Mark Feeney

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Boston Globe
For 460 reviews, this critic has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Mark Feeney's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Hermia & Helena
Lowest review score: 12 The Inbetweeners Movie
Score distribution:
  1. Positive: 301 out of 460
  2. Mixed: 115 out of 460
  3. Negative: 44 out of 460
460 movie reviews
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    • 44 Metascore
    • 50 Mark Feeney
    Made in Italy
    Along the way, good food is eaten, the scenery is fabulous, and when the son and a local woman meet cute she not only speaks excellent English but is gorgeous and endlessly understanding. There are some laughs. There are some tears. There’s even a little swearing. Made in Italy has been saddled with what must be the year’s least-deserved R rating.
    • 44 Metascore
    • 12 Mark Feeney
    The Inbetweeners Movie
    If nothing else, The Inbetweeners Movie earns itself a footnote in any comprehensive history of local movie exhibition. This has got to be the first time a wedgie has been inflicted onscreen at the Kendall.
    • 43 Metascore
    • 38 Mark Feeney
    Backwards
    The neatness of the plotting becomes almost comical after a while. Construction is one thing; contrivance is another.
    • 43 Metascore
    • 38 Mark Feeney
    Where the Crawdads Sing
    Where the Crawdads Sing, based on Delia Owens’s best-selling novel, is long on setting and atmosphere. It’s short on most everything else. Droopy in pace, it’s increasingly drippy in feeling.
    • 43 Metascore
    • 75 Mark Feeney
    A Big Bold Beautiful Journey
    A Big Bold Beautiful Journey — which sounds like a Boy Scout jamboree presided over by Donald Trump — is a very traditional movie masquerading as a very odd movie. What helps make it a good movie is how well it (mostly) maintains a balance between tradition and oddity.
    • 42 Metascore
    • 63 Mark Feeney
    The Ice Road
    A predictable, semi-shameless, yet not-unsatisfying action drama.
    • 42 Metascore
    • 50 Mark Feeney
    Mighty Fine
    Chazz Palminteri's the best thing in the movie. He now has the look of a slightly beefier Steve Buscemi. But where Buscemi is all nerves on edge and something bad waiting to happen, Palminteri has a winning ease.
    • 42 Metascore
    • 63 Mark Feeney
    A Journal for Jordan
    Journal is Canedy’s story, but it’s Michael B. Jordan’s movie. Stalwart, quietly forceful, he seems positively . . . Denzelian.
    • 42 Metascore
    • 50 Mark Feeney
    Madea's Witness Protection
    Reviewing a Tyler Perry movie is a bit like reviewing the weather report. People who want to watch it are going to do so, regardless of what anyone says about it. And that's not even factoring in Charlie Sheen.
    • 41 Metascore
    • 38 Mark Feeney
    Black Adam
    All kinds of stuff happens. Much of it is loud, confusing, and badly paced. From a superhero-movie perspective, it’s the last one of those three that’s most problematic. Leaden and flaccid are a bad combination.
    • 41 Metascore
    • 63 Mark Feeney
    Moonfall
    There are moments watching it when you can’t help but think of “Don’t Look Up” (comet, moon, whatever). Honestly, though, “Moonfall” is more fun, even if far less substantial and nowhere near as much talent went into making it.
    • 41 Metascore
    • 63 Mark Feeney
    The Woman in the Window
    The Woman in the Window is a thriller, as you’ve no doubt figured out, but also has a throwback, Bette Davis vibe — Adams gets to do a lot of emoting — with a touch of horror movie thrown in.
    • 41 Metascore
    • 50 Mark Feeney
    Priest
    Priest is based on a series of Korean graphic novels. What it's really based on, though, is other movies - a whole lot of other movies.
    • 40 Metascore
    • 38 Mark Feeney
    Unhinged
    His Unhinged character is a pill-popping mouth breather with a sweaty beard and big, big gut. He combines the cruelty of a bear-baiter with the appearance of an actual bear. It’s kind of a neat trick, actually: the unbearable bearishness of Russell Crowe. If Disney goes the “Jungle Book” route again, consider him a lock for Baloo.
    • 40 Metascore
    • 50 Mark Feeney
    Father Stu
    Ultimately, Father Stu is a movie about faith, but some kinds of faith have limits. So does casting. Wahlberg as a seminarian is one kind of stretch.
    • 40 Metascore
    • 50 Mark Feeney
    The 355
    The dialogue is as pedestrian as the plotting is far-fetched.
    • 39 Metascore
    • 38 Mark Feeney
    The Greatest Beer Run Ever
    Perhaps the biggest problem with Beer Run is tonal haphazardness. Sometimes it’s meant to be funny — other times serious — other times even solemn. (Alternate title: “Chickie Learns About the Horrors of War.”) The few jokes that are clearly intentional tend to fall flat.
    • 39 Metascore
    • 63 Mark Feeney
    Pirates of the Caribbean: Dead Men Tell No Tales
    Much as Bardem enlivens things, the real source of zip is Kaya Scodelario (“Maze Runner: The Scorch Trials”). Charming and spirited, she’s Daisy Ridley dialed up a notch.
    • 39 Metascore
    • 63 Mark Feeney
    Planes
    Planes has some wonderfully goofy, even ineffable, touches.
    • 38 Metascore
    • 50 Mark Feeney
    Pinocchio
    The remake is poky and overstuffed. It’s also 17 minutes longer than the 1940 original. Granted, eight minutes of that is closing credits, but still. Pinocchio’s nose isn’t all that’s wooden and too long here.
    • 38 Metascore
    • 63 Mark Feeney
    Men in Black: International
    Although Hemsworth and Tessa Thompson aren’t at all bad together, neither do they strike sparks. That’s unfortunate, since the movie flirts, and that is the word, with the idea of a romance between them.
    • 38 Metascore
    • 50 Mark Feeney
    Ben-Hur
    That Morgan Freeman voice! It’s so rich and full and authoritative that even when he’s telling Judah, “OK, OK,” you almost believe people used that word in the year 33. If they were very progressive.
    • 37 Metascore
    • 38 Mark Feeney
    1911
    It swoops, it pans, it noses around. The camerawork is almost as agitated as the editing. The directors seem to be trying to compensate for all the speechifying with as much random motion as possible.
    • 37 Metascore
    • 50 Mark Feeney
    Red Notice
    The first hour or so is lively, a bit crude, and more fun than it has any right to be. Expect double crosses, switcheroos, serious spoiler-level plot twists. Most are ridiculous, but that’s OK. The excitement starts to feel mechanical, even stale, during the second hour.
    • 36 Metascore
    • 50 Mark Feeney
    Assassin's Creed
    The effect is less video-game-turned-movie than zombie movie minus zombies: stilted, static, s-l-o-o-o-w. The ending couldn’t set up a sequel more clearly if “To be continued” appeared on a title card. Don’t count on it. Game on? Game over.
    • 35 Metascore
    • 63 Mark Feeney
    Kin
    So, yeah, Kin is a bit of a biker movie, too. More important, it’s also a family drama. In their first-time feature-directing effort, twin brothers Jonathan and Josh Baker — speaking of kin — turn Cain and Abel inside out and upside down. Why be east of Eden when you end up that far west of Motown?
    • 35 Metascore
    • 50 Mark Feeney
    Morbius
    Even at 104 minutes, practically a short by superhero-movie standards, Morbius feels draggy.
    • 35 Metascore
    • 50 Mark Feeney
    Spaceman
    Overall the results are amiable, if also slack and talky.
    • 34 Metascore
    • 50 Mark Feeney
    Ghosted
    Rom-com turning into bomb-com (there are lots of explosions) is a funny idea. But since neither the rom-com nor the bomb-com is much to speak of, Ghosted isn’t either.
    • 34 Metascore
    • 50 Mark Feeney
    The Man from Toronto
    It’s nasty and clumsy, tonally erratic, lacking in texture, and pretty stupid.
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