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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    • 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.
    • 68 Metascore
    • 75 Dominick Suzanne-Mayer
    Nobody Speak: Trials of the Free Press
    While the connections Knappenberger draws between private and government corruption are sometimes belabored, they’re also accurate, and a stark reminder of the increasing popularity of “bought” news.
    • 68 Metascore
    • 75 Dominick Suzanne-Mayer
    Avengers: Infinity War
    It’s exhausting, but it’s also frequently effective. It’s surface-level with its emotional beats, but a number of them still land, largely thanks to the continuously all-in performances of the series’ endlessly patient stars. It’s an event that advertises itself as an event in every way, while somehow still managing to justify the immense hype around it.
    • 68 Metascore
    • 75 Dominick Suzanne-Mayer
    An Inconvenient Sequel: Truth to Power
    It’s less an attack on big business (though such sentiments are certainly present) than a call for a rational assessment of proven facts. If it does occasionally dabble in hero worship of its subject, it also makes the effective case that somebody has to keep showing up when nobody else can be bothered.
    • 68 Metascore
    • 83 Dominick Suzanne-Mayer
    Missing Link
    As with so many Laika films, you’ll come for the breathtaking animation, and you’ll leave both enchanted and surprised by the big, beating heart beneath it.
    • 68 Metascore
    • 75 Dominick Suzanne-Mayer
    Beatriz at Dinner
    Beatriz at Dinner has an ear for the microaggressions that tend to constitute so much modern racism, and these moments tend to play better than the broader attempts at cultural commentary.
    • 67 Metascore
    • 75 Dominick Suzanne-Mayer
    Band Aid
    There’s no linear path to being “okay,” or to overcoming grief, and Band Aid is ultimately as much about how people have to do these things on their own as it is about a couple doing it together.
    • 67 Metascore
    • 83 Dominick Suzanne-Mayer
    Brigsby Bear
    Brigsby Bear offers a touching and daringly unconventional reminder of how no approach to filmmaking is inherently bad with the right mind at the helm.
    • 67 Metascore
    • 83 Dominick Suzanne-Mayer
    T2 Trainspotting
    In one sense, here’s a sequel to a ‘90s classic that trades heavily on audiences’ appreciation for that previous film. In another, here’s a film that uses that fact in service of an insightful, affecting commentary on how there’s no choice in life but to either move forward or to not.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Dominick Suzanne-Mayer
    Furious 7
    Furious 7 is at turns a celebration and a farewell, a film that goes for broke in using its many seemingly forgettable bits of established canon to tie together all of the films and pay its respects.
    • 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.
    • 67 Metascore
    • 91 Dominick Suzanne-Mayer
    Guardians of the Galaxy Vol. 2
    It’s the rare Marvel sequel that manages to expand on what came before in new and rewarding ways, while also striking its own distinct tone even as some of its narrative devices skew familiar.
    • 66 Metascore
    • 75 Dominick Suzanne-Mayer
    Shin Godzilla (Godzilla Resurgence)
    If the film often takes an aggressive approach to driving this central thesis home, Shin Godzilla manages to negotiate a difficult balance between delivering the monster movie thrills promised by its central creature and a film that utilizes those thrills in service of something more substantial.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 75 Dominick Suzanne-Mayer
    Sunset
    Sunset is difficult filmmaking, the kind which almost seems impenetrable at times. But if you’re willing to meet Nemes on his level, the film’s rich textures will eventually prove themselves beguiling.
    • 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.
    • 65 Metascore
    • 75 Dominick Suzanne-Mayer
    The Lovers and the Despot
    As both an utterly mad true story and as a document of the boundless reach of the cinema across borders and cultures and even ideologies, The Lovers and the Despot is wild, valuable viewing for all.
    • 64 Metascore
    • 83 Dominick Suzanne-Mayer
    Fast Color
    It’s intelligent, frequently resonant, and even wryly funny at points in its own weary way. This is sci-fi which trusts its audience to fill in the blanks and do just a little bit of the heavy lifting, and it’s better off for it.
    • 64 Metascore
    • 75 Dominick Suzanne-Mayer
    Always Be My Maybe
    While the charm of Always Be My Maybe can and should be attributed to its performers, there’s a real sweetness in its reframing of the romantic comedy as the struggle of two people who already have fulfilling lives, attempting to add to them by rediscovering lost pieces of themselves in each other.
    • 64 Metascore
    • 42 Dominick Suzanne-Mayer
    XX
    XX is a horror anthology more admirable for its intent and concept than for its execution.
    • 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.
    • 63 Metascore
    • 83 Dominick Suzanne-Mayer
    Piercing
    Throughout Piercing, it’s never clear who’s getting played, at least except for the audience. Those with the stomach for what Pesce and his stars have to offer will likely give over to the rush of it, as the film plays fast and loose with expectations at every turn.
    • 62 Metascore
    • 75 Dominick Suzanne-Mayer
    Kong: Skull Island
    Perhaps the most satisfying thing about the film is what comes after, when you stop to realize how darkly comic and sickly fun the film was after you’re done reeling from all the impaling and dismemberment.
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