Jordan Mintzer

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The Film Verdict, The Hollywood Reporter, Variety
For 467 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Jordan Mintzer's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Club
Lowest review score: 20 Colonia
Score distribution:
  1. Positive: 285 out of 467
  2. Mixed: 165 out of 467
  3. Negative: 17 out of 467
467 movie reviews
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    • 84 Metascore
    • 80 Jordan Mintzer
    Universal Language
    Rankin seems to be seeking out the universal language of cinema itself. In his own very weird way he manages to find it, turning an everyday place into something momentarily special — which is what all good movies are meant to do.
    • 80 Metascore
    • 70 Jordan Mintzer
    Mad Bills to Pay (or Destiny, dile que no soy malo)
    This very Bronx tale of teenage pregnancy and inner-city strife can seem familiar in terms of content, but never in terms of form.
    • 72 Metascore
    • 70 Jordan Mintzer
    Zodiac Killer Project
    It’s a tough balancing act that the director, whose previous works dissected teen movies (Beyond Clueless) and horror flicks (Fear Itself), pulls off with a mix of earnestness and cheekiness.
    • 81 Metascore
    • 60 Jordan Mintzer
    The Things You Kill
    The drama does eventually come full circle, but it’s gone so far off the rails by that point that it’s hard to bring us back.
    • 71 Metascore
    • 80 Jordan Mintzer
    Lake George
    Do stars Shea Whigham and Carrie Coon manage to make the material feel both fresh and engaging? Yes.
    • 23 Metascore
    • 30 Jordan Mintzer
    Krazy House
    To their credit, the directors aren’t afraid to take things way too far — which could be considered a quality in and of itself, but not one that’s sustainable for nearly 90 minutes of action.
    • 78 Metascore
    • 70 Jordan Mintzer
    It's Not Me
    The auteur seems to be squeezing everything he can into a personal manifesto in which cinema, history and real life become interchangeable, and in which he tries to situate his output within film’s larger trajectory.
    • 63 Metascore
    • 50 Jordan Mintzer
    Bring Them Down
    This violent first feature is carried more by leads Christopher Abbott and Barry Keoghan than by its dour storytelling.
    • 36 Metascore
    • 50 Jordan Mintzer
    Baby Invasion
    Is it all poetry or just a put-on? Again, Baby Invasion is a bit of both, and viewers are likely to either vibe out or tune out.
    • 82 Metascore
    • 90 Jordan Mintzer
    Apocalypse in the Tropics
    What makes Tropics so riveting is the way Costa constantly shifts between the epic and the intimate, the macro and the micro.
    • 76 Metascore
    • 70 Jordan Mintzer
    Pavements
    [Perry's] approach is one of a consummate enthusiast and completist, and he does manage to convey that dedicated fan energy on screen. But he doesn’t necessarily make it feel contagious enough.
    • 60 Metascore
    • 70 Jordan Mintzer
    Wolfs
    Both fun and thin at the same time, it’s not about much in the end except the idea of reuniting Pitt and Clooney to see if they still have their magic, which they mostly do.
    • 76 Metascore
    • 90 Jordan Mintzer
    September 5
    September 5 doesn’t skimp on any of the technological details — we also learn that Jennings reported events over a telephone, with the receiving end rigged to a studio mic — but Felhbaum steps back often enough to help viewers see the bigger picture at play.
    • 76 Metascore
    • 70 Jordan Mintzer
    Cloud
    Is any of this believable? Not really. Is some of it plain silly? Definitely. But it’s mostly enjoyable to watch, even if the film flies so far off the rails that there’s less suspense here than in the director’s stronger works.
    • 75 Metascore
    • 90 Jordan Mintzer
    The Order
    The Order is the kind of tense reflection on American violence that Hollywood rarely puts on the big screen anymore.
    • 52 Metascore
    • 60 Jordan Mintzer
    Slingshot
    The result feels more like a B-grade thriller that’s been elevated by a good cast and a script with some clever moves.
    • 80 Metascore
    • 80 Jordan Mintzer
    Drowning Dry
    Part of the appeal of Lithuanian director Laurynas Bareisa’s subtly powerful second feature, Drowning Dry (Seses), is that you never know if what you’re watching is taking place in the present, past or future.
    • tbd Metascore
    • 60 Jordan Mintzer
    Mexico 86
    If anything, Diaz succeeds in conveying how fatal the conflict in his homeland truly was, making its way into foreign lands and tearing loving families apart.
    • 60 Metascore
    • 50 Jordan Mintzer
    The Killer
    If his new movie feels 25 years too late, it’s also a reminder of what made the original so special in its day. Those who manage to discover The Killer through this serviceable remake would be better off revisiting the one that started it all.
    • 43 Metascore
    • 60 Jordan Mintzer
    The Beast Within
    The first rule of a good werewolf flick, or any horror flick for that matter, is to keep the audience on the edge of their seats, whereas Farrell mostly keeps us guessing.
    • 70 Metascore
    • 70 Jordan Mintzer
    Only the River Flows
    Like the investigation itself, the meaning of Only the River Flows gradually finds its focus as the story progresses, leaving the viewer staring into the same abyss the detective does — an abyss that, as in any respectable film noir, stares back at him.
    • 67 Metascore
    • 50 Jordan Mintzer
    Meanwhile on Earth
    If the film teeters unsteadily between sci-fi and psychology, it nonetheless confirms Clapin’s visual talents, which are backed by a dreamy score from Dan Levy, who also scored I Lost My Body. In its best moments, Meanwhile on Earth takes us beyond our desolate everyday lives to a place we can indeed dream of — and also witness on screen.
    • 75 Metascore
    • 60 Jordan Mintzer
    The Count of Monte Cristo
    The Count of Monte Cristo is the kind of movie where, after 180 minutes and many, many more plot points, you walk out of the theater without having felt the time pass. That’s a good thing if you’re looking for a fairly entertaining, swords-and-puffy-shirts revenge tale — and Dumas’ novel is probably the mother of all revenge tales.
    • 58 Metascore
    • 60 Jordan Mintzer
    Hounds
    There are moments when the film uneasily skirts the line between genre conventions and documentary realism, but the portrait it paints of Casablanca’s underbelly remains credible and bleak.
    • tbd Metascore
    • 80 Jordan Mintzer
    Hacking Hate
    Working without much in terms of visuals but talking heads and screens, Klose manages to make his film feel both suspenseful and informative.
    • 83 Metascore
    • 90 Jordan Mintzer
    The Kingdom
    Directed with razor-sharp, naturalistic precision and set over one sweltering Corsican summer, amid stunning Mediterranean vistas that provide a backdrop to all the bloody vendettas, The Kingdom marks the arrival of a bold new talent who’s able to spin a gripping crime thriller while channeling real emotion on screen.
    • 74 Metascore
    • 60 Jordan Mintzer
    Sweet Dreams
    The results aren’t always convincing, with the film’s mannered acting and heightened aesthetics keeping the viewer at arm’s length from any real emotion. But the director also displays a fine sense of craft and a deep understanding of the skewed European attitudes of the period.
    • 84 Metascore
    • 80 Jordan Mintzer
    To a Land Unknown
    A sober and sincere refugee story.
    • 78 Metascore
    • 80 Jordan Mintzer
    Black Dog
    At its heart, the film is really a classic story of redemption, taking lots of unexpected turns as it follows a down-and-out hero toward recovery.
    • 83 Metascore
    • 70 Jordan Mintzer
    Misericordia
    The two movies don’t always crystallize into one, and if you’re looking for a credible crime thriller in which everyone behaves logically, Misericordia may not be for you. If, on the other hand, you’re looking for an exploration of repressed sexual desire and religious hypocrisy in backwoods France, Guiraudie’s strange and sober new film does the trick.
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