Jordan Mintzer

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The Film Verdict, The Hollywood Reporter, Variety
For 459 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 1.4 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 The Pretenders
Score distribution:
  1. Positive: 279 out of 459
  2. Mixed: 163 out of 459
  3. Negative: 17 out of 459
459 movie reviews
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    • 57 Metascore
    • 80 Jordan Mintzer
    The Second Act
    The Second Act is probably his strongest film yet, and certainly the first that could stir up any controversy. Not only is the script cleverly written, but the cinematography, including four epically long tracking shots, and the editing, which times all the jokes perfectly, are well-mastered.
    • 84 Metascore
    • 90 Jordan Mintzer
    Chicken for Linda!
    If some of the jokes can be broad and childish (the film probably plays best for the 10-and-under set), the overall tone is so tender that you can’t help but be moved by Linda’s nonstop adventures.
    • 75 Metascore
    • 80 Jordan Mintzer
    Free Time
    What’s fascinating about Martin Brown’s keenly observed and amusing debut is the twist it offers on the famous Big Apple adage that, if you can make it there, you can make it anywhere.
    • 52 Metascore
    • 60 Jordan Mintzer
    Azrael
    Silence is both the film’s main asset and its principal limitation, creating moments of suspense but also leaving us in the dark, to the point that it feels more like a gimmick than anything substantial.
    • tbd Metascore
    • 80 Jordan Mintzer
    At Averroès & Rosa Parks
    By giving the patients considerable time and space to bare themselves before the camera, Philibert grants us access to the the darker sides of the human psyche, portraying mental illness with an innate sense of compassion and understanding.
    • 74 Metascore
    • 80 Jordan Mintzer
    As We Speak: Rap Music on Trial
    At a time when many question whether art should be separated from the artist — whether it’s the movies of Woody Allen or the songs of Michael Jackson — this revealing documentary shows how, when it comes to hip-hop, prosecutors across America have been conveniently refusing to distinguish one from the other.
    • 54 Metascore
    • 60 Jordan Mintzer
    The Empire
    Like his other recent films, this one isn’t easy to sit through, though it’s definitely original and, per custom, impeccably made. You can accuse Dumont of many things, including testing the viewer’s patience, but at least he hasn’t sold out yet and gone over to the dark side.
    • 52 Metascore
    • 60 Jordan Mintzer
    Black Tea
    Instead of taking us in, Black Tea gently pushes us away, even if the world depicted is certainly one worth exploring.
    • 39 Metascore
    • 70 Jordan Mintzer
    The Underdoggs
    Taking the inspirational sports movie template, then infusing it with so much weed and foul language that it deserves its own MPAA rating, The Underdoggs is a good example of what happens when Snoop Dogg steps into an otherwise familiar tween-age comedy to wreak havoc.
    • 78 Metascore
    • 80 Jordan Mintzer
    A Different Man
    The story’s twists and turns maintain our interest throughout, with the narrative taking on a cleverly deconstructed play-within-a-film format reminiscent, at times, of Charlie Kaufman’s Synecdoche, New York.
    • tbd Metascore
    • 60 Jordan Mintzer
    The Inner Cage
    This is still earnest, compassionate filmmaking that tries to cut past clichés and show how even the worst criminals have a heart — and, because this is Italy, how they can also cook up a solid batch of meatballs and marinara sauce.
    • 80 Metascore
    • 80 Jordan Mintzer
    Bad Press
    What ensues is a long battle that has all the trappings of a small-town political thriller: corrupt officials, refuted elections, reporters fighting for their rights at the risk of their own livelihoods… It’s a story we’ve seen before, but never in this kind of setting.
    • tbd Metascore
    • 60 Jordan Mintzer
    A Long Shot
    It’s a solid ending that helps compensate for the film’s somewhat opaque plotting and languid drama, despite sturdy performances from Feng and the rest of the cast.
    • 77 Metascore
    • 90 Jordan Mintzer
    Tatami
    Vibrantly helmed and performed, with co-director and Cannes best actress winner Zar Amir Ebrahimi (Holy Spider) playing one of the leads, the film is a win both behind and in front of the camera.
    • 66 Metascore
    • 60 Jordan Mintzer
    Story Ave
    The movie often toes the line between inner-city clichés and a vision that’s more stylish and unique, never quite landing on the proper balance between the two. But as a touching portrait of an outer-borough New Yorker whose talents are just waiting to be harnessed, it shows some true potential.
    • 91 Metascore
    • 80 Jordan Mintzer
    Menus Plaisirs - Les Troisgros
    The film is both a food lover’s dream and an aspiring chef’s guidebook, uncovering the sophisticated alchemy that makes such places not only run flawlessly, but serve up groundbreaking dishes that are also locally sourced.
    • 61 Metascore
    • 50 Jordan Mintzer
    The Universal Theory
    The result is more admirable than captivating, losing its way in old school hijinks (wacky professors, evil spies, a femme fatale) that grow outlandishly phantasmagorical as the plot thickens.
    • 64 Metascore
    • 60 Jordan Mintzer
    Adagio
    What it lacks, however, is a gripping and original plot, as well as enough dazzling set pieces to make all the late exposition worthwhile.
    • 45 Metascore
    • 70 Jordan Mintzer
    DogMan
    It’s a lot to handle and also a bit silly, but Besson often pulls it off — thanks in no small part to a commanding performance by the chameleon-like Caleb Landry Jones (Three Billboards Outside Ebbing, Missouri), who manages to be touching and slightly terrifying at the same time.
    • 80 Metascore
    • 70 Jordan Mintzer
    The Beast
    The film maintains a certain level of suspense as it leaps between various epochs, often without warning. But, like many of Bonello’s movies, it lacks forward momentum and a sharp edit, lumbering along as it reaches into a grab bag of thematic and aesthetic concepts.
    • 47 Metascore
    • 60 Jordan Mintzer
    AGGRO DR1FT
    It’s not really a movie at all, but more like a cross between a movie, a video game and a flow of hallucinatory images that could play in the background of a live show by rapper Travis Scott — who co-stars here as a gun-toting, philosophizing killer surrounded by a swarm of twerking booties.
    • tbd Metascore
    • 70 Jordan Mintzer
    Critical Zone
    It feels closer to Taxi Driver or the films of Gaspar Noé than to Kiarostami’s work, and yet Ahmadzadeh’s portrait of his country’s disaffected youth, especially during the current period of revolt, is just as socially vital.
    • 73 Metascore
    • 70 Jordan Mintzer
    Yannick
    The film, which is just over an hour long, dishes out some smart twists and a few good laughs, as well as a decent level of suspense. But like many of Dupieux’s movies, it’s also a strong concept in search of something more.
    • 43 Metascore
    • 50 Jordan Mintzer
    Comandante
    While De Angelis knows how to create visceral action and moments of intensity, he’s incapable of the slightest hint of subtlety.
    • 78 Metascore
    • 70 Jordan Mintzer
    birth/rebirth
    Moss tackles the idea from a more intimate and feminist perspective, questioning how far mothers are willing to go for their children, or simply to become mothers at all. If what happens in her movie seems altogether extreme, maybe it’s because the world we live in tends to push such women to extreme places.
    • 60 Metascore
    • 70 Jordan Mintzer
    Aporia
    Greer, Gathegi and Maadi are all on-point as regular people facing spatial-temporal realities the impact of which they fail to fully grasp until it may be too late. Sure, they’ve changed the world, but be careful what you wish for.
    • 85 Metascore
    • 90 Jordan Mintzer
    The Beasts
    From its very first minute, this searing drama of rural strife, xenophobia and cultural hostility is filled with almost unbearable tension.
    • 64 Metascore
    • 60 Jordan Mintzer
    Madeleine Collins
    Part of the attraction of Madeleine Collins is in seeing how far Barraud is willing take things until providing a reasonable explanation. It’s a tricky balancing act that’s one-third Hitchcockian intrigue and one-third Chabrolian study of broken bourgeois homes, with the final third bordering on kitsch.
    • 54 Metascore
    • 70 Jordan Mintzer
    Sympathy for the Devil
    Cage chews up every scene he’s in and seems to be having a blast — he’s always over-the-top and never boring to watch, in a film that delivers the goods for those who like him best when he’s just about lost his mind.
    • 36 Metascore
    • 40 Jordan Mintzer
    The Out-Laws
    There’s a good story at the heart of The Out-Laws about Parker coming to terms with her family’s long criminal history. But that’s more or less tossed aside in favor of all the nonstop gags, in a film that starts off like Meet the Parents and ends like a goofier The Expendables, some excessive violence included.
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