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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    • 78 Metascore
    • 75 Jared Mobarak
    Sugar Daddy
    McCormack and Morgan aren’t interested in sanitizing the messiness that goes into a woman accepting herself outside the men’s world she was born into. It’s why finding financing took years. It’s also why Sugar Daddy is so uniquely good too, though. They’ve put an honest, coarse, and authentic human being on-screen who’s breaking through the façade she didn’t even know she was helping to cultivate.
    • 50 Metascore
    • 67 Jared Mobarak
    Shoplifters of the World
    The result is imperfect (the acting can be uneven outside of Howard’s innate talent to demand the undivided attention of everyone on-screen and off), but its messaging and execution is a lot more resonant than I expected going in—a less successful sibling to Blinded By the Light.
    • tbd Metascore
    • 67 Jared Mobarak
    Underplayed
    By documenting the struggle, Underplayed preserves the artists’ voices and shames the gatekeepers so history can’t be retroactively rewritten without receipts.
    • 64 Metascore
    • 75 Jared Mobarak
    Nobody
    Odenkirk’s ability to juggle both sides of what it means to protect his loved ones does help alleviate a lot. Casting him at all in a role like this alleviates even more because it allows us to wrestle with preconceptions and enjoy the idea that you don’t have to be as big as Daniel Bernhardt’s “Bus Goon” to wreak havoc.
    • tbd Metascore
    • 75 Jared Mobarak
    Like a House on Fire
    Anxiety is high at the start of Jesse Noah Klein’s Like a House on Fire.
    • 58 Metascore
    • 83 Jared Mobarak
    Happily
    McHale and Bishé are the ones who carry things because only they (like us) are aware of the sinister goings on beneath their over-the-top lust and the increasingly transparent surrealist nightmare entrapping them. Their dynamic is simultaneously an impossible ideal and an authentic reality to aspire towards. Mankind’s unwitting heroes.
    • 97 Metascore
    • 91 Jared Mobarak
    Quo Vadis, Aida?
    Zbanic expertly wades through the scenario so that we aren’t taken for granted. Rather than show us what we know is happening, she includes foreshadowing, rumors, and expressions to put a chill in our spine instead. What’s more is her ability to weave in the reality that this fight concerns divisions on the lines of religion and race rather than pure geography.
    • 62 Metascore
    • 67 Jared Mobarak
    Still Life in Lodz
    The film is at its best when it lets Elbaum to dig further back into the canvas’ history and the connections born from it.
    • 67 Metascore
    • 75 Jared Mobarak
    Kid 90
    It’s almost as if Frye’s childhood was stolen to some extent by this whirlwind of sensory experiences, rebellion, and dual lives she’s only now able to unpack, interpret, and acknowledge with fresh eyes recontextualizing memory through truth.
    • 54 Metascore
    • 58 Jared Mobarak
    Boogie
    Luckily the familial and personal stuff has the strength to stick in our heads when the battle on the court fades because the work the actors put in is effective.
    • 56 Metascore
    • 67 Jared Mobarak
    Boss Level
    A violent lark playing fast and loose with its science fiction so Grillo can have a blast.
    • 83 Metascore
    • 91 Jared Mobarak
    Rose Plays Julie
    Get ready for a tense ride because writers/directors Christine Molloy and Joe Lawlor’s Rose Plays Julie never relinquishes its sense of brooding until the very last frame’s welcome exhale of relief.
    • 87 Metascore
    • 91 Jared Mobarak
    Hope
    Unconcerned with happy or sad endings (or endings at all beyond the desire for one to be shared and enjoyed to its fullest), [Sødahl] focuses instead on the unbridled emotions that swirl within us on the difficult journeys through tragedy. Nothing is out of bounds.
    • 74 Metascore
    • 75 Jared Mobarak
    Raya and the Last Dragon
    Let this tale be a stepping-stone then—a beautifully rendered and energetic one at that. Let it entertain while planting the seeds of acceptance and understanding so our children can build upon that foundation and be better than the insular generations that failed before them.
    • 58 Metascore
    • 83 Jared Mobarak
    The Obituary of Tunde Johnson
    It may use broad strokes at times, but it never loses its purpose to illuminate our double standards or naiveté towards them. Change really does start with something as simple as Tunde’s request to be heard.
    • 41 Metascore
    • 42 Jared Mobarak
    Silk Road
    At the end of the day this is a hollowly reductive account of what happened with a weird subtextual rich punk against blue collar cop agenda falling woefully flat.
    • 26 Metascore
    • 42 Jared Mobarak
    Blithe Spirit
    It’s absolutely exhausting.
    • 62 Metascore
    • 50 Jared Mobarak
    Flora & Ulysses
    That DiCamillo’s original was so funny, weird, and poignant should have been reason enough to hew closer to its brilliance instead of using it as a springboard towards something wholly different underneath its appropriated skin. I’d like to say those unfamiliar with the source will fare better, but the film’s homogenized narrative renders it inert regardless.
    • 82 Metascore
    • 75 Jared Mobarak
    Sator
    Everything has a purpose, from the deer whistle to a clearing of bleached white skulls, as modern medicine diagnoses that which our minds can safely process while our eyes warn us about how much worse things might be outside the realm of science.
    • 66 Metascore
    • 75 Jared Mobarak
    Cowboys
    Everyone on-screen holds fear in their hearts because they think the complexity of the situation is beyond their means. The question is whether they’re willing to try anyway.
    • 53 Metascore
    • 67 Jared Mobarak
    Show Me What You Got
    Cvetko isn’t therefore interested in mining what it means for these three to get together. That they join is inevitable. It’s what this relationship gives them that matters.
    • 31 Metascore
    • 58 Jared Mobarak
    The Reckoning
    You can’t deny its visual panache via immersive cinematography and production design. That it never embraces the supernatural element it teases is disappointing, but far from a dealbreaker.
    • 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.
    • 61 Metascore
    • 50 Jared Mobarak
    PVT Chat
    The stakes built from and acted upon Jack and Scarlet’s tenuous relationship are simply rendered empty once love seemingly erases their existence.
    • 46 Metascore
    • 58 Jared Mobarak
    Earwig and the Witch
    It will entertain kids and adults alike with humor and magic before it fades away later that day.
    • 73 Metascore
    • 91 Jared Mobarak
    The Dig
    With superb performances (Fiennes, Mulligan, James, and Flynn shine), gorgeous cinematography, lyrical editing, and a complementary score, the film proves a melancholic wonder that isn’t easily forgotten.
    • 68 Metascore
    • 67 Jared Mobarak
    The Night
    As a journey inward into the roiling waves of memory and regret, Ahari fulfills his promise with an unapologetic air of penance and disgrace. That its success happens despite his exploitation of Neda as a character and woman doesn’t, however, negate that egregious misstep. And the latter being highly triggering unfortunately renders any blind recommendation of the former a reckless proposition.
    • 54 Metascore
    • 67 Jared Mobarak
    The Little Things
    The case here is secondary to the lengths its protagonists will go to solve it. It’s about the paranoia that builds when a lead seems good and the demons that take control of our actions once the system proves ill-equipped to dole out the justice we “know” to be deserved.
    • 67 Metascore
    • 58 Jared Mobarak
    PG: Psycho Goreman
    By never attempting to give anyone on-screen a path towards redemption, Kostanski keeps things entertaining.
    • 59 Metascore
    • 75 Jared Mobarak
    1982
    These kids might not have a full grasp on the situation that’s unfolding, but they definitely understand how precarious things have become in order to exit their shells. They awaken their desires while the adults gradually shutdown, knowing that nothing will ever be the same again.
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