Carlos Aguilar

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IGN, IndieWire, Los Angeles Times, RogerEbert.com, The A.V. Club, The Playlist, TheWrap, Variety
For 477 reviews, this critic has graded:
  • 68% higher than the average critic
  • 5% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Carlos Aguilar's Scores

  • Movies
  • TV
Average review score: 75
Highest review score: 100 Leviticus
Lowest review score: 10 Overcomer
Score distribution:
  1. Positive: 365 out of 477
  2. Mixed: 79 out of 477
  3. Negative: 33 out of 477
477 movie reviews
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    • 59 Metascore
    • 50 Carlos Aguilar
    Judy & Punch
    Ultimately, Judy & Punch doesn’t hit squarely in the target, but hints at interesting conversations on prejudice, domestic abuse, and powerful individuals lacking integrity. As one watches, and ponders whether to laugh or gasp from one scene to the next, some of these inquiries do emerge strongly from its convoluted haze.
    • 86 Metascore
    • 100 Carlos Aguilar
    The Wolf House
    In both concept and execution, The Wolf House will render you awestruck.
    • 74 Metascore
    • 80 Carlos Aguilar
    The Infiltrators
    The Infiltrators is eye-opening on both sides: It delivers an encouraging example of the power of a united people, and it opens a window into the abuses and inhumane separations that are carried out under the guise of protecting the nation.
    • 71 Metascore
    • 70 Carlos Aguilar
    Waldo on Weed
    There’s no definitive verdict on pot’s attributes here, but Waldo on Weed offers reasonable hope with discerning caveats.
    • tbd Metascore
    • 50 Carlos Aguilar
    Shooting Heroin
    Heavy-handed messaging that mimics a morally didactic PSA drowns the proficiently shot movie in long tirades more noticeable for their vociferousness than for actually delving into any revealing specifics.
    • 73 Metascore
    • 90 Carlos Aguilar
    The Platform
    Formidable from a technical standpoint, The Platform thrives on effectively grotesque production design and ghastly special effects that shock and disgust with purpose.
    • 41 Metascore
    • 40 Carlos Aguilar
    I Still Believe
    Sunsets, cellphone-lit melancholic music shows, and clichéd references to stars and constellations abound.
    • 40 Metascore
    • 60 Carlos Aguilar
    Beneath Us
    A mediocre screenplay renders the movie far less thought-provoking than it could be. By-the-numbers jump scares, perplexing speeches and a glaring score further hurt its impact.
    • 65 Metascore
    • 85 Carlos Aguilar
    Ride Your Wave
    Fancifully heartfelt, Ride Your Wave doesn’t constitute his top effort, but it’s inviting enough to persuade audiences unfamiliar with him to dip their feet and then fully dive into the profundity of his imagination, where wonder awaits.
    • 72 Metascore
    • 90 Carlos Aguilar
    Goldie
    Treading topical waters with an incisive flair, de Jong offers no didactic salvation or pessimistic prospects. Goldie’s sole assurance is to trudge one rocky step at a time, and that’s all any of us can do.
    • 68 Metascore
    • 91 Carlos Aguilar
    And Then We Danced
    Buoyant first-time actor, Levan Gelbakhiani goes from unknown to galvanizing star in a unique role. His presence is one of stunning physicality, proving there’s strength in what others see as a weakness in his character.
    • 79 Metascore
    • 90 Carlos Aguilar
    A Shaun the Sheep Movie: Farmageddon
    Not even the most miniscule production design element is left to chance in such a tangible and meticulously conceived technique like stop-motion. Details matter, and comedy often emerges from them combined with great timing. “Farmageddon” is a non-verbal narrative that tells jokes directly to our curious eyes.
    • 51 Metascore
    • 80 Carlos Aguilar
    The World is Full of Secrets
    As it explores the intersection between the occult and mankind’s brutal cruelty in relation to women, The World Is Full of Secrets grips us with its minimalist, calibrated and cerebral scare tactics.
    • 75 Metascore
    • 90 Carlos Aguilar
    José
    Precisely written and deliberately shot, José, a Guatemala-set LGBTQ character examination from Chinese-born director Li Cheng, is a movie preoccupied with the private tragedy of unfulfilled impulses and aspirations as a result of widespread homophobia and emotional blackmail.
    • 70 Metascore
    • 95 Carlos Aguilar
    Summertime
    López Estrada and company not only subvert lazy assumptions about their misunderstood metropolis and who lives and thrives there, but they also entirely shift the focus to the unheard and unseen for a wonderful reinvention. You’ll never see L.A. the same again and that’s for the better.
    • 89 Metascore
    • 100 Carlos Aguilar
    Minari
    Minari beams with subtle wonder.
    • 78 Metascore
    • 70 Carlos Aguilar
    Kajillionaire
    Although Kajillionaire fails to fully engage in the same manner as July’s previous dramedies, it’s not entirely unsuccessful as it still compels us to see the people in front of us — not with rushed judgment, but with curiosity for the burdens or joys that have made them who they are. And it makes us chuckle while at it.
    • 53 Metascore
    • 85 Carlos Aguilar
    Blast Beat
    Niche as some of the situations Arango poses are, his movie is the rare work of art that viscerally understands the immigrant experience but is cerebral enough not to oversimplify it, allowing it to appear messy and imperfect, and all the more truthful for it.
    • 76 Metascore
    • 85 Carlos Aguilar
    Shirley
    Decker is a superbly imaginative director, which leaves one wishing her creative powers had pushed the film even further away from the constraints of reality. But that’s a downside that comes with working from material written by another artist.
    • 76 Metascore
    • 100 Carlos Aguilar
    Mucho Mucho Amor
    Mucho Mucho Amor is a tribute as inspired and jubilant as its majestic subject, a true original, who “used to be a star and now is a constellation.”
    • 67 Metascore
    • 90 Carlos Aguilar
    Cuties
    Bolstered by an infectiously reckless joie de vivre and artfully handled hard-hitting truths, Cuties diffuses the impulse to dismiss it as just one more example of a trend.
    • 69 Metascore
    • 80 Carlos Aguilar
    Feast of the Epiphany
    The filmmakers materialize a fascinating cinematic language that interrogates itself about matters of spontaneity and manipulation, man-made products and earth-given treasures, simplicity and sophistication, and how these all intersect.
    • 54 Metascore
    • 50 Carlos Aguilar
    Spies in Disguise
    As unsatisfying as Spies in Disguise is because of its disregard for original design and the insufferable nods to disposable trends, its role as counterprogramming to toxic masculinity — turning ruthless spies into sensible beings with warmth as a moral compass — makes it ephemerally laudable.
    • 81 Metascore
    • 70 Carlos Aguilar
    Midnight Family
    What’s indelible in this visceral chronicle is that more than profiting from human suffering, the Ochoas fill the gaps of economic inequality while doing good without reservation.
    • 73 Metascore
    • 90 Carlos Aguilar
    Colewell
    As Colewell sinks in, it reveals itself as the cinematic equivalent of a deep exhale after having attained peace within.
    • 72 Metascore
    • 90 Carlos Aguilar
    Weathering with You
    As irresistibly romantic as it is awe-inspiringly gorgeous, Weathering With You on the whole satisfies the craving for more of what “Your Name” ignited in viewers, yet with slightly less impact.
    • tbd Metascore
    • 90 Carlos Aguilar
    Retablo
    Delgado Aparicio’s reflective direction with a patient eye for lived-in behavior and kinetic symbolism bears artistically ripe fruit in an affectingly measured, near-perfect tour de force that demands serious attention.
    • tbd Metascore
    • 30 Carlos Aguilar
    Such a Funny Life
    Mann, an emerging Latino filmmaker, exhibits signs of vocation for the craft that could lead to a more fruitful product some day. For now, what he serves is a tortuous trick with a confusingly dark punch line for an ending.
    • tbd Metascore
    • 20 Carlos Aguilar
    Ximbi Xombix
    A poorly produced experiment by writer-director Dae Hoon Kim, also the act’s lead singer on- and offscreen, the film’s mere existence baffles.
    • 60 Metascore
    • 80 Carlos Aguilar
    White Snake
    Precisely because of how ravishingly constructed some of the set pieces turned out, it’s more of shame to see the storytelling’s structural lack of cohesiveness and subplot saturation clutter the view.
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