For 15 reviews, this critic has graded:
  • 53% higher than the average critic
  • 0% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 6.9 points lower than other critics. (0-100 point scale)

Mary Sollosi's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 91 Spencer
Lowest review score: 25 The Prom
Score distribution:
  1. Positive: 7 out of 15
  2. Negative: 4 out of 15
15 movie reviews
    • 76 Metascore
    • 91 Mary Sollosi
    For all of Larraín's artistry, Spencer would crumble in the hands of the wrong actress, and Stewart gives one of the best performances of her career so far as this highly subjective version of Diana.
    • 71 Metascore
    • 75 Mary Sollosi
    Obsessed though it is with the past, throughout its whole runtime, the best part always lies ahead.
    • 63 Metascore
    • 83 Mary Sollosi
    The insights of the doc don't reverberate far beyond the story it's telling. But oh, what a story.
    • 61 Metascore
    • 67 Mary Sollosi
    What does come through are the good intentions of everyone involved. There's a great sincerity here, even in the schmaltzier bits, demonstrating a real belief in the humanity on display — however contrived the vehicle for it.
    • 60 Metascore
    • 75 Mary Sollosi
    It takes some time to get to the major action set pieces (other than the prologue, which is gorgeous), but it’s too much of a pleasure to live in this well-realized place, populated by a quartet of capable and charismatic stars, to really care.
    • 75 Metascore
    • 83 Mary Sollosi
    Its gentle, understated tone belies Msangi’s careful attention to rhythm and detail, though the simplicity of the plot, particularly in a few mild contrivances, slightly undermines the story’s authenticity.
    • 66 Metascore
    • 67 Mary Sollosi
    The film’s greatest strength is the pairing of Miller and Luna, an immensely charismatic duo who give Adrienne and Matteo’s relationship (not to mention her metaphysical crisis) credibility even where Miele’s script does not.

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