Jared Mobarak

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The Film Stage
For 635 reviews, this critic has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Jared Mobarak's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Moonlight
Lowest review score: 25 The Dark Below
Score distribution:
  1. Positive: 464 out of 635
  2. Mixed: 153 out of 635
  3. Negative: 18 out of 635
635 movie reviews
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    • 75 Metascore
    • 75 Jared Mobarak
    Full River Red
    For every person who finds the tone a welcome inclusion that helps make this two-and-a-half-hour mystery feel a whole lot breezier than you expect, there’s bound to be another who cannot separate what appears to be surface distraction from a highly convoluted tapestry of convenient twists and turns. Most will surely fall in the middle––like me.
    • 75 Metascore
    • 58 Jared Mobarak
    The Deeper You Dig
    While Poser and Adams do so much to overcome the production’s limitations, they unavoidably show through nonetheless.
    • 74 Metascore
    • 67 Jared Mobarak
    I Kill Giants
    While the film isn’t as subtle as A Monster Calls or Where the Wild Things Are, it captures the messiness of suffering just as well.
    • 74 Metascore
    • 67 Jared Mobarak
    The Kid Detective
    It’s a good role for Brody by simultaneously feeding on the typecast nature of him being neurotic Seth Cohen from The O.C. and rejecting it by toning down the sarcasm and replacing it with fatigue.
    • 74 Metascore
    • 75 Jared Mobarak
    The Women's Balcony
    What The Women’s Balcony provides is a universal theme. At one time or another we all must reconcile our idealism with morality. We must look past literal meanings to embrace subjective ones able to encompass a broader swath of the surrounding world.
    • 74 Metascore
    • 75 Jared Mobarak
    Beans
    Violence becomes both a weapon and a tool throughout the proceedings while words do the same since both must sometimes be wielded as the former in order to be successful as the latter.
    • 74 Metascore
    • 67 Jared Mobarak
    A Crooked Somebody
    A Crooked Somebody develops into a resonant character study depicting the myriad ways we take advantage of others.
    • 74 Metascore
    • 75 Jared Mobarak
    Burning Cane
    It deserves every accolade and opportunity received due to its unrelenting authenticity and complex themes.
    • 74 Metascore
    • 83 Jared Mobarak
    Black
    Aboubakr Bensaïhi and Martha Canga Antonio deliver unforgettable performances as these two teenagers in way over their head.
    • 74 Metascore
    • 83 Jared Mobarak
    The Rest of Us
    Nélisse and Pniowsky are a big part of the drama unfolding authentically with ample disdain and irritation respectively, but The Rest of Us truly is Graham and Balfour’s show.
    • 74 Metascore
    • 67 Jared Mobarak
    Buñuel in the Labyrinth of the Turtles
    It’s an interesting glimpse at his process with Buñuel doing despicable things alongside beautiful ones.
    • 74 Metascore
    • 75 Jared Mobarak
    M.C. Escher: Journey To Infinity
    Lutz has composed a university lecture in its own right: educationally pragmatic and historically enlightening.
    • 74 Metascore
    • 75 Jared Mobarak
    Plan B
    Verma and Moroles stick together even when things get too crazy to believe—each ready to take a bullet for the other if necessary. Their comedic timing is only outdone by their authentic, heartfelt terror about the unknown. Never let your fear of what others might think outweigh the fear of letting it dictate who you become.
    • 74 Metascore
    • 75 Jared Mobarak
    Little Sister
    The humor enhances this drive by lightening the weightiness of the Lunsfords’ struggle as well as endearing them as a relatable group not so different from our own families regardless of our personal issues possibly not matching their immense tragedy.
    • 74 Metascore
    • 83 Jared Mobarak
    Disobedience
    Disobedience‘s journey is one of authentic emotional honesty excelling in instances of insecurity and fear.
    • 74 Metascore
    • 83 Jared Mobarak
    Enemies of the State
    Its in-depth dissection of what the concept of “truth” has become in an age of blindly devoted acolytes spreading information faster than it can be confirmed.
    • 74 Metascore
    • 75 Jared Mobarak
    The Duke
    The heart of The Duke is what shines brightest.
    • 74 Metascore
    • 67 Jared Mobarak
    Kill
    Just let the rage unleash in whatever convenient way is necessary to get the blood flowing faster. What’s good enough for John Wick should be good enough for Kill, so wake the boogeyman up and let him loose. Because we’re all here for the brutality anyway. There’s no point pretending otherwise.
    • 74 Metascore
    • 75 Jared Mobarak
    tick, tick...Boom!
    Garfield is funny and charismatic to draw us in and devastating when presenting the palpable shame that keeps us caring. Broadway cameos aside (some even get to sing during the biggest set-piece of the whole on “Sunday”), however, Garfield can’t carry the full weight of the story alone.
    • 74 Metascore
    • 83 Jared Mobarak
    Beast
    Buckley and Flynn keep us on our toes, their darkened malice turning to teary-eyed contrition until we’re left hopeless as far as figuring out which is more real.
    • 74 Metascore
    • 83 Jared Mobarak
    Little Woods
    Rather than pass judgment, Little Woods merely allows life to occur in its oft-depressive state of seeming futility. Thompson and James commendably imbue each character with a palpable fear that ensures their actions are beyond reproach.
    • 74 Metascore
    • 83 Jared Mobarak
    End of Sentence
    Because Lerman and Hawkes are so good, Adalsteins can let their resentment and fear exist unspoken.
    • 73 Metascore
    • 75 Jared Mobarak
    The Surrogate
    The result can be frustratingly militant in its desire to show all angles of its central conflict (and how it sparks others), but the questions it makes us ask ourselves are worth it.
    • 73 Metascore
    • 83 Jared Mobarak
    Beba
    It’s a self-propelled therapy session laid bare to the world. And it’s 100 percent raw and real, whether natural or not.
    • 70 Metascore
    • 75 Jared Mobarak
    Hellbender
    While there’s always a humorous slant to proceedings (kudos to Shawn Wilson’s endearingly pure park ranger), that edge of danger is where it excels.
    • 73 Metascore
    • 58 Jared Mobarak
    The Rape of Recy Taylor
    Whatever issues I have with the final construction don’t alter the reality that Recy Taylor’s story must be told and seen.
    • 73 Metascore
    • 67 Jared Mobarak
    The Fight
    It takes us beyond the nuts and bolts we all heard while watching these battles unfold via the twenty-four news cycle and into the nuanced day-to-day struggles of the men and women working around the clock to curtail federal government overreach. This is the story of unrelenting, heroic lawyers.
    • 73 Metascore
    • 67 Jared Mobarak
    This Is Not a Movie
    Where Fisk follows a lead, uncovers details, and logically extrapolates what probably happened, cable news takes his hypothesis, makes it sacrosanct, and does more damage than good.
    • 73 Metascore
    • 75 Jared Mobarak
    Most Beautiful Island
    What makes Most Beautiful Island standout, however, is that it isn’t just about desperation.
    • 73 Metascore
    • 75 Jared Mobarak
    She Will
    Both Krige and Eberhardt deliver subtly quiet performances within this atmospherically fragmented pursuit of vengeance, ultimately transforming into agents of change.
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