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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    • 33 Metascore
    • 42 Mike D'Angelo
    Run the Tide
    This isn’t a terrible film, by any means. It’s a completely forgettable film, which is arguably worse—especially for Lautner, who at this point is on the verge of vanishing down the memory hole with it.
    • 72 Metascore
    • 58 Mike D'Angelo
    Old Stone
    It’s too bad that the movie shifts from having too little juice to having too much, because there are hints of a more compelling middle ground.
    • 77 Metascore
    • 83 Mike D'Angelo
    Evolution
    Evolution is the sort of film that doesn’t require you to “turn off” your mind, but does ask that you surrender certain expectations. Most of all, this is a vision that no other director would have imbued with such a potent amalgam of tender and twisted. It’s a pleasure to have her back.
    • 72 Metascore
    • 75 Mike D'Angelo
    Always Shine
    Always Shine shines brightest when it lets these women be themselves, and the filmmaking provides the dissonance.
    • 71 Metascore
    • 83 Mike D'Angelo
    Divines
    Divines, written and directed by French-Moroccan filmmaker Houda Benyamina, rivals "Girlhood" as a portrait of combustible banlieue femininity, emanating raw energy and scrappy good humor even as it builds to an unexpectedly tragic and horrifying finale.
    • 26 Metascore
    • 25 Mike D'Angelo
    Officer Downe
    Officer Downe isn’t overly concerned about viewers exercising many brain cells.
    • 65 Metascore
    • 67 Mike D'Angelo
    I Am Not Madame Bovary
    Fans of both non-action Asian cinema and stifling bureaucratic nightmares, your long wait is finally over.
    • 25 Metascore
    • 33 Mike D'Angelo
    Shut In
    A thriller that takes a long time to get even remotely thrilling.
    • 73 Metascore
    • 58 Mike D'Angelo
    The Ivory Game
    Unlike a lot of other advocacy docs—films that seek to raise awareness regarding some serious issue, often concluding with a call to action—Netflix’s The Ivory Game offers something spectacularly visual: elephants.
    • 80 Metascore
    • 75 Mike D'Angelo
    Peter and the Farm
    This is one tortured soul, and a rare case in which a farmer’s struggles seem to be entirely of his own making.
    • 76 Metascore
    • 67 Mike D'Angelo
    Into the Inferno
    As fun as Herzog’s highly imitable voice can be, this particular film arguably works best when he remains quiet and simply stares at the fiery void.
    • 72 Metascore
    • 75 Mike D'Angelo
    Gimme Danger
    Considering how cheerfully its subject courted controversy, this is a chummy, openly booster-ish profile, designed as an introduction for those ignorant of the Stooges’ legacy. It’s plenty entertaining, but it’s also nearly as tame as Iggy, in his prime, was wild.
    • 87 Metascore
    • 67 Mike D'Angelo
    Fire at Sea
    All of the film’s constituent parts are superb (with the exception of the DJ segments, which do seem extraneous). It’s the pointedly unpointed way they’ve been assembled that gives pause.
    • 72 Metascore
    • 83 Mike D'Angelo
    Christine
    While the film does depict the suicide, that moment isn’t nearly as memorable as a pitch-perfect coda involving a fairly minor character, which combines generosity, poignance, and rueful irony in unnerving proportions.
    • 88 Metascore
    • 83 Mike D'Angelo
    Aquarius
    So it’s marvelous to see Braga setting the big screen ablaze — speaking her native language, for once — in Aquarius, a Brazilian drama constructed entirely around her.
    • 92 Metascore
    • 91 Mike D'Angelo
    Tower
    Maitland sticks close to the ground, providing a harrowing moment-to-moment account that foregrounds multiple acts of genuine heroism. The result comes as close to being a feel-good movie about senseless violence as anyone is likely to get.
    • 69 Metascore
    • 75 Mike D'Angelo
    Blue Jay
    Duplass and Paulson counteract the deliberately banal dialogue (Duplass also wrote the screenplay) with superbly anxious body language; Jim and Amanda’s “casual,” “amiable” chitchat is so painfully forced that it’s a wonder nothing ruptures.
    • 69 Metascore
    • 58 Mike D'Angelo
    Chronic
    When Chronic premiered at Cannes in 2015 (where it unexpectedly won Best Screenplay), one tweet waggishly retitled it Caring Is Creepy, and it really does play, for better and worse, like a lengthy exploration of that Shins song’s thesis.
    • 65 Metascore
    • 50 Mike D'Angelo
    The Lovers and the Despot
    Unfortunately, this bland, incurious oral history focuses exclusively on what’s admittedly the most superficially fascinating chapter of their lives: the eight years they spent making movies together in North Korea, after Kim Jong-il had them kidnapped.
    • 69 Metascore
    • 58 Mike D'Angelo
    Operation Avalanche
    Alas, while modern technology allows for impressive, convincing effects work on a comparatively tiny budget, the basic concept itself hasn’t improved with age. Clever ideas are still in short supply.
    • 58 Metascore
    • 58 Mike D'Angelo
    Snowden
    A duly serious and ambitious fall movie that, despite the best efforts of its formidable director and cast, can’t remotely match the excitement of real life.
    • 71 Metascore
    • 91 Mike D'Angelo
    London Road
    As pop sociology, London Road doesn’t delve terribly deep, repeating the same simple observations (principally: people are self-interested) over and over. As a nearly avant-garde musical, however, it’s a constant grin-conjuring marvel.
    • 89 Metascore
    • 75 Mike D'Angelo
    Cameraperson
    As an autobiography told in pictures rather than words (including occasional glimpses of Johnson’s parents and her children), Cameraperson makes a strong case for the merits of the observational life. As a bonus, it also demonstrates what it looks like when the person who’s holding the camera sneezes.
    • 57 Metascore
    • 58 Mike D'Angelo
    The Intervention
    Clea DuVall makes her debut here as writer-director, and after two decades in front of the camera, she knows actors — but the movie’s stifling familiarity prevents it from making much of an impact.
    • 58 Metascore
    • 67 Mike D'Angelo
    Complete Unknown
    It’s as if a first-rate Roman Polanski movie suddenly metamorphosed (ohhh, frogs, duh) into a third-rate Michael Crichton adaptation.
    • 55 Metascore
    • 50 Mike D'Angelo
    A Tale of Love and Darkness
    Portman’s emotional connection to the material couldn’t be more obvious, yet the film itself is still largely inert.
    • 83 Metascore
    • 75 Mike D'Angelo
    Ixcanul
    This is a decidedly small-scale tragedy, but it still packs a cumulative wallop.
    • 59 Metascore
    • 67 Mike D'Angelo
    Anthropoid
    Dramatically, it’s not much of a movie, but if you just want to know how things went down, it’s certainly a more exciting précis than Wikipedia’s.
    • 66 Metascore
    • 58 Mike D'Angelo
    The Lost Arcade
    At bottom, this is the story of freaks and geeks everywhere: a quest for the like-minded, rooted in obsessive engagement with a tiny sliver of pop culture.
    • 72 Metascore
    • 75 Mike D'Angelo
    Neither Heaven Nor Earth
    This virtually action-free war movie (which premiered at Cannes last year with the English-language title The Wakhan Front) will frustrate anyone seeking concrete explanations. Its haunting atmosphere, however, in conjunction with its half-harrowing, half-sleepy milieu, keeps the film fascinating until it finally fizzles.
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