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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    • 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.
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