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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    • 88 Metascore
    • 91 Dominick Suzanne-Mayer
    Black Panther
    There’s talent in every corner of the film, and it elevates Black Panther beyond so many of its superhero contemporaries even as it exhibits some formulaic tendencies. It’s a sterling example of formula done exceedingly well, however, particularly in the ways it uses the familiarity of that formula to tell a new kind of story.
    • 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.
    • 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.
    • 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.
    • 90 Metascore
    • 100 Dominick Suzanne-Mayer
    Phantom Thread
    It’s at once subtle and outlandish, sensual and thoughtful, outrageously unconventional and yet one of its director’s most confidently assembled features.
    • 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
    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.
    • 88 Metascore
    • 91 Dominick Suzanne-Mayer
    Three Billboards Outside Ebbing, Missouri
    Three Billboards may be a film chiefly concerned with rage, and pain, but it’s also one of the best dark comedies of recent vintage, and one of the better dramas as well. While some of McDonagh’s narrative threads do time out in unexpected and even unresolved ways, the film’s highs are exemplary.
    • 74 Metascore
    • 75 Dominick Suzanne-Mayer
    Thelma
    The film maintains a hum of stoic, nerve-trembling anxiety that carries through to its finale.
    • 72 Metascore
    • 75 Dominick Suzanne-Mayer
    Blade of the Immortal
    This is a story with a message, and perhaps an overlong one, but the triumphant staging of the film’s action sequences often tends to erase any lingering doubts of its purpose before long.
    • 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.
    • 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.
    • 74 Metascore
    • 75 Dominick Suzanne-Mayer
    78/52: Hitchcock’s Shower Scene
    As many note throughout the doc, the best moments that film as a medium has to offer are found in the smallest details. And when you find something truly great, as with this scene, you can just keep looking and looking until you spiral into the same void on which the grisly sequence ends.
    • 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.
    • 92 Metascore
    • 100 Dominick Suzanne-Mayer
    The Florida Project
    The film exudes pure humanity in every frame, in all of its messiness and splendor and tragedy, and much of that raw emotion is owed to the performances.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 91 Dominick Suzanne-Mayer
    Columbus
    Kogonada matches the inquisitive eye of his two leads, finding the splendor in the everyday, the unusual in the unlikeliest places, and the need for connection that runs beneath all things.
    • 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.
    • 77 Metascore
    • 83 Dominick Suzanne-Mayer
    Detroit
    As the film’s scope reduces, it builds in horrific momentum.
    • 71 Metascore
    • 75 Dominick Suzanne-Mayer
    Girls Trip
    Malcolm D. Lee’s stab at a Bridesmaids-esque journey of debauchery is funny, sometimes uproariously so, but its greatest strength isn’t in the filthiest stuff. It’s in the rapport between four women who’ve worked hard to remain friends, even as the natural progression of time continuously pulls them further and further away from one another.
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