Eli Friedberg

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Slant Magazine, The Film Stage
For 38 reviews, this critic has graded:
  • 21% higher than the average critic
  • 2% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 2.9 points lower than other critics. (0-100 point scale)

Eli Friedberg's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 83 Final Account
Lowest review score: 38 My Neighbor Adolf
Score distribution:
  1. Positive: 22 out of 38
  2. Mixed: 13 out of 38
  3. Negative: 3 out of 38
38 movie reviews
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    • 73 Metascore
    • 50 Eli Friedberg
    Hoppers
    It falls well short of providing any satisfying exploration of its weighty theme of persuasion versus violence in the face of oppression.
    • 36 Metascore
    • 42 Eli Friedberg
    Demonic
    Blomkamp, one suspects, does not possess the same imagination for interior worlds he’s exhibited for external. Demonic largely proves this thesis correct.
    • 44 Metascore
    • 42 Eli Friedberg
    Voyagers
    It’s a familiar traced sketch of 20th century imagined dystopias, but Gen-Z trappings evocative of our own looming dystopia offer a slightly new shade of color. It just isn’t vivid enough.
    • 66 Metascore
    • 42 Eli Friedberg
    Skinamarink
    The film’s intentionally amateurish visuals are deployed on audiences with the precision of a jackhammer, all in the interest of obscurantism.
    • 82 Metascore
    • 42 Eli Friedberg
    Da 5 Bloods
    A timely but confusing mess of styles, tones, and subject matter.
    • 35 Metascore
    • 38 Eli Friedberg
    My Neighbor Adolf
    The film at once wrings this premise for whimsical absurdism and slow-burn suspense, on each side vulgarizing the memory of the Holocaust.
    • 87 Metascore
    • 38 Eli Friedberg
    Resurrection
    At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.
    • 37 Metascore
    • 38 Eli Friedberg
    The Super Mario Galaxy Movie
    The film has, figuratively and literally, somehow even less gravity than its source material and predecessor. The visual language is divorced from reality and referent to the games; even Looney Tunes action is grounded in the real world—the better to subvert it.
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