Dan Callahan

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TheWrap
For 137 reviews, this critic has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 10.6 points lower than other critics. (0-100 point scale)

Dan Callahan's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Marx Can Wait
Lowest review score: 0 Nina
Score distribution:
  1. Positive: 39 out of 137
  2. Mixed: 86 out of 137
  3. Negative: 12 out of 137
137 movie reviews
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    • 23 Metascore
    • 20 Dan Callahan
    Collateral Beauty
    Collateral Beauty is certainly a case of outright sentimental damage, not beauty, but of course the word collateral also means money that can be bargained with, and hopefully that’s what the ill-fated cast of this picture received in some abundance.
    • 66 Metascore
    • 50 Dan Callahan
    The Pass
    The Pass is finally nothing more than a modest stage adaptation and a vehicle for Tovey, but on that level it is focused and skillful.
    • 30 Metascore
    • 40 Dan Callahan
    Boo! A Madea Halloween
    The tone and plot of the film keeps swinging this way and that.
    • 78 Metascore
    • 100 Dan Callahan
    The Lost City of Z
    The Lost City of Z feels like a clear artistic advance for Gray, who proves himself here as one of our finest and most distinctive living filmmakers.
    • 53 Metascore
    • 40 Dan Callahan
    Billy Lynn's Long Halftime Walk
    Billy Lynn’s Long Halftime Walk winds up being a wearying experience, not because of its emotional content but because of its lack of cohesion and its ultimate collapse into gross and unearned sentimentality.
    • 83 Metascore
    • 60 Dan Callahan
    20th Century Women
    20th Century Women mainly overcomes its flaws through the sheer imaginative sensitivity of Mills’s writing.
    • 28 Metascore
    • 40 Dan Callahan
    When the Bough Breaks
    When the Bough Breaks is a very conservative film that ducks any issues that might be dramatically interesting in order to work up lame suspense sequences.
    • 62 Metascore
    • 40 Dan Callahan
    Una
    Una keeps drifting away into flashy and superfluous details.
    • 36 Metascore
    • 40 Dan Callahan
    Special Correspondents
    [Gervais] abandons all sharp edges and serves up a bland, toothless picture that isn’t particularly scathing and doesn’t have anything much to say, even though the basic premise might have allowed for some satirical jabs at journalism and politics.
    • 27 Metascore
    • 0 Dan Callahan
    Nina
    Nina, an infuriatingly amateurish picture about the great singer and pianist Nina Simone, is a new low for the musical biopic genre.
    • 48 Metascore
    • 80 Dan Callahan
    King Cobra
    Movies don’t get much juicier, funnier, creepier, sadder, or smarter than writer-director Justin Kelly‘s King Cobra.
    • 40 Metascore
    • 20 Dan Callahan
    The Boss
    It isn’t comedy, and it isn’t drama, much less comedy-drama.
    • 84 Metascore
    • 80 Dan Callahan
    The Witch
    This is the kind of serious horror movie that will live in your head for days afterward, like a bad dream that’s difficult to shake.
    • 45 Metascore
    • 20 Dan Callahan
    Pride and Prejudice and Zombies
    This movie is so crushing mainly because it was made by obviously smart people who are trying to dumb themselves down, and there’s nothing more excruciating than that.
    • 58 Metascore
    • 60 Dan Callahan
    Sisters
    Even the stray gross-out moments of Sisters register as humane and heartfelt; Fey and Pohler’s comedy comes from a place of warmth and intelligence, and so does the movie.
    • 42 Metascore
    • 40 Dan Callahan
    In from the Side
    The awkwardly titled gay rugby romance In from the Side is so padded out at 134 minutes with both rugby games and sex scenes that the final effect is numbing, and writer-director Matt Carter doesn’t bother much with either plot or character to fill out his narrative.
    • 81 Metascore
    • 90 Dan Callahan
    Three Identical Strangers
    Wardle spent five years making Three Identical Strangers after several other filmmakers had given up on this subject because they were always hitting a dead end, and so he deserves credit for journalistic doggedness and also for making a documentary that plays like a nerve-jangling thriller.
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