Deborah Young

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The Film Verdict, The Hollywood Reporter, Variety
For 447 reviews, this critic has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Deborah Young's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 I'm Going Home
Lowest review score: 30 Broken Sky
Score distribution:
  1. Positive: 312 out of 447
  2. Mixed: 129 out of 447
  3. Negative: 6 out of 447
447 movie reviews
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    • 45 Metascore
    • 70 Deborah Young
    Red Joan
    A good old-fashioned British spy thriller.
    • 44 Metascore
    • 40 Deborah Young
    Salt and Fire
    Described by Werner Herzog as “a daydream that doesn’t follow the rules of cinema,” Salt and Fire may be rule-breaking, but the result is one of the director’s least appealing adventures.
    • 44 Metascore
    • 70 Deborah Young
    Reaching for the Moon
    It would be hard to find two more contrasting actresses than Otto and Pires, but Barreto plays off their differences in culture and personality.
    • 44 Metascore
    • 60 Deborah Young
    Gaudi Afternoon
    Silly, childish fun and as relaxing to watch as good American TV fiction -- and with a very similar world view.
    • 44 Metascore
    • 70 Deborah Young
    Wolf Creek 2
    This film is straight out of the bottle with no metaphoric or psychological pretensions.
    • 44 Metascore
    • 50 Deborah Young
    The Jesus Rolls
    Though Turturro turned this small part into a memorable character for the Coens, Quintana is not so reliably funny here, especially headlining a whole film of very intermittent charm.
    • 43 Metascore
    • 50 Deborah Young
    The Girl in the Spider's Web
    The filmmakers take a heroic, action-packed, high-tech approach that empties out some of the originality of this unique female heroine.
    • 43 Metascore
    • 70 Deborah Young
    Based on a True Story
    There are multiple levels on which to enjoy Roman Polanski’s Based on a True Story (D’Apres une histoire vraie), none of them very deep or complicated. But together they raise the resonance of a masterfully made psychological thriller in the traditional mode.
    • 43 Metascore
    • 50 Deborah Young
    Berlin Alexanderplatz
    A heavy-handed reimagining.
    • 42 Metascore
    • 50 Deborah Young
    Loving Pablo
    Like flipping through the pages of a pulpy best-seller, watching Loving Pablo has its moments of guilty pleasure but leaves an empty feeling when you reach the end.
    • 42 Metascore
    • 50 Deborah Young
    Downrange
    Awkward performances and dialogue undercut interest in the characters so much that none of their raw, fleshy deaths matter a hoot, and by the time the rip-roaring triple ending rolls around, many viewers will have lost count of who’s still standing and who’s food for the birds.
    • 42 Metascore
    • 50 Deborah Young
    Three Floors
    One feels the lack of an underlying original idea that makes the director’s work so quirky and identifiable, and that also goes for the missing element of ironic-iconic humor that has been slowly disappearing from his films.
    • 42 Metascore
    • 50 Deborah Young
    The Roads Not Taken
    Leads Javier Bardem and Elle Fanning are commanding actors who give it all they’ve got to make their characters realistic, but while the film can be intriguing, it is never truly moving.
    • 41 Metascore
    • 50 Deborah Young
    Melissa P.
    Though it’s a rare Italian film told from a female p.o.v., “Melissa P.” is pseudo-feminist at best.
    • 66 Metascore
    • 70 Deborah Young
    Himizu
    Young leads Shota Sometani and Fumi Nikaidou – both experienced film actors – grow in stature as the film progresses to the achingly real final scene, where they are extraordinarily intense and effective.
    • 40 Metascore
    • 60 Deborah Young
    Parallel Tales
    If the film works at all it is thanks to the exceptional craftsmanship of its camerawork, editing, and acting, under the direction of Asghar Farhadi.
    • 40 Metascore
    • 50 Deborah Young
    Mango Yellow
    Like characters out of some Carnival hell, a macho butcher and his born-again wife, a forlorn barmaid, a sinister sadist and the gay manager of a flophouse called the Hotel Texas run in and out of each other's lives in a film as sloppy, sluttish, scruffy and vital as they are.
    • 40 Metascore
    • 70 Deborah Young
    From the Land of the Moon
    Cotillard’s performance is luminous throughout, enriching the willful heroine with the depth of a single obsession.
    • 40 Metascore
    • 40 Deborah Young
    Highway
    Ali has a deft hand in creating a fantasy world based on the classical Sita-Ravana model, and gives Bhatt free rein to project herself with unabashed teenage appeal.
    • 39 Metascore
    • 80 Deborah Young
    Confusion of Genders
    Despite a few potholes of ennui along the way, pic has enough entertainment value to cross borders and titillate auds with its plentiful nudity and uninhibited sexual mores.
    • 38 Metascore
    • 50 Deborah Young
    The Green Inferno
    Izzo, who co-starred with Roth-the-actor in Aftershock, is a fine genre actress, standing out from a cast of blonde women with her naturalistic performance and signs of courage and initiative.
    • 38 Metascore
    • 30 Deborah Young
    The Golden Glove
    On some level, Fritz’s story is compulsive viewing, only you wish you weren’t there.
    • 38 Metascore
    • 50 Deborah Young
    Third Person
    The drama and intensity that are [Haggis's] signatures are mostly missing from these vividly dramatized but uninvolving romantic crises, none of which are particularly believable.
    • 37 Metascore
    • 90 Deborah Young
    Caught in the Web
    In this fast-moving, densely plotted black dramedy, a faux scandal raised by an ambitious web TV editor comes close to destroying a number of lives, offering a masterful panorama on urban, middle class China.
    • 36 Metascore
    • 50 Deborah Young
    Mainstream
    It's a messy, childish scrawl of a film, but it is high on energy.
    • 36 Metascore
    • 40 Deborah Young
    Revenge of the Green Dragons
    In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.
    • 35 Metascore
    • 30 Deborah Young
    Broken Sky
    Though the bold treatment of homoerotic love in Mexican helmer Julian Hernandez's feature bow Broken Sky is sure to grab attention, it doesn't take long before the picture's torturously slow pace turns an earnest effort into a tedious aesthetic exercise.
    • 34 Metascore
    • 50 Deborah Young
    The Color of Time
    In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.
    • 32 Metascore
    • 50 Deborah Young
    Every Thing Will Be Fine
    The awkwardly titled Every Thing Will Be Fine seems more like a showcase for expressive camerawork pushing the limits of cinematography than anything else. Actors the caliber of James Franco and Charlotte Gainsbourg get the short end of the stick in this angst-ridden drama.
    • 32 Metascore
    • 50 Deborah Young
    The Beautiful Days of Aranjuez
    As lovely to look at, relaxing and soporific as the perfect summer day sung by David Bowie at the beginning of the film, Wim Wenders’ The Beautiful Days of Aranjuez scatters some nice ideas amid non-stop French dialogue that only speed readers of subtitles will be able to follow fully.
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