Jessica Winter

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Village Voice
For 266 reviews, this critic has graded:
  • 25% higher than the average critic
  • 0% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 17.1 points lower than other critics. (0-100 point scale)

Jessica Winter's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 90 Sweet Sixteen
Lowest review score: 0 Hide and Seek
Score distribution:
  1. Positive: 65 out of 266
  2. Mixed: 129 out of 266
  3. Negative: 72 out of 266
266 movie reviews
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    • 42 Metascore
    • 30 Jessica Winter
    Bicentennial Man
    Amid the complacent self-congratulation...is a bizarre reactionary bent.
    • 51 Metascore
    • 30 Jessica Winter
    Johnny English
    Smug with timely zingers like "The only thing the French should be allowed to host is an invasion," the movie's recommended strictly for Bush advisers.
    • 75 Metascore
    • 30 Jessica Winter
    About a Boy
    Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
    • 48 Metascore
    • 30 Jessica Winter
    Hit and Runway
    A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
    • 29 Metascore
    • 30 Jessica Winter
    How High
    Too lazy to be a comedy, too conventional to be a head movie.
    • 67 Metascore
    • 30 Jessica Winter
    Hamlet
    An aura of dust and mothballs evidently leaves a capable cast feeling woozy.
    • 32 Metascore
    • 30 Jessica Winter
    Crime and Punishment in Suburbia
    Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
    • 31 Metascore
    • 30 Jessica Winter
    Some Fish Can Fly
    Some dogs can bark.
    • 22 Metascore
    • 30 Jessica Winter
    Mr. Smith Gets a Hustler
    The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
    • 63 Metascore
    • 30 Jessica Winter
    Dear Frankie
    Somehow the U.K. film industry can always scrounge enough loose change from the cushions to foot the bill for a pre-chewed lump of sickly saltwater taffy like the mawkish Scottish-seaside postcard Dear Frankie.
    • 48 Metascore
    • 30 Jessica Winter
    Final
    A story that splits at the seams with plot holes and bloat.
    • 37 Metascore
    • 30 Jessica Winter
    Domino
    The script, allegedly by "Donnie Darko's" Richard Kelly, throws together tangentially related plots like cats in a sack.
    • 71 Metascore
    • 30 Jessica Winter
    Rain
    The visual subtleties don't come to bear on the storytelling, unfortunately -- the dialogue is cumbersome, the simpering soundtrack and editing more so.
    • 54 Metascore
    • 30 Jessica Winter
    Standing by Yourself
    A crystalline curio of dumbshit nihilism shot through with fleeting pathos, Koury's home movie often evokes "The Decline of Western Civilization Part III."
    • 53 Metascore
    • 30 Jessica Winter
    Bandits
    A confusingly edited music-video hodgepodge.
    • 49 Metascore
    • 30 Jessica Winter
    Sidewalks of New York
    Achieves inadvertent pathos via its own obscene irrelevance.
    • 66 Metascore
    • 30 Jessica Winter
    Me You Them
    Me You Them can't find a rhythm or a consistent tone.
    • 48 Metascore
    • 30 Jessica Winter
    Writer of O
    Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
    • 75 Metascore
    • 30 Jessica Winter
    Man on the Train
    Collapses in a heap of affirmational outbursts and metaphysical goop. The fond chemistry between the leads deserves a better movie.
    • 41 Metascore
    • 30 Jessica Winter
    Spun
    The traumatized critic must struggle to avoid capital letters in urging patrons to steer clear of the colorfully cast but unbearable Spun.
    • 30 Metascore
    • 30 Jessica Winter
    The Replacements
    Lame even by triumph-of-the-underdog sports-comedy standards.
    • 47 Metascore
    • 30 Jessica Winter
    Heartbreakers
    Heartbreakers gives redemption a bad name, but gives conniving misanthropy a worse one.
    • 58 Metascore
    • 30 Jessica Winter
    Solomon & Gaenor
    Paul Morrison's relentlessly unsurprising staging of a "Romeo and Juliet" story fetishizes its accelerating tragedies with morbid solemnity.
    • 44 Metascore
    • 30 Jessica Winter
    In My Country
    Boorman's bathetic tourism is unconscionable for a subject of this magnitude; for an infinitely superior account of this chapter of South African history, seek out the documentary "Long Night's Journey Into Day."
    • 50 Metascore
    • 30 Jessica Winter
    The Brothers
    An epidemic of solipsism breaks out among four lifelong African American friends when one of them announces his impending nuptials. Cringe-inducing slapstick jockeys for screen time with undermotivated high-volume confrontation.
    • 47 Metascore
    • 30 Jessica Winter
    The Skeleton Key
    Creaky in its mechanics and numbingly protracted, this is basement B horror that fancies itself a prestige chiller.
    • 27 Metascore
    • 30 Jessica Winter
    Taxi
    Throughout this Americanization of the Luc Besson–scripted French hit, Latifah itches to check her watch, Fallon appears mortified, and only Ann-Margret mainlines any comic adrenalin.
    • 45 Metascore
    • 30 Jessica Winter
    Close Your Eyes
    Willing's confused procedural -- derived from a novel by Madison Smartt Bell -- is a hasty throwback to the sado-medieval Exorcist descendants of the turn of the millennium (Stigmata, Stir of Echoes, Lost Souls). The somnolent cast can't keep the faith.
    • 63 Metascore
    • 30 Jessica Winter
    He Loves Me... He Loves Me Not
    Baggy and overbroad, He Loves Me is notable only as a corrective to cinema's promiscuity with fabulous destinies.
    • 33 Metascore
    • 30 Jessica Winter
    Dear Wendy
    Especially in the climactic, clumsily staged gunfight, the prevailing mode is wide-eyed idiocy--which might be the point, since von Trier's satirical target is the hypocrisy of (news flash!) America's eagerness to enforce stability and security with all guns blazing.
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