Lindsey Bahr

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The Associated Press, Entertainment Weekly
For 403 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Lindsey Bahr's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Worst Person in the World
Lowest review score: 25 Gemini Man
Score distribution:
  1. Positive: 321 out of 403
  2. Mixed: 48 out of 403
  3. Negative: 34 out of 403
403 movie reviews
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    • 50 Metascore
    • 63 Lindsey Bahr
    A Good Person
    A Good Person seems to belong to a uniquely Dan Fogelman-esque subgenre of hyper sincere melodrama that sometimes clicks (“This Is Us”) and other times does not (“Life Itself”). Braff’s film is worlds better than “Life Itself,” but there are some similarities in how it strives for cosmic significance and ultimate tearjerking within a construct that the film tries to sell as authentically specific. In execution, it’s a bit more strained and contrived.
    • 60 Metascore
    • 63 Lindsey Bahr
    Moving On
    Moving On is certainly not perfect, but it’s sincerely trying to be something more than your standard octogenarian farce. You might even be surprised by your own emotional investment in this rather trim film.
    • 53 Metascore
    • 63 Lindsey Bahr
    Luther: The Fallen Sun
    You needn’t have watched all five seasons of “Luther” to take a chance on Luther: The Fallen Sun. But there’s also a chance that you may find yourself wanting to afterwards.
    • 73 Metascore
    • 75 Lindsey Bahr
    Creed III
    While there is a case to be made for the final fight to, let’s just say, go a different way than it does, Creed III is still a knockout.
    • 48 Metascore
    • 63 Lindsey Bahr
    Ant-Man and the Wasp: Quantumania
    Majors is certainly chilling and captivating, but Kang seems like a mismatched foe for a standalone Ant-Man film and the result is a “Quantumania” that is trying to be too many things.
    • 52 Metascore
    • 63 Lindsey Bahr
    Magic Mike's Last Dance
    If there is a quibble, it’s that Hayek and Tatum don’t quite inspire the will-they-won’t-they tension that the movie seems to be asking of them. They work well together when they’re working together, but the romantic chemistry is a bit lacking.
    • 66 Metascore
    • 75 Lindsey Bahr
    Pamela, a love story
    [Anderson] is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.
    • 81 Metascore
    • 88 Lindsey Bahr
    Close
    Close is a crushing story of grief told with grace by Belgian director Lukas Dhont.
    • 61 Metascore
    • 75 Lindsey Bahr
    When You Finish Saving the World
    Eisenberg, who has already proven himself to be a talented, unsparing writer, shows promise as a director. He has not made a flashy art film, but it’s a smart, biting and occasionally sweet character piece about unlikable characters that you still may want to root for, because, though it may be hard to admit, they’re not so different from us.
    • 41 Metascore
    • 38 Lindsey Bahr
    House Party
    This party isn’t worth a trip much further than living room.
    • 77 Metascore
    • 75 Lindsey Bahr
    Broker
    Broker is definitely a slow burn that can feel a bit repetitive at times, though the introduction of Hae-jin (Im Seung-soo) as an 8-year-old orphan with Premier League dreams helps get the film over a meandering hump.
    • 77 Metascore
    • 100 Lindsey Bahr
    Women Talking
    Women Talking is not melodramatic or desperate or exploitative. It is astute and urgent and may just help those previously unable to find words or even coherent feelings for their own traumatic experiences. And hopefully it might just inspire more works of wild female imagination.
    • 73 Metascore
    • 75 Lindsey Bahr
    Puss in Boots: The Last Wish
    Directed by Joel Crawford, with Januel Mercardo as co-director, Puss in Boots: The Last Wish has enough good jokes (script by Paul Fisher and story by Tommy Swerdlow and Tom Wheeler) to keep anyone amused for an afternoon at the movies.
    • 67 Metascore
    • 88 Lindsey Bahr
    Avatar: The Way of Water
    There is something comforting about the fact that we are capable of intense, collective cultural whiplash. That “who cares?” can turn to uncynical amazement in an instant. Is that the magic of the movies? Of continuing to push the bounds of the big screen experience? Of betting big on weird-sounding stories about giant blue environmentalists instead of superheroes every so often? Maybe it’s just the magic of James Cameron.
    • 54 Metascore
    • 63 Lindsey Bahr
    Empire of Light
    Empire of Light may be a love letter to the movies, but it’s a sad one in which one of the parties, the local, independent movie theater, is fading away and possibly already gone.
    • 73 Metascore
    • 75 Lindsey Bahr
    The Inspection
    An intensely personal and truthful, if not entirely fact-based, account of joining the Marines as a gay Black man in the “don’t ask, don’t tell” era. It is the type of film — brave, raw and poetic — that will rightly put Bratton on the map as someone to watch, not to mention the standout performances of Jeremy Pope and Gabrielle Union.
    • 91 Metascore
    • 88 Lindsey Bahr
    All the Beauty and the Bloodshed
    Goldin might not have known it when she started photographing her LGBTQ friends, but her work has always been about looking at the so-called fringe cultures in society, about showing the problems that the masses would rather just ignore and making them so urgent that you can’t look away anymore.
    • 81 Metascore
    • 75 Lindsey Bahr
    Glass Onion: A Knives Out Mystery
    As the title suggests, there are layers and layers to this mystery — even the central murder isn’t revealed until deep into the film, when Johnson rewinds and reframes much of what we’ve just seen. And it’s bigger, wilder and funnier than its predecessor.
    • 40 Metascore
    • 50 Lindsey Bahr
    Slumberland
    Slumberland is not a terrible movie and it may very well spark your imagination or tug at your heartstrings (though sweet kids crying over dead parents is about as low-hanging as the fruit can get). But it also could have been so much more had it not gotten so bogged down in its own superfluous flash, which, by the end, just feels exhausting.
    • 55 Metascore
    • 63 Lindsey Bahr
    Spirited
    Though Spirited comes up short as a musical, it is still pretty enjoyable. Perhaps that’s because it is just so stuffed with everything else: If one part doesn’t totally work, there’s plenty else in the four-quadrant buffet to sample.
    • 71 Metascore
    • 75 Lindsey Bahr
    The Wonder
    Science and belief clashes aside, The Wonder is a transfixing, transportive film, anchored by the incomparable Pugh.
    • 74 Metascore
    • 88 Lindsey Bahr
    Armageddon Time
    Gray does a wonderful job painting a portrait of a moment of cultural upheaval through these two boys, their opportunities, their support systems (or lack thereof) and how it was an origin of sorts for the rot that festers today.
    • 95 Metascore
    • 100 Lindsey Bahr
    Aftersun
    Young fathers, especially the single sort, don’t get a lot of love from the movies and “Aftersun” is partly an ode to that very specific, very sweet bond between father and pre-teen daughter that both kind of understand will change into something else soon.
    • 87 Metascore
    • 100 Lindsey Bahr
    The Banshees of Inisherin
    The Banshees of Inisherin is a rich, soulful journey, full of agony, dry Irish wit and big, haunting questions. If it’s answers you’re looking for, however, you’re not going to find them on Inisherin.
    • 85 Metascore
    • 75 Lindsey Bahr
    Decision to Leave
    It lulls the viewer, along with the protagonist, into a misty, dreamlike delirium until you’re not even certain of what’s right in front of your face.
    • 63 Metascore
    • 88 Lindsey Bahr
    Triangle of Sadness
    Triangle of Sadness, which clocks in at almost two and a half hours, is at its sharpest before the symphony of bodily fluids and survival plots arrive.
    • 56 Metascore
    • 63 Lindsey Bahr
    Hocus Pocus 2
    Directed by Anne Fletcher, Hocus Pocus 2 goes down easy — though by the time the entire town breaks out into a dance to “One Way or Another,” you may be ready for the film to get where it’s going. Still, it’s a fun enough ride for a fall night.
    • 74 Metascore
    • 88 Lindsey Bahr
    Catherine Called Birdy
    Catherine Called Birdy is an unabashed delight for everyone. It just might run a little deeper for a certain age group.
    • 76 Metascore
    • 75 Lindsey Bahr
    The Woman King
    The film is exactly what you need it to be: An exciting and emotionally true spectacle that required a heck of a fight to simply exist.
    • 25 Metascore
    • 38 Lindsey Bahr
    Me Time
    Me Time somehow squanders a solid premise, a stacked cast and a seemingly unlimited budget. It didn’t need to be anything great in this movie comedy drought we seem to be in. But considering who was involved, it really should be better than it is.
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