For 405 reviews, this critic has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.9 points higher than other critics. (0-100 point scale)

Ross Bonaime's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Spider-Man: Across the Spider-Verse
Lowest review score: 0 Paws of Fury: The Legend of Hank
Score distribution:
  1. Negative: 12 out of 405
405 movie reviews
    • 67 Metascore
    • 83 Ross Bonaime
    In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.
    • 53 Metascore
    • 50 Ross Bonaime
    Even though the brutality is seemingly never-ending, we never dull to the constant barrage of pain—both physically and emotionally. Yet when Fuqua and Collage aren’t focusing on the cruelty of this world, the film stops dead, lumbering through the motions, complete with derivative choices, characters, and dialogue.
    • 79 Metascore
    • 83 Ross Bonaime
    Guillermo del Toro’s Pinocchio shows that if you’re going to adapt this story yet again, it’s best to bring something exciting and new to it, as well as put some of your own personality into it.
    • 65 Metascore
    • 67 Ross Bonaime
    As rich and exciting as this new world is, the characters and script that have been thrown into this scenario are fairly banal, full of tropes and platitudes that we’ve heard countless times in this type of film.
    • 62 Metascore
    • 50 Ross Bonaime
    The Mardini sisters in real life went through hell, and their journey is incredibly powerful, considering what they went through. But The Swimmers only occasionally gives this story the power that it needs, instead, falling into easy tropes and an unfocused narrative.
    • 50 Metascore
    • 42 Ross Bonaime
    Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.
    • 55 Metascore
    • 67 Ross Bonaime
    The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.
    • 67 Metascore
    • 83 Ross Bonaime
    Wakanda Forever isn’t perfect, but its ability to handle this tightrope walk between exploration of loss and a larger superhero film makes this one of the most moving MCU entries so far, and one of the best films to come out of Marvel’s Phase Four.
    • 74 Metascore
    • 75 Ross Bonaime
    In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.
    • 65 Metascore
    • 83 Ross Bonaime
    The Good Nurse is a shocking drama that seeps under your skin with its ferocity and terror. Yet Lindholm makes this story about a disturbing individual into a film about how important kindness and consideration for others can mean in the larger scheme of things.
    • 74 Metascore
    • 75 Ross Bonaime
    Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.
    • 61 Metascore
    • 58 Ross Bonaime
    Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.
    • 41 Metascore
    • 75 Ross Bonaime
    Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.
    • 70 Metascore
    • 75 Ross Bonaime
    Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.
    • 49 Metascore
    • 42 Ross Bonaime
    García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.
    • 85 Metascore
    • 83 Ross Bonaime
    The beauty of Decision to Leave is how Chan-wook can set his table with so many ideas, diversions, and elements, all making for an overly exquisite experience. Not only does Chan-wook blend detective mystery and romance, but Decision to Leave is weirdly funny, full of dark humor that fits in perfectly with everything else.
    • 51 Metascore
    • 58 Ross Bonaime
    Susie Searches has its heart in the right place, and this could’ve been the beginning of an interesting mystery series of sorts, full of intriguing characters, twists and turns that are hard to see coming—even for Susie. But the mishandling of tone and unusual shifts in logic and character motivations makes this film more of a mystery in itself.
    • tbd Metascore
    • 50 Ross Bonaime
    The Swearing Jar is a decent idea, but the screenplay and editing draws attention to itself in a way that takes away from the film’s biggest moments—a shame considering these moments could’ve been extremely effective if handled in a slightly different way.
    • 87 Metascore
    • 91 Ross Bonaime
    Return to Seoul is a powerful and quietly staggering work, and one of the most engrossing films of the year.
    • 80 Metascore
    • 75 Ross Bonaime
    In a career full of great performances, Swinton continues to do some of her finest work with Hogg, and Hogg once more proves that she’s one of the most remarkable personal storytellers in cinema today.
    • 54 Metascore
    • 58 Ross Bonaime
    Empire of Light ultimately becomes a confusing mixture of ideas that never congeal into one solid narrative. Yet Mendes’ film does have the tiniest slivers of magic poking through the seams, proving his thesis about the beauty of film, even when he’s too distracted to focus on that idea himself.
    • 66 Metascore
    • 75 Ross Bonaime
    Like the relationship between Lynsey and James, Causeway is a film that slowly grows on you, a film that puts on a tough front—with its devastated characters and desire for escape—yet at its center is a tremendous about of heart, love, with its found families and shared pain.
    • 64 Metascore
    • 67 Ross Bonaime
    Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.
    • 81 Metascore
    • 100 Ross Bonaime
    It’s so much fun to watch Johnson in this mode, especially with a cast this relentlessly fun and playful. With Glass Onion, Johnson proves himself to be a film disruptor of the highest order.
    • 85 Metascore
    • 100 Ross Bonaime
    Spielberg has given us all so much magic over the course of our lives, and The Fabelmans becomes yet another Spielberg masterpiece, but this time, by showing us how this magic came to be in his own life.
    • 86 Metascore
    • 83 Ross Bonaime
    Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.
    • 72 Metascore
    • 83 Ross Bonaime
    Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.
    • 63 Metascore
    • 83 Ross Bonaime
    Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.
    • 70 Metascore
    • 75 Ross Bonaime
    Weird might not be the best biopic parody (Walk Hard still holds that crown), but it is an absolutely charming and often hilarious look at the world’s greatest parody musician, packed with an excellent cast that wants to pay tribute to this weird man. Weird dares to be stupid and succeeds because of it.
    • 50 Metascore
    • 91 Ross Bonaime
    In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

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