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 Mrs. Miniver
Lowest review score: 0 Roe v. Wade
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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    • 25 Metascore
    • 40 Charles Bramesco
    Me Time
    The film would be in the general neighborhood of irresistible if not for the wonky mechanics of story and character that convey a conflicted impression of Hart’s onscreen persona.
    • 41 Metascore
    • 20 Charles Bramesco
    Easter Sunday
    The saving grace here should be the win for the Filipino community, commanding a big-screen moment with a cast of undervalued Asian stars. But they’re all short-changed by a hypocritical sense of heritage and pride.
    • 49 Metascore
    • 20 Charles Bramesco
    Bullet Train
    Like the hyper-aerodynamic train slipping through the night, the fight passages that should be the film’s saving grace come out textureless and frictionless.
    • 73 Metascore
    • 67 Charles Bramesco
    Funny Pages
    A consistently funny yet narratively undercooked coming-of-age story.
    • 65 Metascore
    • 58 Charles Bramesco
    Stars at Noon
    When you’re this good, the weakest entry in your filmography can still be largely inoffensive, far from fiasco territory. Even so, there’s only one person doing it like Claire Denis, and now we must wait even longer to be taken once more to the heights of insight, emotion, and style only she can reach.
    • 64 Metascore
    • 50 Charles Bramesco
    Elvis
    Luhrmann sees the chief utility of Elvis (or “Booby,” as his loved ones called him) as a pedestal for his everything-all-the-time maximalism, the King of Rock and Roll’s taste for excess in harmony with the Aussie auteur’s desire to shove shock-and-awe cinematic effect down his viewers’ throats until we choke to death on whip zooms.
    • 68 Metascore
    • 83 Charles Bramesco
    Crimes of the Future
    Just as [Cronenberg’s] characters can live in a suspended state of rot, he can thrive within a world and culture in its death throes. In his reenergized perspectives on degeneration, he’s created one last safe haven for his fellow degenerates.
    • 63 Metascore
    • 42 Charles Bramesco
    Triangle of Sadness
    In the past, Östlund has shown a deft facility in sending up meaty topics, applying granular attention to male ego in “Force Majeure” and art-world pretensions with “The Square.” Here, however, he stoops to the broadness ascribed to his work by its harshest critics, now more parody of himself than parodist.
    • 60 Metascore
    • 75 Charles Bramesco
    Three Thousand Years of Longing
    The cumulative merits on display in Miller’s museum of amazement, from the whiz-bang recreations of freakified old-world grandeur to the humbler miracles shared between two wayward souls, we hang on every word of the narration — as sure a sign of a well-spun yarn as any.
    • 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.
    • tbd Metascore
    • 20 Charles Bramesco
    Marmaduke
    In the carelessness of its slapdash construction, the off-putting flatness of its style, its brazen resistance to basic foundations of logic, and its hostility toward conventional humor that borders on the avant-garde, the new film (a term generously applied to this haphazard sequence of moving images) has far more in common with the hectic, ugly delirium of online obscurities than the newspaper’s funny pages.
    • 66 Metascore
    • 75 Charles Bramesco
    Luzifer
    Brunner puts his ability to invest anything and everything with a malevolent charge to chillingly effective use.
    • 47 Metascore
    • 20 Charles Bramesco
    Fantastic Beasts: The Secrets of Dumbledore
    An evident attempt to right the ship has turned into a calamitous case of mission drift, as a property with no identity travels in nonsensical circles, looking for a sustainable new direction.
    • 34 Metascore
    • 0 Charles Bramesco
    The Bubble
    A film that takes so many below-the-belt jabs at the idiocy of Tinseltown blockbusters must, at the very least, be a few IQ points higher than the stuff it makes fun of for being stupid.
    • 81 Metascore
    • 60 Charles Bramesco
    Everything Everywhere All at Once
    However dazzling the vortexes this film shoots us through at supersonic speed may be, they still deposit us somewhere we’ve been before.
    • 54 Metascore
    • 40 Charles Bramesco
    Black Crab
    A pacifist parable taking a brave stand against nothing, totally removed from the sociocultural landscape of today’s Sweden, it sounds out like one of Caroline’s screams into the howling Scandinavian wind – impassioned, futile, heard by no one.
    • 80 Metascore
    • 60 Charles Bramesco
    X
    With its unabashed focus on bodies, luring us in with their nudity before hacking them into tiny pieces, the back-to-basics slasher X arrives as a bold rebuke to all things staid and dignified.
    • 73 Metascore
    • 40 Charles Bramesco
    Lucy and Desi
    For all the amazement at Ball’s tireless hustle and explosive originality, there’s a terminal lack of both in this monument to her memory.
    • 79 Metascore
    • 91 Charles Bramesco
    Flux Gourmet
    This is Strickland’s grand act of prestidigitation; he coaxes out something like poignancy from the peculiar, just as he conjures the visceral and unknowable from ordinary groceries.
    • 46 Metascore
    • 60 Charles Bramesco
    Bigbug
    With his work now migrating online and his jerry-rigged methods increasingly outsourced to post-production effects, Jeunet can’t avoid the impending digitization of cinema, nor life. Still, he’s not going down without landing a few good fingers to the ribs first.
    • 55 Metascore
    • 70 Charles Bramesco
    The Eyes of Tammy Faye
    No matter what we might think of her, it’s clear that Tammy Faye was one of a kind. Chastain’s mannered plague of tics does right by her in that respect, but she’s been inserted into a template now worn from overuse.
    • 41 Metascore
    • 40 Charles Bramesco
    Moonfall
    It’s all very stupid, if only sometimes in an amusing way.
    • 84 Metascore
    • 75 Charles Bramesco
    The Fallout
    With a firm handle on tone, Park skirts the pitfalls of bad taste one might expect from a film that uses mass violence as a narrative device for a coming-of-age plot.
    • 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.
    • 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.
    • 87 Metascore
    • 80 Charles Bramesco
    The Tragedy of Macbeth
    Even if the dry wit and cherrypickable allusions may be absent, the technical virtuosity on display marks this as the work of a master. Visceral, haunted, and severe, Coen’s vision coaxes out not just the intensity in the play – every “gritty” take has done this, from Roman Polanski to Justin Kurzel – but in its older renderings.
    • 49 Metascore
    • 50 Charles Bramesco
    Sing 2
    In between the many high-gloss production numbers and a couple commendable bits of physical comedy putting the previous installment to shame, there’s a lot of treacle delivered with minimal conviction.
    • 82 Metascore
    • 80 Charles Bramesco
    C'mon C'mon
    The tone never defines the stakes in such grave terms, but that’s the key to the potency of Mills’ cinema: life’s pivotal turns come in idle moments, from inconspicuous sources. All it takes is the willingness to listen.
    • 44 Metascore
    • 42 Charles Bramesco
    Resident Evil: Welcome to Raccoon City
    Alas, there’s no covert greatness to the just-plain-underwhelming Resident Evil: Welcome To Raccoon City, a reboot totally bereft of the visual distinction or creative personality that often made its predecessors intriguing diamonds in the rough.
    • 60 Metascore
    • 58 Charles Bramesco
    House of Gucci
    Considered as a star-text alone, the film is functionally enjoyable (and will inspire Halloween costumes for the next fifty years), but it’s hard to accept lowered expectations with Scott having delivered a more accomplished, fully-honed film a few brief weeks ago. Caught between the half-willingness to be in on its own joke and the aspiration to seriousness, Scott breaks the cardinal rule of fashion: however you dress, make sure everyone can see exactly what you were going for.
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