Leslie Felperin

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The Guardian, The Hollywood Reporter, Variety
For 845 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Leslie Felperin's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Toni Erdmann
Lowest review score: 10 Hector and the Search for Happiness
Score distribution:
  1. Positive: 377 out of 845
  2. Mixed: 440 out of 845
  3. Negative: 28 out of 845
845 movie reviews
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    • tbd Metascore
    • 60 Leslie Felperin
    The Last Spy
    Still fully in possession of every marble at the ripe old age of 100, Sichel reflects to camera on his middle-of-the-action view of events during the cold war, and a little tea gets spilled along the way, but not so much that he’s likely to get in any trouble for revealing state secrets. Still, he’s unabashedly critical of some CIA operations, such as the plots to destabilise leftist regimes including that of Jacobo Árbenz in Guatemala.
    • tbd Metascore
    • 40 Leslie Felperin
    Neglected
    For all its cack-handedness, there’s some effort here to grapple with issues around institutional and personal guilt and the wrongs done to young people that might turn them into smirking, giggling serial killers … or mass murderers, depending on how you define the term.
    • tbd Metascore
    • 60 Leslie Felperin
    Blades of the Guardians
    Blades of the Guardians offers a duly impressive spectacle, chock-full of epic set-pieces that lean more on physical effects than CGI, and of course lashings of exquisitely choreographed fight scenes mostly using – as the title suggests – swords.
    • tbd Metascore
    • 60 Leslie Felperin
    The Cure
    It’s hard to outline what makes this work interesting without spoiling it, but let’s just say that as a satire it has helicopter parenting, sinister medical innovation to extend lifespan, and our obsession with youth and beauty in its sights. It’s a shame the final chapters don’t quite coalesce these fertile themes in more satisfactory fashion, and the film just ties everything up with some cursory violence.
    • tbd Metascore
    • 60 Leslie Felperin
    Ghost Killer
    Sonomura was the action director for three Baby Assassins features, which might explain that this, his third gig as a main director, feels more weighted towards scenes that showcase fisticuffs and fancy fight choreography rather than character development and emotional nuance.
    • 72 Metascore
    • 60 Leslie Felperin
    Arco
    For a film about the inevitable eradication of most life on Earth, Arco isn’t as depressing as you might expect, as it finds a tiny thread of optimism to hold on to.
    • 46 Metascore
    • 40 Leslie Felperin
    Dolly
    It’s a bit of a snooze, but Therese is very good at channelling terror and distress.
    • tbd Metascore
    • 60 Leslie Felperin
    Crazy Old Lady
    It’s not a deep work, but it’s relentlessly fun if you’re not squeamish, or indeed sentimental about animals getting killed in the opening minutes.
    • 68 Metascore
    • 60 Leslie Felperin
    The Day the Earth Blew Up: A Looney Tunes Movie
    It never provokes full-on out loud laughs, but there are wry chuckles to be had and the ferocity of the execution is pretty fun.
    • 50 Metascore
    • 40 Leslie Felperin
    Shelter
    Honestly, there isn’t a single step in Shelter’s plot that isn’t entirely predictable, but to the film’s credit the fight choreography is solid (Waugh was a stuntman himself once) and young Breathnach proves, after her turn as Susanna Shakespeare in Hamnet, that she is a find with a future.
    • 50 Metascore
    • 40 Leslie Felperin
    Witchboard
    Much less convincing are the shots involving a malevolent maine coon that attacks a drug dealer and turns into a blur of fake cat and visual effects. But the moment is so gloriously cheesy and ridiculous that on its own it almost makes this something worth paying for.
    • 67 Metascore
    • 60 Leslie Felperin
    The Wrecking Crew
    The whole package is an easily digested guilty pleasure.
    • 70 Metascore
    • 60 Leslie Felperin
    I Swear
    Davidson’s essential likability shines through, thanks in part to Aramayo’s endearing, guileless performance and in part to writer-director Kirk Jones’ machine-tooled script, clearly fact-checked and vetted by the film’s exec producer, the actual John Davidson himself.
    • 70 Metascore
    • 60 Leslie Felperin
    Mother of Flies
    Overall, this is better and glossier than some of the Adams-Poser posse’s earlier efforts, but perhaps not quite enough of an evolution to take their vision to the next level.
    • 64 Metascore
    • 60 Leslie Felperin
    I'm Chevy Chase and You're Not
    Best of all, Zenovich and her editor, splicing and dicing 50 years of archive material, get across Chase’s abundant talent at its best, particularly his masterly command of the pratfall, and his immaculate comic timing.
    • 59 Metascore
    • 40 Leslie Felperin
    Europe's New Faces
    The lack of story, structure, or any clear editorial principle is a serious impediment to empathy for these poor, struggling people; the 159-minute runtime feels like four years.
    • 64 Metascore
    • 60 Leslie Felperin
    A Desert
    Director Joshua Erkman’s feature debut manages to deliver an impressively creepy horror exercise that’s also a bit of a send-up of horror conventions.
    • tbd Metascore
    • 40 Leslie Felperin
    3 Wishes for Christmas
    One could list all the film’s shortcomings, but that would be like pulling wings off a fairly harmless moth.
    • 54 Metascore
    • 60 Leslie Felperin
    Adulthood
    The package has a nasty little swagger that makes it a nice counterpoint to all the holiday cheer coming our way.
    • tbd Metascore
    • 60 Leslie Felperin
    In Waves and War
    More persuasive is the testimony from the half dozen men we meet, who bravely discuss their pain and distress while the cameras roll.
    • tbd Metascore
    • 40 Leslie Felperin
    Culpa Nuestra (Our Fault)
    A syrupy stream of EDM-style pop in assorted languages fills in the spaces where people aren’t talking, but ultimately it’s all too bland and banal to even be offensive or annoying.
    • tbd Metascore
    • 60 Leslie Felperin
    Kerouac's Road: The Beat of a Nation.
    The film is at its best when it homes in on the literary criticism – bringing in articulate readers of the text such as novelist Jay McInerney, who details the effort that went into making it look thrown together in a matter of weeks.
    • 68 Metascore
    • 60 Leslie Felperin
    Strange Journey: The Story of Rocky Horror
    Through it all we see Richard O’Brien himself, sometimes jamming on a guitar and dropping crisp bon mots, right up to the end when he gets just a little bit weepy thinking about it all. Adorable.
    • 48 Metascore
    • 60 Leslie Felperin
    Riff Raff
    The cast’s enthusiasm, especially that of Coolidge and Murray who are willing to play the most loathsome of people, makes up for a lot.
    • 61 Metascore
    • 60 Leslie Felperin
    Americana
    It doesn’t quite lasso the bronco, but the ambitions of writer-director Tony Tost’s yarn are ambitious and interesting, and he has at least assembled a cracking cast to tell it.
    • 64 Metascore
    • 50 Leslie Felperin
    100 Nights of Hero
    It all feels like the film is setting up for nested tales within tales, but instead the layers don’t go that deep. Nor does the film offer up much in the way of thematic substance beyond love (between women) is grand, men are mostly bad, and matriarchal societies are better than patriarchies.
    • 41 Metascore
    • 40 Leslie Felperin
    Red Sonja
    The action sequences, which are what made the original Sonja so indelible (especially since Nielsen had Arnold Schwarzenegger as a co-star), are a bit more rote. But someone somewhere must have done a punch-up on the script, because every now and then a reasonably witty quip arrives out of nowhere before the dialogue reverts to faux medieval speak.
    • 39 Metascore
    • 40 Leslie Felperin
    Saint Clare
    It plays as pseudo-feminist horror for viewers who don’t really like women, or, for that matter, men. Or people of any gender. It’s all curdled but not in an especially interesting way, although there is no denying that Thorne has a basic charisma that holds the screen, and Ryan Phillippe is well cast as a grouchy cop whose agenda doesn’t mesh with Clare’s.
    • 65 Metascore
    • 40 Leslie Felperin
    Frankie Freako
    At least Sweeney has good enough comic timing to make the thinly written dialogue sound vaguely amusing; he’s also adept at making his many reaction shots exaggerated just enough to tickle without descending into outright mugging.
    • tbd Metascore
    • 40 Leslie Felperin
    Bogieville
    At least the makeup and the gore effects are competently executed, making the ensemble look like blood smeared meat-puppets on a rampage.
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