Gary Thompson

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Philadelphia Daily News, Philadelphia Inquirer
For 358 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 0.8 points lower than other critics. (0-100 point scale)

Gary Thompson's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Monty Python and the Holy Grail
Lowest review score: 25 Trapped in Paradise
Score distribution:
  1. Positive: 255 out of 358
  2. Mixed: 77 out of 358
  3. Negative: 26 out of 358
358 movie reviews
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    • 53 Metascore
    • 63 Gary Thompson
    Aladdin
    In some ways the movie’s crazy fictions suit today’s modern mash-up sensibilities, and its cast reflects the patterns of modern migration that are creating a whole new world.
    • 53 Metascore
    • 50 Gary Thompson
    She's the One
    And yet, the focus of the movie remains fixed on the men, which makes this Ode to Strong Women seem a little patronizing. Or expedient. The director's long-time girlfriend, co-star Bahns, has the most flattering female role. Bahns had no acting experience when she was cast in the low-budget "Brothers McMullen." She still doesn't. Watching her her in "She's the One," you realize that it must be love. [23 Aug 1996, p.45]
    • Philadelphia Daily News
    • 53 Metascore
    • 50 Gary Thompson
    Finding Steve McQueen
    Though fact-based movies are often guilty of bending truth to improve a story, Finding Steve McQueen goes in the other direction, downplaying strange-but-true elements that might have helped its saggy narrative.
    • 53 Metascore
    • 63 Gary Thompson
    Five Feet Apart
    The movie is actually not bad, until it goes full Lifetime Channel crazy in the third act.
    • 53 Metascore
    • 50 Gary Thompson
    Pokémon Detective Pikachu
    Not long into Pokémon: Detective Pikachu, it becomes clear that the movie is never going to make what you might call sense.
    • 53 Metascore
    • 50 Gary Thompson
    Red Sparrow
    The movie’s distinguishing feature is its inclination to lurid violence. Every so often, a depraved Russian hit man shows up to murder and torture one of the characters, mostly to allow director Francis Lawrence to show yet another naked and brutalized woman splayed on a shower floor, or in a bathtub red with blood.
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