Charles Bramesco

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IndieWire, Polygon, The A.V. Club, The Daily Beast, The Dissolve, The Guardian, The Playlist
For 180 reviews, this critic has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 13.2 points lower than other critics. (0-100 point scale)

Charles Bramesco's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 High Life
Lowest review score: 0 The Bubble
Score distribution:
  1. Positive: 54 out of 180
  2. Mixed: 85 out of 180
  3. Negative: 41 out of 180
180 movie reviews
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    • 62 Metascore
    • 40 Charles Bramesco
    Sly
    Zimny could have mined some more intimate profundity from Stallone’s determined political fence-sitting, the reluctance of a born entertainer to alienate any faction of his fandom with vocal partisanship.
    • 37 Metascore
    • 40 Charles Bramesco
    The Pact 2
    There’s a worthy sequel to a better-than-average horror film in here somewhere, but it’s buried underneath a wild goose chase that ultimately goes nowhere.
    • 56 Metascore
    • 40 Charles Bramesco
    Monk With a Camera
    Too frequently, Monk With A Camera feels like a character study with no interest in studying its character.
    • 60 Metascore
    • 40 Charles Bramesco
    Quincy
    It’s a victory lap, which will probably be enough for fans content to share Q’s presence and nothing more. But this movie isa cataloguing of a man who lives in three dimensions. In sticking to recitation of well-known historical fact and flattery it has taken the easy way out.
    • 68 Metascore
    • 40 Charles Bramesco
    Thank You for Your Service
    Hall’s marching in lockstep with a lengthy platoon of directors who have already blazed this same path through enemy territory. And though he’s got some upstanding troops at his disposal, his plan of attack lacks that crucial unexpected element that can take an opposing battalion – or an audience – off guard.
    • 43 Metascore
    • 40 Charles Bramesco
    Second Opinion: Laetrile at Sloan-Kettering
    Second Opinion doesn’t play like a revelatory exposé, so much as a conspiracy-minded chain email sent from a distant relative.
    • 39 Metascore
    • 35 Charles Bramesco
    Dear Evan Hansen
    On film, this story’s foundation of cynical button-pushing is laid bare.
    • 59 Metascore
    • 35 Charles Bramesco
    Doctor Sleep
    Flanagan’s sister piece ensures that its underlying meaning is as close to the surface as the shallow grave discovered in the second act. Flanagan chose to make Doctor Sleep utterly banal. Through means straightforward and blunt, he’s turned a surreal simulation of succumbing to insanity into a plainly stated reminder to always be true to yourself.
    • 58 Metascore
    • 33 Charles Bramesco
    Jojo Rabbit
    Taika Waititi’s self-proclaimed “anti-hate satire” “Jojo Rabbit” exists in service of a single idea, a notion so desperately idealistic that it lands somewhere between naïveté and disingenuousness.
    • 31 Metascore
    • 33 Charles Bramesco
    The King's Daughter
    If this is all starting to sound like an ambitiously amusing fiasco, don’t be fooled: Scenes saunter by one after the other, their dialogue waterlogged with talk of “believing in the unbelievable” and other soggy turns of phrase.
    • 47 Metascore
    • 33 Charles Bramesco
    Kate
    Even if the combat choreography that made this vein of cinema so popular is up to snuff, and Winstead does handle her steps ably even as her character breaks down, this film should aspire to be more than a delivery system for a few solid shootouts.
    • 41 Metascore
    • 30 Charles Bramesco
    Pound of Flesh
    Barbarash doesn’t do much to compensate for the misshapen script, either. Fumbling camerawork and incoherent editing rob the film’s generous fight sequences of their oomph, and amateurish green screen hobbles a car-chase sequence.
    • 67 Metascore
    • 30 Charles Bramesco
    Brian Wilson: Long Promised Road
    We may never fully know who Brian Wilson is, but in his resistance of that knowing, we gain clarity on a crucial plank of his latter-day persona.
    • 39 Metascore
    • 30 Charles Bramesco
    After the Ball
    After The Ball commits its most garish faux pas in rooting its plot in the thorny politics of high fashion, despite an apparent lack of any understanding of how the business works.
    • 50 Metascore
    • 30 Charles Bramesco
    Ticket to Paradise
    Clooney and Roberts remain masters of a dying art, mustering the flustered charisma that makes them appear both perfect and mortal, the same paradox we observe in our spouses and lovers. It’s a pity to see them settle like this, accepting less than they deserve, but it’s rough out there.
    • 47 Metascore
    • 30 Charles Bramesco
    Poltergeist
    Though the memory of Hooper’s picture haunts every frame of nü-Poltergeist, Kenan’s will fade unseen into the great beyond first.
    • 50 Metascore
    • 30 Charles Bramesco
    A Good Person
    Pugh’s greatest tribulation of all is delivering the tin-eared dialogue torn between the emotional sadism it heaps onto its protagonist and the adulation it lavishes on the actress playing her.
    • 29 Metascore
    • 30 Charles Bramesco
    Old Fashioned
    Old Fashioned fails in more banal ways, too. It’s a flatly predictable sort of romance; numerous leaves are turned over, both figuratively and literally. The film’s predilection for screamingly obvious symbols gets old fast.
    • 51 Metascore
    • 30 Charles Bramesco
    The Suicide Theory
    Theory’s premise dares to interrogate what, if anything, the apparent randomness of life means. Brown and screenwriter Michael J. Kospiah haven’t the foggiest, but they’re willing to unload as many harebrained plot twists as it takes to obfuscate the question.
    • 40 Metascore
    • 30 Charles Bramesco
    Father Stu
    The unfocused script from outclassed first-timer Ross never really follows through on what should be its foundational idea, led astray by underdone subplots and vague relationships between its characters.
    • 27 Metascore
    • 30 Charles Bramesco
    Bound to Vengeance
    Bound To Vengeance is not necessarily an evil film, or even a hateful one. It’s confused at best, though it’s more likely that the film’s misguided pseudo-feminist subtext is a result of simple thoughtlessness.
    • 36 Metascore
    • 30 Charles Bramesco
    After The Fall
    A film that could only succeed by sorting through gradually darkening shades of gray works exclusively in embarrassingly bold strokes.
    • 17 Metascore
    • 25 Charles Bramesco
    Tyler Perry's Boo 2! A Madea Halloween
    A sequel so wholly anodyne that it doesn’t even deserve its exclamation point.
    • 29 Metascore
    • 25 Charles Bramesco
    Hurry Up Tomorrow
    A viewer may find themselves appreciating how the non-visual element of music allows figurative language to retain some wisp of mystery, whereas onscreen it’s made to wear its significance in blatant, artless ways.
    • 56 Metascore
    • 25 Charles Bramesco
    Psychomagic, A Healing Art
    Historically, of course, making no earthly sense hasn’t been a major impediment in Jodorowsky’s work. In this instance, he commits a sin graver than charlatanism by just being boring.
    • 29 Metascore
    • 22 Charles Bramesco
    Brahms: The Boy II
    Watching a foot-tall plaything flip over a dinner table would be either hilarious or terrifying, and either direction would be an improvement over the flavorless slurry Bell is dishing up.
    • 25 Metascore
    • 20 Charles Bramesco
    The Silence
    This is the most insidious type of knockoff: the one that sincerely expects you to believe that it’s the real thing. Leave it to Netflix to take the fun out of incompetence.
    • 35 Metascore
    • 20 Charles Bramesco
    Mute
    Watching Jones passively bob in the deep end of his imagination, a viewer longs for the compulsory baseline competence of the big studios – anything but the blandness masquerading as future cult bait.
    • 27 Metascore
    • 20 Charles Bramesco
    The Happytime Murders
    As with all overwhelmingly poor movies, it’s the delicate confluence of many varied factors that creates the critic’s familiar feeling of despairing hopelessness in the cinema.
    • 36 Metascore
    • 20 Charles Bramesco
    Space Jam: A New Legacy
    The core issues of the film – its numbing swirls of rainbow light popping out every which way, the excruciating pop-culture catchphrases passed off as humor, LeBron’s stilted, if game, acting, the half-assedness with which it delivers the dusty moral to be yourself, the fact that it is unaccountably one half-hour longer than its predecessor – all seem minor in comparison with the insidious ulterior intentions that power this fandom dynamo.
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