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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    • 65 Metascore
    • 80 Jeannette Catsoulis
    Last Night in Soho
    Nothing in Wright’s previous work quite prepared me for Last Night in Soho, its easy seductiveness and spikes of sophistication. Dissolving the border between present and past, fact and fantasy, the director (aided by the euphoric talents of the cinematographer Chung-hoon Chung) has produced some of the most dazzling imagery of his career.
    • 42 Metascore
    • 40 Jeannette Catsoulis
    Night Teeth
    A strangely listless vampire tale that unspools with some style and precious little sense.
    • 42 Metascore
    • 20 Jeannette Catsoulis
    Halloween Kills
    An indolent, narratively impoverished mess that substitutes corpses for characters and slogans for dialogue.
    • 68 Metascore
    • 80 Jeannette Catsoulis
    Lamb
    Slow-moving and inarguably nutty, Lamb nevertheless wields its atavistic power with the straightest of faces, helped in no small measure by an Oscar-worthy cast of farm animals.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    There's Someone Inside Your House
    In trying to have it both ways, Brice has created a messy, overstuffed parody of moral policing that squanders the promise of its cleverly executed opening.
    • 55 Metascore
    • 60 Jeannette Catsoulis
    Bingo Hell
    Despite the generally humorous vibe, Bingo Hell quietly accumulates an unignorable pathos.
    • 53 Metascore
    • 70 Jeannette Catsoulis
    Black as Night
    The special effects are fine, if unremarkable, but the actors are into it and the script manages to be thoughtful without dampening the fun.
    • 63 Metascore
    • 80 Jeannette Catsoulis
    The Guilty
    Essentially a one-man show, The Guilty necessarily vibrates to the rhythms of its lead.
    • 57 Metascore
    • 50 Jeannette Catsoulis
    Birds of Paradise
    Structured around a countdown to the ultimate prize, the story is a soapy slog of sabotage and betrayal. Sex and drugs are as prevalent as pliés, the absence of a likable character as irksome as the constant conniving.
    • 39 Metascore
    • 10 Jeannette Catsoulis
    Dear Evan Hansen
    Treacly and manipulative, Dear Evan Hansen turns villain into victim and grief into an exploitable vulnerability. It made me cringe.
    • 78 Metascore
    • 90 Jeannette Catsoulis
    I'm Your Man
    Edging now and then into the surreal, this unusual and tender little movie gingerly interrogates the gulf between digital and biological wiring.
    • 58 Metascore
    • 70 Jeannette Catsoulis
    Blue Bayou
    Beautifully relaxed family scenes help us forgive the ponderous direction.
    • 53 Metascore
    • 50 Jeannette Catsoulis
    Prisoners of the Ghostland
    Sono’s visuals, sizzlingly realized by the cinematographer Sohei Tanikawa, lack neither brio nor imagination. But the ludicrousness of the plot severs any emotional connection to a story whose apocalyptic stylings (the Ghostland of the title is a nuclear wasteland) gesture toward Japan and America’s painful history.
    • 51 Metascore
    • 60 Jeannette Catsoulis
    Malignant
    None of this is especially scary, but, if you’re patient, Wan delivers the kind of hilariously sick climax that only a sadist would spoil. Or envisage.
    • 45 Metascore
    • 30 Jeannette Catsoulis
    Queenpins
    Queenpins might have been a snappy little comedy had it lost 20 minutes and found a point beyond glorifying grand larceny. Erasing the lead character’s smug-perky narration wouldn’t have hurt, either.
    • 56 Metascore
    • 80 Jeannette Catsoulis
    Mosquito State
    Borne along on the whine of insects and a lead performance of surpassing strangeness, “Mosquito State” is a disquieting merger of body horror and social commentary.
    • 59 Metascore
    • 40 Jeannette Catsoulis
    Together
    That it’s bearable at all is entirely because of the superlative acting skills of James McAvoy and Sharon Horgan as an unnamed couple forced to endure an extended London lockdown.
    • 55 Metascore
    • 40 Jeannette Catsoulis
    Lily Topples the World
    No arguments, frustrations or consequential disappointments mar the film’s unvaryingly upbeat tone. This leaves us with a movie that feels more like a marketing tool for her self-designed brand of dominoes than a nuanced portrait of an unusual talent.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    The Protégé
    Kudos to Q, though, for a performance anchored in classy disdain for the baloney around her.
    • 53 Metascore
    • 50 Jeannette Catsoulis
    Flag Day
    Penn gives him a vivid, wheedling desperation that’s weirdly moving, and the younger Penn has clearly inherited the emotional expressiveness of her mother, Robin Wright. Maybe that’s why Flag Day feels as much a love letter from Penn to his own daughter as the story of someone else’s.
    • 68 Metascore
    • 80 Jeannette Catsoulis
    The Night House
    As the screenplay teases natural explanations for these sinister goings-on — Extreme grief? Nightmares? Mental illness? — Bruckner maintains a death grip on the film’s mood while his cinematographer, Elisha Christian, turns the home’s reflective surfaces into shape-shifting puzzle pieces.
    • tbd Metascore
    • 70 Jeannette Catsoulis
    Usedom: A Clear View of the Sea
    Shaping personal and geographical history into sun-drenched dollops, the director Heinz Brinkmann fashions a charmingly quirky guide to his island home.
    • 71 Metascore
    • 70 Jeannette Catsoulis
    Ema
    Whether a melodramatic comment on art and anarchy, or a wild experiment in toxic maternalism, the film feels like a fever that just won’t break.
    • 72 Metascore
    • 70 Jeannette Catsoulis
    CODA
    The template of CODA — the title is also a term used to describe the hearing children of deaf adults — might be wearyingly familiar, but this warmhearted drama from Sian Heder opens up space for concerns that feel fresh.
    • tbd Metascore
    • 80 Jeannette Catsoulis
    The Last Matinee
    Tipping his hat to the Italian thriller genre known as giallo, Contenti (who wrote the unfussy script with Manuel Facal) sets up a string of witty, highly specific slayings of audience members unaware they’re both voyeurs and prey.
    • 61 Metascore
    • 60 Jeannette Catsoulis
    John and the Hole
    Chilly, enigmatic and more than a little spooky, John and the Hole patrols the porous border between child and adult with more style than depth.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Naked Singularity
    This convoluted clash of competing interests, though, is so poorly explained it’s as arduous to untangle as it is to enjoy.
    • 48 Metascore
    • 60 Jeannette Catsoulis
    The Last Mercenary
    The fight scenes have wit and Van Damme delivers his lines with just the right amount of weary good humor.
    • 50 Metascore
    • 40 Jeannette Catsoulis
    Jungle Cruise
    Jungle Cruise is less directed than whipped to a stiff peak before collapsing into a soggy mess.
    • 82 Metascore
    • 90 Jeannette Catsoulis
    Pig
    Pig, Michael Sarnoski’s stunningly controlled first feature, is a mournful fable of loss and withdrawal, art and ambition.
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