter Fletcher as her husband, Val.
    • 55 Metascore
    • 65 Brianna Zigler
    The Sacrifice Game
    Entertaining and surprisingly gory, though not particularly ingenious, The Sacrifice Game is a fairly enjoyable and under 100-minute caper about incompetent demon-worshippers led by Disney’s own Prince Aladdin, Mena Massoud, and the power of friendship between women.
    • 54 Metascore
    • 40 Brianna Zigler
    Strays
    Strays is bad, but it’s not offensively so—and it’s certainly better and more watchable than something like Cocaine Bear (a low bar to cross, albeit).
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