Rafaela Sales Ross

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IGN, Little White Lies, The Playlist
For 88 reviews, this critic has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Rafaela Sales Ross' Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Rose of Nevada
Lowest review score: 16 Jeanne du Barry
Score distribution:
  1. Positive: 57 out of 88
  2. Mixed: 23 out of 88
  3. Negative: 8 out of 88
88 movie reviews
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    • 70 Metascore
    • 42 Rafaela Sales Ross
    L'Immensità
    As it is, the enormity of these feelings is trapped, lingering unexplored with nowhere to go, and the frustration felt as a viewer eventually gives way to disengagement.
    • 67 Metascore
    • 58 Rafaela Sales Ross
    Someday We’ll Tell Each Other Everything
    Had it kept prodding at the political parallels of 1990 Berlin and Maria and Henner’s romance, “Someday We’ll Tell Each Other Everything” would have sat beautifully at the intersection between the coming-of-age of a young woman and that of an old country. Instead, Atef opts to stretch out the story, stubbornly tugging at the corners of the narrative, expanding a tale rich in its metaphors until it becomes see-through.
    • 65 Metascore
    • 83 Rafaela Sales Ross
    In Viaggio: The Travels of Pope Francis
    "In Viaggio” is far from a puff piece disguised as an unbiased account. The power dynamics at play are ever-present, the same interactions that bring the Pope closer to his subjects denouncing the hypocrisy of sanctifying a man who preaches for equality.
    • 69 Metascore
    • 58 Rafaela Sales Ross
    Femme
    Subtlety proves a scarce commodity as the debuting duo chops at this cautionary tale until its fragile narrative bones are fully exposed, dialogue stripped of any valuable nuance.
    • 48 Metascore
    • 33 Rafaela Sales Ross
    Golda
    Golda fails as a war movie, impenetrable to those unfamiliar with the Israeli-Arab conflict. It fails as a biopic, too, by refusing to scrutinize how Golda rose to power — and, most importantly, how she kept at it.
    • 73 Metascore
    • 67 Rafaela Sales Ross
    The Adults
    Anchored by its competent trio of protagonists, The Adults would have been a lovely time if not for the overused mishmash of twee gimmicks.
    • 53 Metascore
    • 67 Rafaela Sales Ross
    Inside
    The wretched allure of this process makes “Inside” worth the investment even when Katsoupis proves unable to resist the charming hands of cliché, bloating the script to serve the idea of an unconventional heist movie, when in his hands lie a much more interesting proposition.
    • 48 Metascore
    • 58 Rafaela Sales Ross
    Manodrome
    If the script plunges into the frustrating waters of predictability, Manodrome finds some solace in the asserted cast.
    • 53 Metascore
    • 58 Rafaela Sales Ross
    She Came to Me
    She Came to Me lacks the palpable chemistry of a rom-com and the sobering relatability of a Nicole Holofcener dramedy, but it does find moments of inspiration thanks to its A-lister cast.
    • 78 Metascore
    • 100 Rafaela Sales Ross
    BlackBerry
    It is a loving — and highly entertaining — ode to the outcasts who dream of nothing more than a life filled with fixing whirring gadgets and afternoons spent in “Star Trek” matinees.
    • 62 Metascore
    • 70 Rafaela Sales Ross
    Plane
    A tightly-paced action thriller, Plane competently delivers on the deliciously formulaic tropes of the genre.
    • 55 Metascore
    • 70 Rafaela Sales Ross
    Bardo, False Chronicle of a Handful of Truths
    It is an exercise in self-punishment disguised as self-aggrandisement, by a director powered by confident resignation and – for those unlucky enough to have experienced the gaping hole of yearning for home – it is entirely worth the self-indulgence.
    • 93 Metascore
    • 80 Rafaela Sales Ross
    No Bears
    The same ground that once bore the sturdy foundation of a loving home now stands eternally scarred by the searing cuts of imaginary lines, an irreparable fissure that – in Panahi’s heartfelt visual diary – cruelly severs the frail umbilical cord to the motherland.
    • 74 Metascore
    • 50 Rafaela Sales Ross
    Scarlet
    The arresting visual competency of Scarlet, which includes the clever use of archival footage previously seen in Marcello’s Venice darling “Martin Eden” and the beautifully composed textures of its cinematography, can’t salvage its muddled pace.
    • 86 Metascore
    • 83 Rafaela Sales Ross
    My Imaginary Country
    As newly-elected president Gabriel Boric takes the stage to address the nation that placed upon him precious trust, it is hard not to be moved by the electric rawness of hope.
    • 80 Metascore
    • 83 Rafaela Sales Ross
    Other People's Children
    Other People’s Children is a moving rumination on the pains caused by the unbudging pillars of traditional parenting. It is a rare offering in its enlightened kindness, and a heartbreaking one, too.
    • 63 Metascore
    • 83 Rafaela Sales Ross
    Master Gardener
    This is the director at his tenderest.
    • 59 Metascore
    • 58 Rafaela Sales Ross
    The Silent Twins
    As a visual offering, The Silent Twins has moments of sheer, raw imaginativeness. As a worthy study of the two central characters, sadly, it lacks the same level of vision.
    • 91 Metascore
    • 91 Rafaela Sales Ross
    All the Beauty and the Bloodshed
    Having these two storylines run parallel provides for both disconnect and whiplash, a narrative choice that emphasizes what Goldin beautifully labels “the darkness of the soul” — to be plagued to feel everything while concurrently condemned to nihilistic numbness.
    • 42 Metascore
    • 25 Rafaela Sales Ross
    Persuasion
    The beloved characters constructed by Austen are rendered insipid in this retelling that can’t quite seem to find its footing, trapped between a desire to dip into hip modernism and an inherent pull towards the original material.
    • 76 Metascore
    • 83 Rafaela Sales Ross
    Corsage
    Corsage succeeds precisely by ditching the myth of objectivity in favor of portraying a woman eternalized by the glory and dolor of her imperfections.
    • 85 Metascore
    • 91 Rafaela Sales Ross
    Alcarràs
    In its expert blend of vivid cinematography and naturalistic performances, Alcarràs creates a refined study of heritage that understands life’s permanent absence of resolution – with every hard-earned answer comes a new riddle.
    • 81 Metascore
    • 75 Rafaela Sales Ross
    This Much I Know to Be True
    Those who have seen "One More Time With Feeling" will undoubtedly have a deeper appreciation for this follow-up companion piece, but — even for the ones unfamiliar with either Dominik’s or Cave’s work— This Much I Know To Be True still proves powerful even if consumed as a concert film alone.
    • 69 Metascore
    • 91 Rafaela Sales Ross
    The Passengers of the Night
    Gainsbourg is riveting in her portrayal of the intricacy of this pattern, her hands grasping for the tangibility of doorframes when words seem far too futile, her back arching and contracting to respond to ecstasy and sorrow.
    • 64 Metascore
    • 83 Rafaela Sales Ross
    Coma
    In an oversaturated market for pandemic-themed films, Coma is a delirious marvel of a reminder that, in the right hands, there is no such thing as an unfeasible subject.
    • 53 Metascore
    • 42 Rafaela Sales Ross
    The Tender Bar
    It is a shame that The Tender Bar never truly capitalizes on the quality of its few moments of comedic inspiration, leaning instead towards a melodrama doomed to be forever trapped in afternoon reruns.
    • 67 Metascore
    • 50 Rafaela Sales Ross
    The Last Duel
    The film feeds into the very power structure it sets out to debunk, a frustrating miss that threatens to cloud Comer’s poignant performance.
    • 79 Metascore
    • 100 Rafaela Sales Ross
    Guillermo Del Toro’s Pinocchio
    Through the eyes of the Mexican filmmaker, the familiar fable is made anew, carefully carved by the hands of an artist eternally enamored with his craft. This loving relationship between creator and creation imbues the film with the type of contagious excitement that brings one back to the joy of the early days of cinemagoing, a thrilling jolt of nostalgia that only emphasizes the miraculous nature of this fresh recreation.
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