Mike D'Angelo

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The A.V. Club, The Dissolve
For 786 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Mike D'Angelo's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Pig
Lowest review score: 0 11 Minutes
Score distribution:
  1. Positive: 356 out of 786
  2. Mixed: 377 out of 786
  3. Negative: 53 out of 786
786 movie reviews
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    • 68 Metascore
    • 58 Mike D'Angelo
    American Animals
    Ultimately, you’re looking at four men struggling to explain an act of post-adolescent stupidity, accompanied by elaborate moving illustrations. It’s moderately entertaining, but the calories feel empty.
    • 45 Metascore
    • 58 Mike D'Angelo
    A Million Little Pieces
    The movie version plays exactly like every other rehab-facility melodrama ever made. Even the stuff that Frey invented seems overly familiar, borrowed from sources ranging from "28 Days" to (somewhat improbably — people in recovery aren’t necessarily allowed dental anesthetic, it turns out) "Marathon Man."
    • 73 Metascore
    • 58 Mike D'Angelo
    Like Father, Like Son
    Like Father, Like Son has the overall depth and tenor of a Lifetime movie. Kore-Eda can do much better.
    • 56 Metascore
    • 58 Mike D'Angelo
    Manglehorn
    Pacino has finally started acting again, which is cause for celebration. It’ll be real cause for celebration if/when he also starts picking projects worthier than The Humbling, Danny Collins, and now Manglehorn, all of which see him struggling to find moments of truth within a contrived, borderline ludicrous scenario.
    • 86 Metascore
    • 58 Mike D'Angelo
    An Elephant Sitting Still
    Still, the respectful thing to do, it seems, is to treat An Elephant Sitting Still like any other film, imagining how it would look were Hu already hard at work on his next project. A lot depends on just how much sustained misery one likes to endure.
    • 57 Metascore
    • 58 Mike D'Angelo
    Finch
    Finch’s main problem is its amiable, low-key vibe, which feels at odds with such a grim scenario.
    • 76 Metascore
    • 58 Mike D'Angelo
    Five Star
    There’s just not enough meat on these bones, and what meat there is has been thoroughly chewed over. Authentic casting doesn’t guarantee anything.
    • 75 Metascore
    • 58 Mike D'Angelo
    The Two Popes
    Apart from its impressive (though partially digital) recreation of the Sistine Chapel, The Two Popes offers little in the way of purely cinematic pleasures, relying almost exclusively on the expert parrying of Hopkins and Pryce.
    • 65 Metascore
    • 58 Mike D'Angelo
    Unexpected
    Its innocuous take on pregnancy is its most substantial flaw.
    • 68 Metascore
    • 58 Mike D'Angelo
    Ghost Stories
    Ghost Stories works best as an exercise in nostalgia. Those seeking hardcore, modern-day scares will be disappointed.
    • 53 Metascore
    • 58 Mike D'Angelo
    Flag Day
    Thankfully, Flag Day isn’t another disaster, though neither is it anywhere near the vicinity of Penn’s best work.
    • 85 Metascore
    • 58 Mike D'Angelo
    Birds of Passage
    Unique background elements provide flavor, but apart from the drug of choice here being marijuana rather than cocaine, what unfolds could hardly be less rote.
    • 43 Metascore
    • 58 Mike D'Angelo
    The Aftermath
    Much of the book’s emotional context appears to have been lost in translation.
    • 66 Metascore
    • 58 Mike D'Angelo
    The Idol
    There’s a fascinating story here, but the movie never gets out of its own way long enough to tell it.
    • 76 Metascore
    • 58 Mike D'Angelo
    At Eternity's Gate
    Does At Eternity’s Gate have anything new or innovative to share about perhaps the most comprehensively documented painter who’s ever lived? Does the world need another van Gogh biopic? Not really.
    • 64 Metascore
    • 58 Mike D'Angelo
    Tip Top
    Confirms director and co-screenwriter Serge Bozon as one of French cinema’s true oddballs.
    • 42 Metascore
    • 58 Mike D'Angelo
    Bad Samaritan
    This comparatively low-budget effort represents a marked improvement from Devlin’s debut theatrical feature, Geostorm, which was among last year’s very worst films. He’s graduated from painful tedium to an acceptable means of killing two hours. One step at a time.
    • 58 Metascore
    • 58 Mike D'Angelo
    Dean
    Dean turns out to be quite touching, in retrospect. If only it were funny, clever, or in any other way particularly inspired from moment to moment.
    • 58 Metascore
    • 58 Mike D'Angelo
    Troop Zero
    Viewed as any sort of follow-up to "Beasts," Troop Zero looks like a sellout. By the standards of mainstream live-action children’s fare, however, it’s more mature and thoughtful than average. Just don’t expect any Oscar nominations, even for recent winners like Davis and Janney.
    • 74 Metascore
    • 58 Mike D'Angelo
    After Tiller
    After Tiller is an hour and a half of folks on their best behavior, presented as a candid portrait.
    • 80 Metascore
    • 58 Mike D'Angelo
    Theeb
    Part of the problem is that Theeb, while running only 100 minutes, takes nearly an hour to set up its basic premise.
    • 74 Metascore
    • 58 Mike D'Angelo
    The Workshop
    Cantet remains a gifted filmmaker — The Workshop’s semi-improvisational aspects are no less impressive than those in "The Class," and he’s at least superficially engaged with the current state of the world — but this isn’t the return to form that his fans have awaited over the past decade.
    • 45 Metascore
    • 58 Mike D'Angelo
    Uncharted
    Like text that’s been translated into another language and then re-translated back by someone else, Uncharted bears a clunky resemblance to any number of classic action-adventure movies.
    • 36 Metascore
    • 58 Mike D'Angelo
    Last Love
    Unfortunately, Nettelbeck also strives to make Last Love a genuinely complex drama rooted in recognizable human behavior, and fails utterly in that effort.
    • 78 Metascore
    • 58 Mike D'Angelo
    The Innocents
    Like many historical dramas, unfortunately, this one depicts gripping events without bothering to craft a coherent viewpoint that lends them meaning.
    • 51 Metascore
    • 58 Mike D'Angelo
    The Man Who Killed Hitler and Then The Bigfoot
    The gambit doesn’t really work — fans of "The Notebook" and people who own "Sorority Babes In The Slimeball Bowl-O-Rama" will both come away disappointed — but it’s hard not to respect Krzykowski’s attempt to do something different.
    • 59 Metascore
    • 58 Mike D'Angelo
    Into the Forest
    Indeed, there are stretches of Into The Forest during which one could momentarily forget that it’s a survivalist tale at all… or even that it’s taking place in the middle of nowhere, for that matter. The essential becomes irrelevant.
    • 51 Metascore
    • 58 Mike D'Angelo
    Parkland
    As vicarious, you-are-there re-creations of historical events go, it’s creditably workmanlike; whether that’s the best use of the dream factory is another matter.
    • 74 Metascore
    • 58 Mike D'Angelo
    Oklahoma City
    Oklahoma City has little to offer any viewer already familiar with the basics of these three events, each of which gets fairly superficial treatment here.
    • 69 Metascore
    • 58 Mike D'Angelo
    What Will People Say
    Mozhdah, appearing in her first film, can’t match the astonishing, bone-deep understanding of psychic masochism and involuntary complicity that Nicole Kidman brought to her similarly fraught therapy sessions in "Big Little Lies" — this film isn’t operating on that rarefied level in any respect, frankly — but she does manage, in this quietly harrowing scene, to make Nisha more than just a helpless victim.
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