Jeannette Catsoulis

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NPR, The New York Times
For 1,835 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 7.4 points lower than other critics. (0-100 point scale)

Jeannette Catsoulis' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 10 Cloverfield Lane
Lowest review score: 0 The Tiger and the Snow
Score distribution:
  1. Positive: 801 out of 1835
  2. Mixed: 718 out of 1835
  3. Negative: 316 out of 1835
1835 movie reviews
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    • 55 Metascore
    • 40 Jeannette Catsoulis
    The Boogeyman
    The Boogeyman, extrapolated from a minor 1970s short story by Stephen King, might conceivably make sense to viewers with no access to proper lighting or functioning windows. For the rest of us, though, this near-indecipherable movie — as murky in plot and payoff as in setting — demands such a total suspension of rationality that its few scary moments struggle to land.
    • tbd Metascore
    • 70 Jeannette Catsoulis
    The Attachment Diaries
    A trashy treat coated in a high-art gloss, The Attachment Diaries gleefully kneads melodrama, noir, horror and sexual perversion into a pathological romance between two deeply damaged women.
    • 51 Metascore
    • 50 Jeannette Catsoulis
    The Wrath of Becky
    The subsequent slaughters are inventive, the pacing lively and the cat-and-mouse structure entertaining; but the rodents themselves are — aside from their suave leader, played by Seann William Scott — such misogynistic morons that Becky’s predominance is never in doubt.
    • 67 Metascore
    • 80 Jeannette Catsoulis
    Sanctuary
    The writing (by Micah Bloomberg, a creator of the 2018-20 TV series “Homecoming”) is so sharp, the acting so agile and the cinematography (by Ludovica Isidori) so inventive that what could have been a stuffy experiment in lockdown filmmaking is instead a vividly involving battle of wills.
    • 78 Metascore
    • 90 Jeannette Catsoulis
    BlackBerry
    A wonky workplace comedy that slowly shades into tragedy.
    • 59 Metascore
    • 60 Jeannette Catsoulis
    What's Love Got to Do with It?
    A glossy lesson in how to pour nontraditional content into a traditional rom-com mold, Shekhar Kapur’s What’s Love Got to Do With It? shapes competing notions of happily-ever-after into comfort food.
    • 42 Metascore
    • 20 Jeannette Catsoulis
    Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    Paint
    Written and directed by Brit McAdams, Paint is a comedically inert parody of male privilege that’s all sight gags and very little substance.
    • 61 Metascore
    • 90 Jeannette Catsoulis
    Tetris
    Like its namesake, Jon S. Baird’s Tetris is clever, crafty and shockingly entertaining.
    • 78 Metascore
    • 90 Jeannette Catsoulis
    Enys Men
    At times, Jenkin’s bold, experimental style can perplex; but his vision is so unwavering and beholden to local history that his message is clear: On Enys Men, the earth remembers what the sea has taken.
    • 64 Metascore
    • 80 Jeannette Catsoulis
    The Lost King
    Though raising serious questions about the way history is written, and by whom, The Lost King isn’t a polemic, or even a biopic. It’s a quietly droll detective story, a warm portrait of a woman who lost her health and found her purpose, exhuming her self-respect along with Richard’s bones.
    • 58 Metascore
    • 30 Jeannette Catsoulis
    Boston Strangler
    Washed in an unappetizing sludge of grayish green, the movie aims for serious and settles on bilious. The real McLaughlin was a fascinating, pioneering newshound; you’re unlikely to find her here.
    • 53 Metascore
    • 40 Jeannette Catsoulis
    Luther: The Fallen Sun
    Lacking dialogue to deepen the characters or reinforce their motivations, Luther: The Fallen Sun whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac
    • 42 Metascore
    • 30 Jeannette Catsoulis
    A Little White Lie
    Hobbled by a lack of visual oomph or verbal sparkle, A Little White Lie pokes feebly at impostor syndrome and writerly insecurity.
    • 80 Metascore
    • 90 Jeannette Catsoulis
    Linoleum
    Just when we’re wondering where all this is going, West executes a final act as devilish as it is emotionally potent.
    • 70 Metascore
    • 70 Jeannette Catsoulis
    Jethica
    At once dryly funny and surprisingly poignant, Jethica uses the paranormal as a metaphor for abusive male behavior. The film’s deadpan perspective and unhurried pacing can diffuse its surprises, but Ohs has an offbeat style that’s fresh and fun.
    • tbd Metascore
    • 70 Jeannette Catsoulis
    They Wait in the Dark
    More tingly than terrifying (and more than a smidge off-the-wall), “Dark” has a cheeky boldness. Rea, a prolific independent filmmaker, deploys the gore judiciously and his actors are above reproach.
    • 66 Metascore
    • 70 Jeannette Catsoulis
    The Civil Dead
    Gently discursive and virtually plotless, The Civil Dead is a walking-and-talking movie that finds uncommon humor in Whit’s need to be seen and Clay’s extreme discomfort with that responsibility.
    • 72 Metascore
    • 80 Jeannette Catsoulis
    The Outwaters
    The Outwaters conjures a swoony, dreamlike atmosphere that heightens the shocks to come.
    • 72 Metascore
    • 90 Jeannette Catsoulis
    Infinity Pool
    Surreal, sophisticated and sometimes sickening, Infinity Pool suggests that while the elder Cronenberg might be fixated on the disintegration of our bodies, his son is more concerned with the destruction of our souls.
    • 61 Metascore
    • 50 Jeannette Catsoulis
    When You Finish Saving the World
    Eisenberg has already proven himself a smart wordsmith and a knowing performer of emotional unease, but this “World” is a disappointingly shallow tale of narcissism and negligence.
    • 66 Metascore
    • 90 Jeannette Catsoulis
    Skinamarink
    Ingeniously evoking a child’s response to the inexplicable, Skinamarink sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget
    • 48 Metascore
    • 40 Jeannette Catsoulis
    Joyride
    Joyride, a grievously schematic blend of odd-couple comedy and life-affirming road movie, traverses the Irish countryside with a small degree of charm and a boatload of blarney.
    • 56 Metascore
    • 50 Jeannette Catsoulis
    The Pale Blue Eye
    Continuing his fascination with tormented manhood, Cooper, in this third collaboration with Bale after “Out of the Furnace” (2013) and “Hostiles” (2017), works with a solemnity that stifles the fun.
    • 46 Metascore
    • 30 Jeannette Catsoulis
    The Apology
    A play-like trudge through seesawing power dynamics, bursts of violence, perpetual gloom and a ludicrously attenuated finale, The Apology could have doubled its tension by halving its running time.
    • 73 Metascore
    • 60 Jeannette Catsoulis
    Leonor Will Never Die
    The effect is by turns comical, maddening and endearing as Escobar reaches for more ambitious ideas about the political appeal of the authoritarian hero; but “Leonor” is finally too mired in its film-within-the-film frolics for more serious themes to gain traction.
    • 71 Metascore
    • 80 Jeannette Catsoulis
    The Menu
    In service to a gleefully malicious tone, Mark Mylod’s direction is cool, tight and clipped, the actors slotting neatly into characters so unsympathetic we become willing accessories to their suffering.
    • 76 Metascore
    • 80 Jeannette Catsoulis
    Incredible But True
    Coming in at a tight and talky 74 minutes, Incredible but True is a sweetly absurd time-travel comedy that coats its lunacy in a touching poignancy.
    • 76 Metascore
    • 70 Jeannette Catsoulis
    Something in the Dirt
    Overlong and overwritten, “Dirt” nevertheless unfolds with an enjoyably comic quirkiness, a tale of two doofuses who sought meaning in symbols and found comfort in friendship.
    • 41 Metascore
    • 30 Jeannette Catsoulis
    The Lair
    Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback to his two best films, “Dog Soldiers” (2002) and “The Descent” (2006).
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