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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    • 83 Metascore
    • 90 Leslie Felperin
    The Librarians
    Kudos are due to supervising editor Mark Becker and his team, who never put a splice wrong. That deft level of craft is maintained throughout, while the aching musical bed by contemporary composer Nico Muhly adds just the right tone of plangent despair tinged with hope.
    • 83 Metascore
    • 90 Leslie Felperin
    '71
    This outstanding, muscular feature debut for French-born, British-based director Yann Demange almost never puts a foot wrong, from the softly underplayed performances to the splendidly speckled cinematography and fine-grained period detailing.
    • 83 Metascore
    • 100 Leslie Felperin
    Predators
    It’s too soon to know for sure, but this may end up being ranked as one of the best nonfiction films of the year.
    • 83 Metascore
    • 90 Leslie Felperin
    Love
    Love, to quote that woozy old ballad, is indeed a many-splendored thing that takes many forms — a multiplicity that Love the film is quietly alive to.
    • 83 Metascore
    • 80 Leslie Felperin
    Klondike
    Unsurprisingly, it all builds to a bleak conclusion, and the film as a whole is a powerful statement that lingers in the mind long after the final credits roll.
    • 83 Metascore
    • 90 Leslie Felperin
    Pina
    Offering further proof that the latest 3D technology is good for a lot more than just lunging knives and fantastical storylines, Wim Wenders' dance docu Pina reps multidimensional entertainment that will send culture vultures swooning.
    • 83 Metascore
    • 80 Leslie Felperin
    Rosie
    The film is an empathy generator, an antidote to compassion fatigue.
    • 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.
    • 83 Metascore
    • 80 Leslie Felperin
    The Reason I Jump
    Aptly enough, it's a work that enlightens and informs but that is also ravishing to behold.
    • 66 Metascore
    • 60 Leslie Felperin
    Kung Fu Killer
    The fight scenes are terrific, but the haphazard plotting, off-the-peg characterisations and drippy music elsewhere lack flavour.
    • 83 Metascore
    • 80 Leslie Felperin
    Saint Maud
    [A] striking and auspicious feature debut ... Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather.
    • 83 Metascore
    • 80 Leslie Felperin
    Locke
    This ingeniously executed study in cinematic minimalism has depth, beauty and poise.
    • 69 Metascore
    • 70 Leslie Felperin
    The Animal Kingdom
    The inevitable North American remake will no doubt pump more technology into its iteration, but a more efficient, streamlined approach toward pace and editing wouldn’t have hurt this original and striking work.
    • 82 Metascore
    • 80 Leslie Felperin
    Anselm
    Wim Wenders’ latest documentary Anselm offers a mesmerizing, cinematic catalogue of German painter-sculptor Anselm Kiefer’s deeply tactile, maximalist oeuvre.
    • 82 Metascore
    • 90 Leslie Felperin
    Hit Man
    Given the chemistry between the two leads that could restart a dormant nuclear power plant, viewers are likely to come away sated with pleasure after seeing this delightful work.
    • 82 Metascore
    • 80 Leslie Felperin
    The Deep Blue Sea
    Davies is in fine form here, with luminous performances, especially from Rachel Weisz, rounding out a classy package whose only major problem is it may be a bit too true to its period sensibility and legit origins.
    • 82 Metascore
    • 80 Leslie Felperin
    Grand Theft Hamlet
    The film gets across the weird weight of lockdown, a time of tension and anxiety but also an opportunity for creative growth none of us saw coming.
    • 82 Metascore
    • 90 Leslie Felperin
    The Lobster
    A richly rewarding but often very disturbing, even harrowing work.
    • 82 Metascore
    • 80 Leslie Felperin
    The Girl with the Needle
    It all could be too much reality to handle if it weren’t for the fact that mercifully, the film ends on a hopeful note, with the most wicked characters punished for their sins and the good given a second chance. It’s undoubtedly something of a fairy-tale ending, but the kind we need these days.
    • 82 Metascore
    • 80 Leslie Felperin
    Carmine Street Guitars
    It is 80 minutes of pure woodwork-musicianship-upcycling erotica for a very specialist but passionate market.
    • 82 Metascore
    • 60 Leslie Felperin
    Nocturnes
    If you’re in the right headspace, the whole thing is quite entrancing. Still, it’s also an extremely rarefied sort of entertainment.
    • 82 Metascore
    • 80 Leslie Felperin
    Sator
    Graham uses darkness and a very sparse score/soundscape to create a truly disturbing work that relies not so much on gore as the uncanny in its most potent form: stillness, pools of darkness and just-visible figures.
    • 82 Metascore
    • 100 Leslie Felperin
    Sisters with Transistors
    Lisa Rovner’s superb documentary pays a deeply deserved, seldom-expressed tribute to the female composers, musicians and inventors from the brief history of electronic music.
    • 82 Metascore
    • 80 Leslie Felperin
    Le Havre
    Mixing together some of helmer Aki Kaurismaki's favorite Gallic and Finnish thesps with a few newbies, Le Havre feels like a welcoming family reunion.
    • 82 Metascore
    • 90 Leslie Felperin
    Side by Side
    Although laid out with such clarity that any layperson could catch the gist of what's being discussed, Side by Side is not afraid to get nitty-gritty about more technical matters.
    • 82 Metascore
    • 80 Leslie Felperin
    Archipelago
    This is a beautifully distilled and literally still work that lingers in the mind long after its conclusion.
    • 82 Metascore
    • 70 Leslie Felperin
    Certain Women
    While there’s no doubt this is the work of a filmmaker entirely in command of her craft, there’s something a trifle academic and dry about the whole exercise, and slightly lacking in narrative cohesion given the nature of its origins.
    • 82 Metascore
    • 80 Leslie Felperin
    Captain Volkonogov Escaped
    Propulsive and tightly constructed ... Flecks of jet-black humor add a wicked sparkle to an essentially tragic narrative.
    • 81 Metascore
    • 100 Leslie Felperin
    At Berkeley
    One of Wiseman’s best, a summation of sorts of a career’s worth of principled filmmaking from a director in his ninth decade.
    • 81 Metascore
    • 60 Leslie Felperin
    This Much I Know to Be True
    The film engages with Cave and Warren Ellis’ creative bond, one that’s produced some sublime work but also self-indulgent noodling (of which there’s a little too much here). Indeed, some might wish the spotlight was on Ellis more, a fascinating character who may be the more musically gifted of the pair, but not as capable of holding the spotlight like Cave – who has his suits, rumbly baritone and carefully coiffed too-black hair.
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