Dominick Suzanne-Mayer

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Consequence
For 194 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Dominick Suzanne-Mayer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 American Honey
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 124 out of 194
  2. Mixed: 40 out of 194
  3. Negative: 30 out of 194
194 movie reviews
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    • 53 Metascore
    • 67 Dominick Suzanne-Mayer
    Alita: Battle Angel
    Like its unstoppable heroine, Alita: Battle Angel is something strange and unique and special, built from the finest repurposed parts.
    • 60 Metascore
    • 67 Dominick Suzanne-Mayer
    The Light Between Oceans
    The Light Between Oceans is an effective melodrama, but the lingering sensation the film leaves after its end is that it might have been much more.
    • 71 Metascore
    • 67 Dominick Suzanne-Mayer
    Ralph Breaks the Internet
    There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts.
    • 67 Metascore
    • 67 Dominick Suzanne-Mayer
    Imperial Dreams
    Where Imperial Dreams occasionally wavers is in its unsubtle storytelling, which often feels at odds with Vitthal’s appealing and naturalistic direction.
    • 59 Metascore
    • 67 Dominick Suzanne-Mayer
    Cars 3
    It’s a movie made of brief chuckles and obvious but well-meaning lessons, and if it lacks the grander ambition of some of the studio’s best and most memorable work, it’s still an enjoyable watch.
    • 59 Metascore
    • 67 Dominick Suzanne-Mayer
    Lizzie
    Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.
    • 75 Metascore
    • 67 Dominick Suzanne-Mayer
    Morris from America
    At points the film simply observes the smaller, more innocuous moments of a coming-of-age story; much of it is framed in intimate medium shots and close-ups, and there’s a distinct kinship between the numerous wayward souls in its world that carries it along.
    • 58 Metascore
    • 67 Dominick Suzanne-Mayer
    Roman J. Israel, Esq.
    Roman J. Israel, Esq. is sometimes a compelling movie and often a difficult one to keep with, but it’s a flawed challenge that you’ll be grateful you gave a chance all the same.
    • 57 Metascore
    • 67 Dominick Suzanne-Mayer
    Cold Pursuit
    The little beats throughout Cold Pursuit are distinctive enough to cover for this gory caper’s periodic misfires.
    • 75 Metascore
    • 67 Dominick Suzanne-Mayer
    Bodied
    It’s a provocation, and for the most part, it’s an effective one. Yet for a film all about verbal and physical blows, Bodied seems to grow skittish when it comes to landing the nastiest ones, the ones that would call its own ideals into question. It’s just insightful enough to leave audiences wishing that it were more so.
    • 72 Metascore
    • 67 Dominick Suzanne-Mayer
    Heavy Trip
    As a fish-out-of-water comedy, it’s effectively funny more often than it isn’t, and as an ode to the unlikely communities that arise around black metal, it’s entirely sincere in its intentions.
    • 76 Metascore
    • 67 Dominick Suzanne-Mayer
    Into the Inferno
    While there are no chapter breaks or anything to formally guide the audience in that way, Into the Inferno feels unusually episodic by Herzog’s typically cohesive standards.
    • 59 Metascore
    • 67 Dominick Suzanne-Mayer
    Voyeur
    Voyeur leaves its viewers with more questions about what happened in the Manor House and what it meant than they’ll have coming in. If that’s hardly the note of finality that many will want or expect, it’s the aspect of the film that perhaps feels the most authentic and honest.
    • 58 Metascore
    • 67 Dominick Suzanne-Mayer
    Creative Control
    Creative Control ably captures the entitled narcissism of modern Brooklyn twentysomethings by way of a plausible near-future,
    • 66 Metascore
    • 67 Dominick Suzanne-Mayer
    Landline
    Where the narrative is sometimes slack, and the film’s larger purpose left to interpretation after a while, Landline’s great strength lies with its performances.
    • 61 Metascore
    • 67 Dominick Suzanne-Mayer
    The Secret Life of Pets
    For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms
    • 65 Metascore
    • 67 Dominick Suzanne-Mayer
    Hostiles
    It’s a sparse film, to be sure, but one authentic to the time in which it takes place, even if that authenticity reads in a significantly different light in our own time.
    • 54 Metascore
    • 67 Dominick Suzanne-Mayer
    The Discovery
    That world is so well-realized that the film is worth seeing, but it’s a mild letdown given the number of philosophical queries that it raises, only to leave ultimately unexplored.
    • 75 Metascore
    • 67 Dominick Suzanne-Mayer
    Kate Plays Christine
    Much of Kate Plays Christine is more of a form exercise than it is a documentary portrait, which works to both the film’s benefit and detriment.
    • 53 Metascore
    • 67 Dominick Suzanne-Mayer
    The Dead Don't Die
    The Dead Don’t Die is a zombie movie of an odd stripe, and for all its blatant synthesizing of influences, it never shakes off the impression that it’s working out exactly what it wants to be as it goes along.
    • 51 Metascore
    • 67 Dominick Suzanne-Mayer
    Skyscraper
    Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.
    • 67 Metascore
    • 67 Dominick Suzanne-Mayer
    The Little Stranger
    The Little Stranger slowly mutates into a harrowing treatise on the ways in which absolute privilege can corrupt absolutely.
    • 65 Metascore
    • 67 Dominick Suzanne-Mayer
    American Made
    American Made speaks in shorthand, in its visual and narrative language alike, and it’s less the ribald ripped-from-the-headlines commentary it aspires to be than a cynically breezy take on an ugly, unduly buried chapter of American history.
    • 58 Metascore
    • 67 Dominick Suzanne-Mayer
    Snowden
    Snowden is a film of sincere outrage, even when it strains to articulate that outrage in a less from-the-headlines manner.
    • 69 Metascore
    • 58 Dominick Suzanne-Mayer
    The Little Hours
    The Little Hours is reasonably entertaining, but it hints just enough at something deeper that it may well leave you wanting.
    • 66 Metascore
    • 58 Dominick Suzanne-Mayer
    The Report
    While the film’s intentions are noble, and its story worth retelling, it struggles throughout to lend a lasting weight to its straightforward plotting.
    • 64 Metascore
    • 58 Dominick Suzanne-Mayer
    Miles Ahead
    In fits and starts, the film matches the fire of its lead performance. Miles Ahead is far from a traditional, boilerplate music biopic, for better and worse alike.
    • 51 Metascore
    • 58 Dominick Suzanne-Mayer
    How to Be Single
    How To Be Single doesn’t break much at all in the way of new ground, but it’s a decent walk over well-trodden territory.
    • 59 Metascore
    • 58 Dominick Suzanne-Mayer
    The Shallows
    The film’s belief in and commitment to the simplicity of its premise takes it a lot farther than it might otherwise go.
    • 68 Metascore
    • 58 Dominick Suzanne-Mayer
    The Wave
    To have seen a disaster movie before is to have seen The Wave. But if there’s not necessarily anything remarkable or new about the film, Uthaug finds ways to make the familiar immediate, with a fraction of the money usually involved.
    • 53 Metascore
    • 58 Dominick Suzanne-Mayer
    Knight of Cups
    There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.
    • 74 Metascore
    • 58 Dominick Suzanne-Mayer
    Sully
    The more affecting moments in Sully come when the film puts aside its posturing and really examines what it is to be heroic in a cynical age.
    • 53 Metascore
    • 58 Dominick Suzanne-Mayer
    Pokémon Detective Pikachu
    As a family movie, Detective Pikachu is enjoyable enough. But if the Pokémon games drew players into the world through immersion, it’s then strange that the first major live-action adaptation frequently races through those moments of immersion in order to get to the next sequence of middling buddy-cop banter.
    • 44 Metascore
    • 58 Dominick Suzanne-Mayer
    Saban's Power Rangers
    Power Rangers ably sates all appetites: it’s absurd enough to avoid the self-seriousness that threatens to swallow it throughout, but just straight-faced enough to stop short of the kind of referential irony that would sink it.
    • 42 Metascore
    • 58 Dominick Suzanne-Mayer
    Office Christmas Party
    It feels like a missed opportunity overall, a movie that’s just funny enough often enough to make you wish that more of it fit together.
    • 66 Metascore
    • 58 Dominick Suzanne-Mayer
    Deadpool 2
    Deadpool 2 likes to situate itself as the subversive alternative to so many bloated X-Men films, with all their grave self-importance and bombastic action, but even more of this go-around resembles those movies than its predecessor, and if it reads to you as more than a bit hypocritical, just know you’re hardly alone.
    • 42 Metascore
    • 50 Dominick Suzanne-Mayer
    xXx: Return of Xander Cage
    While he has a decent enough handle on the right tone for the proceedings, Caruso’s action sequences are slapdash to the point of incoherence.
    • 73 Metascore
    • 50 Dominick Suzanne-Mayer
    Wind River
    Wind River is also a potent example of how form isn’t always enough when the story is as frequently unnerving for unintentional reasons as it is for the horrors it aims to present.
    • 67 Metascore
    • 50 Dominick Suzanne-Mayer
    Patti Cake$
    Patti Cake$ is a rags-to-riches story that too often comes off as a carbon copy of other, similar rags-to-riches stories.
    • 45 Metascore
    • 50 Dominick Suzanne-Mayer
    Snatched
    It’s still a reasonably funny movie when it hits its marks. It’s just a funny movie prone to going to some ugly, barren wells for laughs throughout as well.
    • 59 Metascore
    • 50 Dominick Suzanne-Mayer
    White Boy Rick
    White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.
    • 56 Metascore
    • 50 Dominick Suzanne-Mayer
    The Fate of the Furious
    Even as Fate has its fun and chases its highs (a few of which are pretty satisfying), it’s hard to shake the growing sensation that the bloom might be coming off the rose.
    • 39 Metascore
    • 50 Dominick Suzanne-Mayer
    Woodshock
    There’s agony in the margins of every frame, but it remains muted beneath so many layers of color and so many hands drifting across surfaces.
    • 61 Metascore
    • 50 Dominick Suzanne-Mayer
    The Hero
    It’s odd to see Elliott in a performance that involves him appearing so adrift, but the actor mines Lee’s insecurities for a naked honesty that makes his arguments and apologies alike ring with a lifetime of remorse.
    • 36 Metascore
    • 50 Dominick Suzanne-Mayer
    Action Point
    The movie is reasonably successful in its own modest way; its interests go no further than offering a handful of pratfall-driven laughs, and a few lessons about kicking back and cutting loose before you miss out on the simpler pleasures of life.
    • 65 Metascore
    • 50 Dominick Suzanne-Mayer
    Deadpool
    It’s hard to imagine a movie much more aware of itself both as a movie and as a moment in a cultural progression of similar movies than Deadpool.
    • 44 Metascore
    • 50 Dominick Suzanne-Mayer
    Brightburn
    It’s a nasty piece of work, and one that at the very least stands as an active interruption of the escapist, family-friendly superhero fare currently dominating the industry.
    • 73 Metascore
    • 42 Dominick Suzanne-Mayer
    Julieta
    If Julieta weren’t such a crushing bore, it might have been a lusty little delight.
    • 61 Metascore
    • 42 Dominick Suzanne-Mayer
    The Front Runner
    The Front Runner is a naively misguided product of panicked, desperate modern times. But perhaps even worse, at least for the type of film it wants to be, it lands somewhere between irrelevant and a woeful misreading of the room.
    • 53 Metascore
    • 42 Dominick Suzanne-Mayer
    The Hollars
    The Hollars deals in weighty personal tragedies, and yet neither the treacly, offbeat humor nor the moments of more straightforward pathos tend to work for any real length of time.
    • 64 Metascore
    • 42 Dominick Suzanne-Mayer
    XX
    XX is a horror anthology more admirable for its intent and concept than for its execution.
    • 46 Metascore
    • 42 Dominick Suzanne-Mayer
    The Upside
    Although its leads find the odd moment of charm together, even Kidman in what’s somehow the worst-shaded part of all three, The Upside fumbles far too often when it attempts to enlighten or edify its audience.
    • 43 Metascore
    • 42 Dominick Suzanne-Mayer
    The Circle
    The Circle aims for slow-building dread, but Ponsoldt’s direction and the script are both so uncharacteristically stiff that the film’s tone never solidifies.
    • 48 Metascore
    • 42 Dominick Suzanne-Mayer
    Goon: Last of the Enforcers
    Goon: Last of the Enforcers often feels far more like a stock sports film than its predecessor, and that’s what ultimately turns it into a highly underwhelming follow-up.
    • 49 Metascore
    • 42 Dominick Suzanne-Mayer
    Live by Night
    In its unwillingness to settle on a singular approach, Live By Night undercuts the things that occasionally do work, and leaves it a film in search of a grander purpose.
    • 51 Metascore
    • 42 Dominick Suzanne-Mayer
    Jurassic World: Fallen Kingdom
    The film may deliver the spectacle of dinosaurs body-slamming other dinosaurs with their mouths, but that’s about all that connects Fallen Kingdom to the wonder and fright of the original film. As a horror movie, it’s diverting enough when it’s not continuously shooting itself in the foot with ideas it can’t explain and doesn’t care to.
    • 34 Metascore
    • 42 Dominick Suzanne-Mayer
    Alice Through the Looking Glass
    It’s a classic case of sequel bloat, a film that seems to exist less because of any extended story it wants or needs to tell than because it must repackage something that was once popular.
    • 55 Metascore
    • 42 Dominick Suzanne-Mayer
    The Fundamentals of Caring
    It’s true that few movies are this aw-shucks nice these days, and for a short while The Fundamentals of Caring finds ways of retaining that kindness without lapsing into platitudes.
    • 44 Metascore
    • 42 Dominick Suzanne-Mayer
    Bushwick
    If it never fully realizes the horrors of its prescient setup, it’s nevertheless effective in fits and starts.
    • 68 Metascore
    • 42 Dominick Suzanne-Mayer
    Fighting with My Family
    Between its continuous insistence on broad humor and its lack of broader context about the industry period in which Paige came up (she was among the first womens’ wrestlers in WWE to break out when the division gained traction after years of public degradation), Fighting With My Family ultimately reveals itself as a shallow take on a genuinely fascinating story.
    • 72 Metascore
    • 42 Dominick Suzanne-Mayer
    Captain Fantastic
    Captain Fantastic loses its intriguing premise in a muddle of ideas about the redemptive power of family and the right of all people to live as they please.
    • 50 Metascore
    • 42 Dominick Suzanne-Mayer
    Maze Runner: The Death Cure
    Director Wes Ball frames the film as one long siege on the central city with few exceptions, and while that lends it a certain sense of momentum, after a while the sensation of watching it turns into one of checking off boxes
    • 35 Metascore
    • 42 Dominick Suzanne-Mayer
    Proud Mary
    Henson, ever the magnetic performer, elevates so much of Najafi’s boilerplate direction with sheer presence alone; while the film consistently suffers from the tendency to bathe nearly every scene in maudlin strings and over-exposition, the actress manages to convey multitudes about Mary’s interiority with little more than a sustained gaze.
    • 40 Metascore
    • 42 Dominick Suzanne-Mayer
    Suicide Squad
    For all of the film’s nonstop, aggressive insistence on its subversive qualities, it’s about as radical and unconventional as a teenager buying a Leftover Crack shirt with their mom’s credit card from Amazon.
    • 44 Metascore
    • 33 Dominick Suzanne-Mayer
    Mortal Engines
    As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.
    • 32 Metascore
    • 33 Dominick Suzanne-Mayer
    Tyler Perry's Acrimony
    That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.
    • 41 Metascore
    • 33 Dominick Suzanne-Mayer
    Passengers
    It’s so spectacularly inept, at so many different points, that it’s hard to imagine anybody will be able to forget it. It’s not a good movie by any stretch of the imagination, but it’s the kind of bad movie that audiences with the taste for that kind of thing will eat up by the spoonful.
    • 38 Metascore
    • 33 Dominick Suzanne-Mayer
    Mechanic: Resurrection
    Mechanic: Resurrection plays in an uncommonly generic key, and the film only makes intermittent attempts to enliven the proceedings.
    • 30 Metascore
    • 33 Dominick Suzanne-Mayer
    Slender Man
    The first major problem with Slender Man is that it’s not anywhere near as scary as many of the fan-made mockups that can be found online right now, but the second and arguably bigger one is that it’s barely a Slender Man story.
    • 40 Metascore
    • 33 Dominick Suzanne-Mayer
    Table 19
    It’s a genuine drag to watch talented actors struggle through tepid material, and Table 19 offers this more readily than it does its laughs or its pathos.
    • 29 Metascore
    • 33 Dominick Suzanne-Mayer
    Bright
    It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.
    • 32 Metascore
    • 33 Dominick Suzanne-Mayer
    Cats
    As an adaptation, Cats is declawed, never delving fully into the possibilities offered by its proportion-manipulating trick photography and its animated cast. As a big-budget spectacle, it’s a triumphant disaster, if one at least born from a unique idea.
    • 23 Metascore
    • 33 Dominick Suzanne-Mayer
    Yoga Hosers
    While Yoga Hosers continues Smith’s quest to push himself into increasingly strange and uncomfortable directions as a filmmaker, it’s either too derivative or too malformed to work the vast majority of the time.
    • 31 Metascore
    • 33 Dominick Suzanne-Mayer
    The Book of Henry
    It aims for the kind of sprawl that could contain a film with so many big ideas about death and grief and cruelty and salvation, but it’s somehow at once too modest for how bizarre it eventually gets and too excessive to meaningfully deliver on those emotions.
    • 45 Metascore
    • 33 Dominick Suzanne-Mayer
    Rampage
    It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.
    • 45 Metascore
    • 33 Dominick Suzanne-Mayer
    The Prodigy
    While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.
    • 48 Metascore
    • 33 Dominick Suzanne-Mayer
    Escape Room
    It’s also not all that good, even if it’s hardly the kind of “bad” that most would get riled about. Escape Room is cut from one of Hollywood’s most familiar cloths: the “mall horror” movie.
    • 44 Metascore
    • 25 Dominick Suzanne-Mayer
    The Bronze
    The Bronze is so satisfied with its own winking crassness that it lets epithets constitute everything it has to say. Between that and the film’s scene-by-scene tonal shifts, what could’ve been an off-kilter curiosity curdles into a dull roar of disappointment.
    • 35 Metascore
    • 25 Dominick Suzanne-Mayer
    Mute
    Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.
    • 39 Metascore
    • 25 Dominick Suzanne-Mayer
    Don Verdean
    Don Verdean is the sort of comedy which presumes its own hilarity long before it gets around to telling any actual jokes, or staging anything that might otherwise be considered funny.
    • 38 Metascore
    • 25 Dominick Suzanne-Mayer
    All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
    • 32 Metascore
    • 25 Dominick Suzanne-Mayer
    Independence Day: Resurgence
    A curiously loud and ugly beast of a sequel.
    • 23 Metascore
    • 25 Dominick Suzanne-Mayer
    Collateral Beauty
    It is not a bad film because of its sincerity of intention. It’s a bad film because it manages to make that sincerity feel disingenuous as it goes on, more and more so with each passing scene.
    • 37 Metascore
    • 25 Dominick Suzanne-Mayer
    Fist Fight
    What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.
    • 21 Metascore
    • 25 Dominick Suzanne-Mayer
    Geostorm
    Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.
    • 43 Metascore
    • 25 Dominick Suzanne-Mayer
    Death Note
    In adapting Death Note for a presumably American audience, Wingard loses the whole of its identity, and never finds a different one with which to replace it.
    • 22 Metascore
    • 25 Dominick Suzanne-Mayer
    God's Not Dead 2
    There is a tone of anger that sneaks out of the film in even its moments of levity.
    • 29 Metascore
    • 25 Dominick Suzanne-Mayer
    Peppermint
    If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.
    • 32 Metascore
    • 25 Dominick Suzanne-Mayer
    Robin Hood
    There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.
    • 39 Metascore
    • 16 Dominick Suzanne-Mayer
    Jigsaw
    By now, you likely already know whether or not Jigsaw is for you. The series is nothing if not consistent, but the diminishing returns that led to its near-decade hiatus only continue here.
    • 27 Metascore
    • 16 Dominick Suzanne-Mayer
    Transformers: The Last Knight
    While the flagrant product placement is dialed back (at least on Bay’s curve) and there’s mercifully 100% less discussion of sexual consent laws this time around, the latest outing suffers from arguably the most fatal flaw a movie about giant fighting robots can: it’s brutally and relentlessly boring from start to finish.
    • 24 Metascore
    • 16 Dominick Suzanne-Mayer
    Gotti
    When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.
    • 24 Metascore
    • 16 Dominick Suzanne-Mayer
    Holmes & Watson
    When people talk about Hollywood movies feeling more and more like product, this is what they’re driving at.
    • 2 Metascore
    • 0 Dominick Suzanne-Mayer
    Hillary's America: The Secret History of the Democratic Party
    Hillary’s America is repugnant, and while it exists to get people who stand against it yelled at as much as anything, it’s essential that D’Souza not simply be written off as a hack pandering to a willing and lucrative audience regardless of the moral implications, though he is. D’Souza peddles the kind of “media” that’s become cancerous to the country he unyieldingly purports to worship.
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