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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    • 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.
    • 82 Metascore
    • 91 Dominick Suzanne-Mayer
    The Last Black Man in San Francisco
    Fails is unsurprisingly exceptional given his relationship to the material, shaping the film’s overall tone as he goes along, portraying a kind of existential tour guide for a place that at once still stands, is being torn down every day, and never quite existed at all.
    • 82 Metascore
    • 100 Dominick Suzanne-Mayer
    Dazed and Confused
    Like so much of Linklater’s best work, the film is profound through its being deliberately unassuming. It’s sincere without being dopey, honest without being mean, optimistic without being oblivious of how hard the future can be.
    • 81 Metascore
    • 91 Dominick Suzanne-Mayer
    Raw
    If Raw is hardly subtle in its depiction of burgeoning womanhood, from the social to the sexual, Ducournau delivers the film’s parable with a candor that suits it perfectly.
    • 81 Metascore
    • 75 Dominick Suzanne-Mayer
    Moana
    Even allowing for its recognizable traits, Moana is as much a treat to watch as any recent Disney outing.
    • 81 Metascore
    • 91 Dominick Suzanne-Mayer
    Your Name.
    Your Name is the kind of film that’s all the more striking for how easily it could have gone awry, but Shinkai has accomplished something unique and genuinely special here.
    • 81 Metascore
    • 75 Dominick Suzanne-Mayer
    Menashe
    Menashe offers an affectingly intimate glance into a world largely unknown to those outside of it, one where faith is omnipresent over every facet of daily life and the troubled society outside is no concern of the neighborhood’s residents.
    • 80 Metascore
    • 83 Dominick Suzanne-Mayer
    Good Time
    Good Time is a film of trembling anxiety, and while the score and the Safdies’ terrific direction both aid this, it’s Pattinson’s outstanding performance that pins even the most outlandish occurrences to a deep sense of emotion.
    • 80 Metascore
    • 100 Dominick Suzanne-Mayer
    American Honey
    In Andrea Arnold’s sublime film American Honey, freedom is relative, but every once in a while it can feel so damn good that the whole world disappears around it.
    • 80 Metascore
    • 91 Dominick Suzanne-Mayer
    Lucky
    It’s a striking debut, and the kind of outing that will invariably leave audiences wanting to see more from Lynch behind the camera in the future. But Lucky is a showcase for Stanton above all things.
    • 79 Metascore
    • 91 Dominick Suzanne-Mayer
    Whose Streets?
    Whose Streets? humanizes Ferguson, but not for the benefit of skeptics. It’s a rallying cry for those who understand their pain and those driven by that same pain to affect real and lasting change.
    • 78 Metascore
    • 75 Dominick Suzanne-Mayer
    Indignation
    Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.
    • 78 Metascore
    • 100 Dominick Suzanne-Mayer
    The Lost City of Z
    The Lost City of Z is as much about the struggle of progress as the real-life story it’s telling, and Gray sharply observes the ways in which mankind continuously tears itself apart, usually in the name of progress.
    • 78 Metascore
    • 83 Dominick Suzanne-Mayer
    Avengers: Endgame
    Endgame manages to effectively deliver reunions alongside farewells, fan service alongside the kind of storytelling which needs to occur in order for the whole billion-dollar machine to keep a’grinding, and a handful of sincere, honest-to-God surprises that make the grandeur of the whole thing feel justified.
    • 78 Metascore
    • 75 Dominick Suzanne-Mayer
    The Sisters Brothers
    There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer.
    • 78 Metascore
    • 75 Dominick Suzanne-Mayer
    Zootopia
    There’s a depth to the city that shows how far the form has come in a short time, and Zootopia is better off for it, especially when it still ultimately doesn’t break away from the familiar Disney formula as much as some of the studio’s other recent films have managed.
    • 78 Metascore
    • 83 Dominick Suzanne-Mayer
    Logan Lucky
    It’s the kind of wholly fun, satisfying late-summer fare that audiences will crave as the season winds down on its face, but like much of the director’s more recent output, it’s operating on several more thoughtful levels at the same time.
    • 77 Metascore
    • 83 Dominick Suzanne-Mayer
    The Jungle Book
    It’s a marvel of filmmaking created from nothing (and one of the more meaningful uses of 3D in recent memory as well), and Favreau stages one scenic tableau after the next with uncommon skill.
    • 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.
    • 77 Metascore
    • 83 Dominick Suzanne-Mayer
    Detroit
    As the film’s scope reduces, it builds in horrific momentum.
    • 76 Metascore
    • 83 Dominick Suzanne-Mayer
    mother!
    It’s a dizzying, sadistic feature, and may well be Aronofsky’s most biting work since Requiem for a Dream, but it’s also concerned with some deeply painful and humane material. Where that film aimed for repulsion of a literal bent, however, Mother! is far more concerned with horrors of the allegorical variety.
    • 77 Metascore
    • 75 Dominick Suzanne-Mayer
    The Edge of Seventeen
    The Edge of Seventeen has more than enough earnestness of heart to make up for its structural shortcomings. It’s a teen film with an uncommonly honest ear for interactions.
    • 76 Metascore
    • 83 Dominick Suzanne-Mayer
    Lo and Behold: Reveries of the Connected World
    If Lo and Behold is more just a collection of interviews on a series of themes than a cohesive piece of storytelling, it’s still a fascinating endeavor into how the Internet went from personal to unimaginably broad and how it could either continue to expand or perhaps even return to that infant phase again.
    • 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.
    • 75 Metascore
    • 75 Dominick Suzanne-Mayer
    Dark Horse
    It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.
    • 75 Metascore
    • 83 Dominick Suzanne-Mayer
    John Wick: Chapter 2
    Chapter 2 is a hyper-violent piece of pulp action cinema through and through, but it’s also an exemplar of how to make such a film with style and intelligence.
    • 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.
    • 75 Metascore
    • 83 Dominick Suzanne-Mayer
    Captain America: Civil War
    By firmly rooting all of the film’s sprawling drama in a singular conflict, directors Joe and Anthony Russo manage to do what many superhero films have struggled with in recent years: find a truly effective reason to pit superpower against superpower.
    • 75 Metascore
    • 75 Dominick Suzanne-Mayer
    Whitney
    By the time Whitney reaches the point it inevitably must, Macdonald’s film stands as an archive of how preventable Houston’s passing truly was.
    • 75 Metascore
    • 75 Dominick Suzanne-Mayer
    Thoroughbreds
    While Finley’s film may be slim on any truly insightful commentary about what makes Amanda and Lily tick, that’s almost beside the point. Instead, this is a film about the fine lines separating civility from chaos, and how it only takes a tiny push to send you across when you’re close enough to it.
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