Jake Coyle

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The Associated Press
For 402 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Jake Coyle's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Licorice Pizza
Lowest review score: 25 Dolittle
Score distribution:
  1. Positive: 302 out of 402
  2. Mixed: 78 out of 402
  3. Negative: 22 out of 402
402 movie reviews
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    • 83 Metascore
    • 88 Jake Coyle
    One Night in Miami
    The movie’s gathering momentum, even as it grows more claustrophobic, is owed to a few things. It comes from Ben-Adir’s artfully calibrated performance as Malcolm — here more consumed with doubt, worry and self-awareness than the usual firebrand portrayal. It comes from Odom’s deft sense of Cooke. And it comes from King’s remarkable elegance as a director.
    • 83 Metascore
    • 88 Jake Coyle
    Belle
    Anime master Mamoru Hosoda makes movies that, even at their most elaborate, can reach such staggeringly emotional heights that they seem to break free of anything you’re prepared for in an animated movie — or in most kinds of movies, for that matter.
    • 83 Metascore
    • 88 Jake Coyle
    Moonage Daydream
    Sometimes Bowie, who refers to his public persona as “an intoxicating parallel to my perceived reality,” seems to be weighing himself like he would a piece of art. With an electric eye, “Moonage Daydream” finds the slipstream of that reality.
    • 64 Metascore
    • 75 Jake Coyle
    The Lost King
    It’s the kind of comic, eminently British underdog story that Frears excels at. And with Sally Hawkins playing Langley as a woman undeterred by pompous academics and condescending naysayers, The Lost King makes for a charmingly droll tale of long-ago and not-so-long-ago reappraisal.
    • 82 Metascore
    • 75 Jake Coyle
    You Won't Be Alone
    You Won’t Be Alone enchants in its novel perspective and in its sharp-shifting protagonist’s unquenchable curiosity. The witch, once so set in stereotype, has never felt so enthrallingly elastic.
    • 82 Metascore
    • 88 Jake Coyle
    Knives Out
    The whodunit turns out not only to still have a few moves left but to be downright acrobatic.
    • 82 Metascore
    • 88 Jake Coyle
    The Last Black Man in San Francisco
    It’s all so handsomely shot and deliberately staged that you might at times worry that The Last Black Man in San Francisco is leaning more toward picturesque than profound. But when Talbot’s film rises to its rousing and sensitive climax, the fairy tale falls away and something authentically soulful emerges.
    • 82 Metascore
    • 88 Jake Coyle
    A Hero
    A Hero, in which Farhadi returns to his native Iran after a trip to Spain for 2018′s Everybody Knows, is one of the most labyrinthine moral tales you’re likely to encounter.
    • 82 Metascore
    • 63 Jake Coyle
    The Northman
    The mythic simplicity is part of the point of The Northman, but the movie’s single-minded protagonist and its elemental conflicts verge closer to “Conan the Barbarian” territory than perhaps is ideal. Eggers’ film is only fitfully enchanting and squanders its mean momentum.
    • 82 Metascore
    • 88 Jake Coyle
    Hold Your Fire
    Hold Your Fire... burrows into the real roots of an oft-replayed movie scenario with insight and care.
    • 81 Metascore
    • 88 Jake Coyle
    Mass
    Kranz’s film isn’t perfect. As the conversation ebbs and the four parents stagger out of the room and awkwardly part, the movie, too, struggles with how to walk away. But in this plainly photographed, mournful, restrained movie, the back-and-forth is bracingly sincere.
    • 81 Metascore
    • 88 Jake Coyle
    Everything Everywhere All at Once
    It’s a preposterous and tasteless ode to the messy, nonsensical struggle and bliss of being human.
    • 78 Metascore
    • 75 Jake Coyle
    Warfare
    In this forensic portrait of war, the only way to not get what’s happening on the ground is to be too far from it. François Truffaut famously said there’s no such thing as an anti-war film because movies inherently glamorize war. “Warfare,” though, is intent on challenging that old adage.
    • 81 Metascore
    • 88 Jake Coyle
    Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb
    Turn Every Page...is one of the finest films you’ll see about the craft of editing — not that there are so many of those.
    • 81 Metascore
    • 75 Jake Coyle
    Tina
    The film, as you would expect, walks us again through the tremendous upheavals in Turner’s life. But it’s ultimately about Turner telling her story — why she struggles having to tell it; why she needs to tell it, anyway; and why she wants to be done with it.
    • 51 Metascore
    • 63 Jake Coyle
    A Man Called Otto
    A Man Called Otto is less after realism than it is a modern-day fable, with shades of Scrooge and the Grinch. As a tale of a solitary man, Hanks has made it a poignant work of family.
    • 81 Metascore
    • 75 Jake Coyle
    Us
    In Us, Peele has produced a terrifying artifact: a sinister ballet of doppelgangers and inversions that makes flesh the unseen underbelly lurking beneath every sunny American dream and behind every contented nuclear family. It’s a scissor-sharp rebuke to anyone who’s ever held hands and sang “Kumbaya.”
    • 62 Metascore
    • 50 Jake Coyle
    The King
    It’s a movie best seen less as a historical epic and more as a metaphor for a rising young movie star coming up in a culture he aims to subvert.
    • 81 Metascore
    • 50 Jake Coyle
    Living
    There’s a stale emptiness to Living that doesn’t entirely dissipate in even its most moving scenes.
    • 81 Metascore
    • 75 Jake Coyle
    The Mitchells vs. The Machines
    But for all its fast-paced zaniness, The Mitchells vs. the Machines, scripted by Rianda and his writing partner Jeff Rowe (also co-director), is basically a good old-fashioned family road trip movie, and the Mitchells slide in somewhere between the Griswolds and a more accident-prone Incredibles.
    • 80 Metascore
    • 75 Jake Coyle
    X
    The actors are uniformly good. And by fusing two types of films that have long been bedfellows — slashers and pornography — “X” makes for a gripping shotgun marriage of genres.
    • 80 Metascore
    • 75 Jake Coyle
    Marcel the Shell with Shoes On
    Marcel the Shell With Shoes On could be considered a kids movie or an art-house indie (A24 is releasing). But its proper audience might be anyone who’s ever felt sanded down by life, and could use a roll in Marcel’s rover.
    • 80 Metascore
    • 100 Jake Coyle
    Perfect Days
    The Wenders’ movie that “Perfect Days” most recalls is “Wings of Desire,” where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” “Perfect Days” has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.
    • 80 Metascore
    • 75 Jake Coyle
    Ad Astra
    Aside from verging on the one-note, that focus constricts the very linear, very self-contained Ad Astra, a taut but inflexible chamber piece in a genre given to symphony.
    • 80 Metascore
    • 88 Jake Coyle
    You Hurt My Feelings
    With a terrific ensemble, You Hurt My Feelings digs into the half-truths that keep self-doubt at bay in all of these characters.
    • 80 Metascore
    • 75 Jake Coyle
    Lean on Pete
    It’s less Haigh’s mournful view of American society — one that, for sure, rarely finds American movie screens — that makes the heartfelt Lean on Pete stay with you. It’s Plummer’s wounded, achingly alone Charley, humbly striving across a darkening land, holding on desperately.
    • 80 Metascore
    • 88 Jake Coyle
    Compartment No. 6
    Adapting Rosa Liksom’s novel of the same name, Kuosmanen has moved the book from the ’80s to the ’90s and lost some of the story’s political backdrop in favor of a more out-of-time love story.
    • 80 Metascore
    • 75 Jake Coyle
    Gasoline Rainbow
    On the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.
    • 79 Metascore
    • 75 Jake Coyle
    Annihilation
    Rarely has a film conjured such a thick atmosphere of dread and wonder as “Annihilation,” a movie that unfolds, grippingly, as an existential mystery.
    • 79 Metascore
    • 75 Jake Coyle
    Babygirl
    Babygirl, which Reijn also wrote, is sometimes a bit much. (In one scene, Samuel feeds Romy saucers of milk while George Michael’s “Father Figure” blares.) But its two lead actors are never anything but completely magnetic.
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