Maria Garcia

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Film Journal International, Los Angeles Times
For 11 reviews, this critic has graded:
  • 45% higher than the average critic
  • 0% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Maria Garcia's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 I Am Not a Witch
Lowest review score: 30 Muppets from Space
Score distribution:
  1. Positive: 6 out of 11
  2. Mixed: 4 out of 11
  3. Negative: 1 out of 11
11 movie reviews
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    • 63 Metascore
    • 70 Maria Garcia
    Walking on Water
    It is when Paounov reveals Christo’s leonine qualities that Walking on Water achieves a rare authenticity.
    • tbd Metascore
    • 70 Maria Garcia
    Loving Vincent: The Impossible Dream
    Weçel’s documentary is aimed at broadening the audience for “Loving Vincent,” yet it is also a wonderful tribute to the vision and craft of independent moviemaking.
    • 71 Metascore
    • 80 Maria Garcia
    #Female Pleasure
    The issues they confront are not new, yet the stories of their radicalization are engaging, and Miller’s deft editing and objective approach result in a surprisingly intimate and life-affirming film.
    • 84 Metascore
    • 85 Maria Garcia
    On Her Shoulders
    Bombach’s respectful distance from her subject allows the audience to see in a way that one does watching a Robert Bresson film; in the slowly unfolding narrative, stripped of drama but not of emotion, Nadia’s spirit emerges.
    • 80 Metascore
    • 100 Maria Garcia
    I Am Not a Witch
    Nyoni’s title articulates her uncompromising, feminist stance, and her characterizations of Mr. Banda and the male villagers explain how patriarchy plays out in Zambia, but it is in her sublime direction—lengthy close-ups, clever tableaux and skillful scoring—that the writer-director accomplishes a social critique so cinematic as to defy description.
    • 88 Metascore
    • 90 Maria Garcia
    Leave No Trace
    In their trailer, the gift of the religious do-gooder who owns the farm, the exigencies of survival subside, and the quiet brilliance of Foster and McKenzie’s performances surface.

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