Leslie Felperin

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The Guardian, The Hollywood Reporter, Variety
For 848 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: 378 out of 848
  2. Mixed: 442 out of 848
  3. Negative: 28 out of 848
848 movie reviews
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    • 64 Metascore
    • 70 Leslie Felperin
    To the End
    Due to the fact that the canvas is broader this time around — and the subjects Lears has chosen to focus on don’t have four discreet, parallel narratives that we can see through to the end — there’s inevitably less coherence to this film strictly in terms of storytelling. Instead, each of these women is trying to make a difference in the climate crisis in very specific ways, but for all of them history keeps interfering.
    • 63 Metascore
    • 70 Leslie Felperin
    The Hole in the Ground
    [It] will evoke comparisons for many with The Babadook, and while this is more generically conventional than Jennifer Kent's breakout thriller, it still taps potently into parental anxieties and primal fears.
    • 42 Metascore
    • 70 Leslie Felperin
    Chalet Girl
    A chirpy, tween-skewing, snowboarding-themed romantic comedy, Chalet Girl slaloms exuberantly down a predictable path, kicking up regular flurries of fun along the way.
    • 71 Metascore
    • 70 Leslie Felperin
    Sleeping Giant
    What’s particularly admirable here is the way the cast and filmmakers illuminate not just the wit and charm of young men, but also the callow cruelty of youth, driven by a killer combination of naïve idealism, solipsism, poor self-esteem and raging hormones.
    • 83 Metascore
    • 70 Leslie Felperin
    Who We Are Now
    Newton’s storytelling is skittish and a bit too on the nose at times, but his palpable generosity toward his cast is rewarded with committed, passionate turns from the ensemble. However, Nicholson, a performer all-too seldom given a chance to lead, is the big door prize here, offering an intricately layered performance that lifts the whole film up a notch.
    • 48 Metascore
    • 70 Leslie Felperin
    Kiss of the Damned
    Saucily thumbing its nose at the insipid teen love of the "Twilight" franchise, Kiss reimagines its bloodsuckers as horny, supercilious Eurotrash with addiction issues, sucking the life blood from naive American thrill-seekers.
    • 69 Metascore
    • 70 Leslie Felperin
    Dark River
    The dominant note is the warm but quotidian realism of Giant rather than the experimental daring of Arbor, yet Dark River yields a perceptive study of family dynamics, unfolding in a changing landscape as prey to economic forces and demographic shifts as any urban center.
    • 66 Metascore
    • 70 Leslie Felperin
    Wander Darkly
    Some may find this a path too well trodden by other movies, but what's refreshing is to see it through the eyes of a female protagonist for a change.
    • 69 Metascore
    • 70 Leslie Felperin
    Leto
    At heart, it's more concerned with capturing the feel of the early '80s, the paranoia but also spirit of communal life in crowded apartment blocks.
    • 81 Metascore
    • 70 Leslie Felperin
    The World's End
    A fraction less gut-bustingly goofy than its predecessors.
    • 66 Metascore
    • 70 Leslie Felperin
    Audrey
    Even if you watch it alone on a laptop with a bottle of cheap beer and a dried-up turkey sandwich, Audrey is a pleasure. That's mostly due to the still-incandescent star power of its subject.
    • 75 Metascore
    • 70 Leslie Felperin
    I'll See You in My Dreams
    Director Brett Haley’s second feature has a disarming lightness of touch that keeps the proceedings buoyant, even when they inevitably brush up against mortality.
    • 61 Metascore
    • 70 Leslie Felperin
    The Persian Version
    This lively, likable, if somewhat on-the-nose work grabs viewer attention with fourth-wall-breaking monologues, jocular explanatory graphics, and tightly choreographed dance numbers to vintage American and Iranian pop songs.
    • 64 Metascore
    • 70 Leslie Felperin
    Tamara Drewe
    Adapted from a comicstrip-turned-graphic novel by Posy Simmonds, which was itself based on Thomas Hardy's "Far From the Madding Crowd," picture represents a satirical but soft-biting swipe at contempo middle-class mores among Blighty's chattering countryside classes.
    • 75 Metascore
    • 70 Leslie Felperin
    What Happened, Miss Simone?
    What Happened, Miss Simone does its job well, proving especially treasurable for its wealth of rare archive film footage and audio material that captures Simone’s fierce talent, fiery temperament and fragile mental health. But it is unlikely to be ranked up there with the best music-themed bio-docs.
    • 68 Metascore
    • 70 Leslie Felperin
    Early Man
    No matter when the action is set, some things never change in Park’s world. Nor should they.
    • 62 Metascore
    • 70 Leslie Felperin
    Armand
    Norwegian writer-director Halfdan Ullmann Tondel takes some big swings with his first feature Armand, not all of which connect, but the ambition and risk-taking are largely impressive.
    • 81 Metascore
    • 70 Leslie Felperin
    No
    After "Tony Manero" and "Post Mortem," his devastating portraits of how the Pinochet regime psychologically brutalized the people of Chile from 1973-90, Chilean helmer Pablo Larrain satisfyingly completes the trilogy with an affirmative victory for democracy in No.
    • 66 Metascore
    • 70 Leslie Felperin
    The Idol
    The director and his regular editor Eyas Salman notch up the tension by beautiful degrees as Mohammed overcomes each obstacle with ingenuity, charm and, hokey but true, sheer singing skill.
    • 69 Metascore
    • 60 Leslie Felperin
    Dayveon
    Intriguing formal noodlings can’t disguise the cliches in the script. Even so, it’s clear that Abbasi has talent and ambition.
    • 24 Metascore
    • 60 Leslie Felperin
    Piranha 3DD
    Ups the self-parody so much that it's practically a Wayans Brothers spoof, albeit with fewer jokes.
    • 65 Metascore
    • 60 Leslie Felperin
    The Audition
    In light of the strange, brutal ending that’s more foreshadowed than it seems, it’s hard to work out where Weisse wants to land on issues around the best way to coax talent, especially in fields such as music where you have to put in a relentless amount of hours to achieve the highest results.
    • tbd Metascore
    • 60 Leslie Felperin
    Man on the Run
    Interviews with various journalists, local law enforcers, politicians and FBI agents lay out the nitty-gritty of the story. Lashings of onscreen text spell out the statistics and figures, which is helpful. The caricatures of the various grifters are distractingly tacky, though, and somewhat lower the film’s tone.
    • 67 Metascore
    • 60 Leslie Felperin
    Save Yourselves!
    For the most part it manages an adept balance between satire, sincerity and sheer silliness that’s ultimately winning.
    • tbd Metascore
    • 60 Leslie Felperin
    Blood & Gold
    It’s predictable but tightly staged and well paced, and if you’re scrolling through the streaming platform looking for something fresh, it’s not a bad choice for switch-your-brain-off entertainment.
    • 58 Metascore
    • 60 Leslie Felperin
    Tokyo Tribe
    Amusingly tacky and offensive though it is, proceedings grow a bit monotonous, because all the tunes have pretty much the same beat and everything is pitched at the same hysterical, OTT level.
    • 73 Metascore
    • 60 Leslie Felperin
    Not Going Quietly
    Smart, funny and endearingly sweary even when he loses the power to speak without computer assistance, Barkan is a charismatic character who’s easy to like, although one wonders how much the documentary crew resisted showing anything that might dent the halo the film sets round his head.
    • 55 Metascore
    • 60 Leslie Felperin
    Clifford the Big Red Dog
    It’s watchable and even occasionally amusing.
    • 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.
    • tbd Metascore
    • 60 Leslie Felperin
    The True Don Quixote
    A whimsical, good-natured romp, sure, but one that’s only mildly amusing.
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