Neil Genzlinger

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The New York Times
For 551 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 11.9 points lower than other critics. (0-100 point scale)

Neil Genzlinger's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Newtown
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
  1. Positive: 176 out of 551
  2. Mixed: 274 out of 551
  3. Negative: 101 out of 551
551 movie reviews
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    • 45 Metascore
    • 50 Neil Genzlinger
    Fanboys
    There are enough good jokes in Fanboys, a road comedy about geeks on a "Star Wars"-related quest, to satisfy hard-core fans of that George Lucas franchise. But the film doesn't have the boosters, or thrusters, or whatever, to elevate it to more ambitious heights; it's weighed down by tired conventions and a general sense of having missed its moment.
    • 30 Metascore
    • 40 Neil Genzlinger
    Live at the Foxes Den
    A slight movie that could have been significantly better with a little story doctoring.
    • 50 Metascore
    • 50 Neil Genzlinger
    Hood to Coast
    Christoph Baaden, the director, loses sight of the fact that, for people who don't run, the cult of running is kind of boring.
    • 29 Metascore
    • 50 Neil Genzlinger
    AVPR: Aliens vs Predator - Requiem
    It may not be classic sci-fi like the original “Alien,” which it has in its DNA, but it’s a perfectly respectable next step in the series.
    • 81 Metascore
    • 60 Neil Genzlinger
    TransFatty Lives
    Refreshingly unpredictable but also frustrating.
    • 42 Metascore
    • 50 Neil Genzlinger
    Madea's Witness Protection
    A comedy that's too late to the Ponzi-scheme party to be topical, and not outrageous enough to take advantage of its own setups.
    • 54 Metascore
    • 40 Neil Genzlinger
    Eddie the Eagle
    This film doesn’t seem to trust the inherent likability of his story. The director, Dexter Fletcher, and the writers, Sean Macaulay and Simon Kelton, load it up with tropes that actually make it less endearing.
    • 46 Metascore
    • 40 Neil Genzlinger
    The Houses October Built
    If you’re relatively easily scared or are in a theater full of people who are, the film might be good for a few screams. But only if you’re the patient sort. It takes almost an hour to get to the good stuff.
    • 55 Metascore
    • 50 Neil Genzlinger
    Ordinary World
    Billie Joe Armstrong of Green Day is usually pretty appealing when he dabbles in acting, and he’s appealing again in Ordinary World. But after a promising start the script lets him down, and the film turns into a predictable midlife-crisis yarn.
    • 34 Metascore
    • 50 Neil Genzlinger
    Beyond the Reach
    Any wilderness ordeal has to help some character clarify something, and for Ben it’s his relationship with his girlfriend (Hanna Mangan-Lawrence), which gives the film a modest side interest. But mostly this one is for fans of desert scenery and of Mr. Douglas in cranky, crazy mode.
    • 77 Metascore
    • 60 Neil Genzlinger
    Louder Than a Bomb
    The efforts to document the teams' creative processes aren't particularly successful - no camera can capture something that elusive - but the filmmakers do a fine job with the back stories of the featured poets.
    • 58 Metascore
    • 60 Neil Genzlinger
    Kid-Thing
    The film is, if nothing else, an interesting meditation on how a child who grows up without guidance might react to a situation that requires judgment.
    • 46 Metascore
    • 50 Neil Genzlinger
    Reversion
    The film does a pretty good job of conveying the bleakness and pointlessness Eva and her fellow mutants feel, but it's as if Ms. Trachinger were reluctant to take the premise any deeper for fear of being accused of imitating "Memento" or "Groundhog Day" or any number of other trapped-in-time films.
    • 75 Metascore
    • 50 Neil Genzlinger
    Loveless
    An aimless film about an aimless fellow, but it's not without its charms. It may be without a point, but hey, you can't have everything in a no-budget film like this.
    • 74 Metascore
    • 60 Neil Genzlinger
    Harry Benson: Shoot First
    The film, by Justin Bare and Matthew Miele, would be better if it spent less time gushing about how great Mr. Benson is and more time confronting some of the questions his approach raises.
    • 74 Metascore
    • 60 Neil Genzlinger
    Blood on the Mountain
    The film may be one-sided, but if nothing else, it is a reminder that the “coal equals jobs” equation is a serious oversimplification.
    • 56 Metascore
    • 40 Neil Genzlinger
    The Island of St. Matthews
    It’s a stretch to call Mr. Everson’s film a documentary.
    • 72 Metascore
    • 50 Neil Genzlinger
    One Week and a Day
    It meanders from start to finish, searching for a tone that it never quite finds.
    • 72 Metascore
    • 40 Neil Genzlinger
    Monkey Kingdom
    It’s hard to imagine what message children will take away from this film other than that monkeys are just like characters in a fictional Disney movie, which they are not.
    • 72 Metascore
    • 60 Neil Genzlinger
    Eagles of Death Metal: Nos Amis (Our Friends)
    The vivid recollections of the attack by survivors, including Mr. Hughes, take over the film midway through, and the friendship story line never quite re-establishes itself.
    • tbd Metascore
    • 40 Neil Genzlinger
    Call for Help
    If the point of Call for Help is to glorify a handful of off-the-grid heroes, it fails. If the point is to follow some young people who took their aimless wanderlust to a trouble spot and perhaps created more problems than they solved, it succeeds.
    • 45 Metascore
    • 50 Neil Genzlinger
    Preggoland
    The movie’s flaw is that it mixes tones. Ruth, her relatives and her fellow workers are realistically played, but her gal-pal buddies are caricatures.
    • 71 Metascore
    • 50 Neil Genzlinger
    Remote Area Medical
    Remote Area Medical, a documentary about the nonprofit organization of that name, certainly shows you what they look like, in blunt, tooth-decaying detail. But beyond that, it maddeningly refuses to take a stand or explore the questions it raises.
    • 44 Metascore
    • 40 Neil Genzlinger
    The Bronze
    Ms. Rauch (who wrote the film with her husband, Winston Rauch) nails the portrayal admirably under Bryan Buckley’s direction. But that doesn’t mean Hope is anyone you want to spend almost two hours with.
    • 39 Metascore
    • 40 Neil Genzlinger
    Diary of a Wimpy Kid: The Long Haul
    Unfortunately, the fresh blood has been saddled with a tired story, the family road trip that goes outlandishly awry, and the result is another forgettable film.
    • 69 Metascore
    • 60 Neil Genzlinger
    Arthur Christmas
    The plot may be a little too cluttered for the toddler crowd to follow, but the next age group up should be amused, and the script by Peter Baynham and Sarah Smith has plenty of sly jokes for grown-ups.
    • 69 Metascore
    • 60 Neil Genzlinger
    Captain Underpants: The First Epic Movie
    The best animated movies for children are sublime. This one generally settles for noisy, though it throws in a positive message at the end.
    • 69 Metascore
    • 60 Neil Genzlinger
    Do Not Resist
    The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.
    • 67 Metascore
    • 50 Neil Genzlinger
    Aquí y Allá (Here and There)
    If the intent was to keep the characters here just as anonymous as most migrant workers are to prosperous people in the United States, it succeeds: Pedro and his family remain mere sketches. If, however, the aim was a more meaningful portrait of hardship and aspiration, the film is merely underdone. It's no secret that life in many places is hard.
    • 66 Metascore
    • 40 Neil Genzlinger
    The Phenom
    The director and writer, Noah Buschel, has no fresh insights to add to the well-worn dynamic and doesn’t give the actors or the audience much to work with.
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