Roxana Hadadi

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Los Angeles Times, New York Magazine (Vulture), Polygon, RogerEbert.com, The A.V. Club, The Playlist, Variety
For 125 reviews, this critic has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 5.5 points higher than other critics. (0-100 point scale)

Roxana Hadadi's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Attica
Lowest review score: 10 Ghostbusters: Afterlife
Score distribution:
  1. Positive: 96 out of 125
  2. Mixed: 25 out of 125
  3. Negative: 4 out of 125
125 movie reviews
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    • 56 Metascore
    • 75 Roxana Hadadi
    Settlers
    Rockefeller only repeats other science fiction, rather than inventing big ideas of his own.
    • 55 Metascore
    • 65 Roxana Hadadi
    The Prom
    The film’s ultimate admiration of celebrity is only vaguely tolerable because its concurrent message of inclusivity is theoretically admirable — but must it be delivered by the likes of a thoroughly exhausting, irredeemably self-satisfied James Corden?
    • 54 Metascore
    • 58 Roxana Hadadi
    Oslo
    What results is a very Western-specific view of this conflict and of the Oslo Accords that doesn’t embody the “both sides” approach the film ostensibly intends to provide.
    • 54 Metascore
    • 40 Roxana Hadadi
    The Hunger Games: The Ballad of Songbirds and Snakes
    It’s all thematically muddled, narratively regurgitated stuff that makes the film feel like a nearly three-hour backsliding of this franchise’s onetime political forcefulness.
    • 53 Metascore
    • 40 Roxana Hadadi
    It Ends with Us
    The movie wants to be a form of comfort food, assuring us that everything would be all right if only women embraced their traditional roles as nurturers, mothers, and healers, but it all just tastes stale.
    • 53 Metascore
    • 50 Roxana Hadadi
    Warning
    The result is admirable for how grim it is in its multifaceted way, but as a whole, Warning is too disjointed and underdeveloped to really make an impact with its dystopian cautions.
    • 52 Metascore
    • 63 Roxana Hadadi
    Bruised
    Bruised generally lacks the kind of immersion that a story like this demands. It wants us to step alongside Jackie and stay with her, experiencing her pain and her triumph, but it makes the journey from locker room to octagon unfathomably long.
    • 52 Metascore
    • 38 Roxana Hadadi
    Radium Girls
    Radium Girls is bogged down by a trite script, inconsistent character motivations, and an over-reliance on historical footage that has little to do with the film itself. The anger inspired by what happened to these women is invigorating, but that fury is rarely felt from what Radium Girls offers as a cinematic experience.
    • 52 Metascore
    • 80 Roxana Hadadi
    Wolf
    Practically everything about Wolf truly relies on MacKay, who has to be convincing enough in his at-odds identity to simultaneously draw viewers’ empathy and promote their unease. And he is, for every minute of this film’s 98-minute run time.
    • 52 Metascore
    • 58 Roxana Hadadi
    Beckett
    The Beckett character is sparsely written, and the sometimes bland performance Washington delivers doesn’t fill in many characterization gaps; it’s a problem that affects the pacing, too.
    • 52 Metascore
    • 75 Roxana Hadadi
    The Colony
    These characters move in a world that is stunningly visualized but superficially conceived, and The Colony embodies a genre that seems — perhaps like humanity itself — unable to take a step forward in imagining a different future.
    • 51 Metascore
    • 63 Roxana Hadadi
    Falling for Figaro
    It’s a testament to Macdonald and Skinner that they inject chemistry into their characters’ underwritten pairing. Their performances are what make “Falling for Figaro” an entertaining distraction, even as the film plays out exactly as you would expect.
    • 50 Metascore
    • 58 Roxana Hadadi
    Bloodline
    Director Henry Jacobson’s gory thriller is initially quite effective when it complements the lies families tell each other with arcs of jugular blood.
    • 50 Metascore
    • 67 Roxana Hadadi
    Tell It to the Bees
    What Tell It To The Bees accomplishes for queer romance it abandons with an ending that is committed to unnecessary melancholy.
    • 49 Metascore
    • 30 Roxana Hadadi
    Reminders of Him
    It’s familiar, it’s generic, and it feels like a test of how far we’ll lower our standards.
    • 48 Metascore
    • 70 Roxana Hadadi
    The Protégé
    It’s a shame Maggie Q was so busy carrying The Protégé on her back that she couldn’t make time to kick the film’s embarrassing script into shape, too.
    • 47 Metascore
    • 70 Roxana Hadadi
    Gunpowder Milkshake
    The film’s intermittent delights are momentarily satisfying, but then numbness sets in, like the brain freeze that blooms after you slurp on the film’s titular ice-cream treat.
    • 47 Metascore
    • 60 Roxana Hadadi
    Kate
    Another unimaginative woman-led action flick written and directed by men who telegraph their twists and lean on flashbacks instead of bothering to write character development, Kate mistakes “Women can kill just as well as men!” for some sort of new idea.
    • 46 Metascore
    • 50 Roxana Hadadi
    Sweet Girl
    Momoa can believably howl in anguish and throw a devastating punch, but he can’t carry a script this muddled.
    • 45 Metascore
    • 65 Roxana Hadadi
    There's Someone Inside Your House
    There’s Someone Inside Your House is intermittently effective, but ultimately unremarkable, and it feels like a product of its time in disappointing ways.
    • 45 Metascore
    • 75 Roxana Hadadi
    Mayday
    Goth is a scene-stealer, and some of Levy’s visuals are memorable in their otherworldly quality. Cinorre’s initially provocative vision of vengeance at least makes Mayday worth a look.
    • 45 Metascore
    • 10 Roxana Hadadi
    Ghostbusters: Afterlife
    Rarely has a sequel been this listless, this creatively bankrupt, or this unaware of the charm and appeal of its predecessors. Rarely has a film been this craven in appeasing an imaginary audience by mimicking what came before it and refusing to challenge itself in terms of dreaming up a new world, crafting new characters, or fashioning new stakes.
    • 44 Metascore
    • 60 Roxana Hadadi
    Voyagers
    Burger has crafted a shrug of a movie that insists teenagers should follow the rules and submit to the greater good, but fails to imagine what toll that kind of sacrifice would really take.
    • 44 Metascore
    • 85 Roxana Hadadi
    Mortal Kombat
    That go-for-broke violence has always been a core component of Mortal Kombat, and this reboot succeeds because McQuoid and his team remember that, and have the self-awareness to acknowledge it. It isn’t a flawless victory, but it is lizard-brain fun.
    • 42 Metascore
    • 65 Roxana Hadadi
    Needle in a Timestack
    Needle in a Timestack lacks the interior worldbuilding necessary to pull off its heartstring-tugging intentions, and the result is a movie that unintentionally confirms how no good ever comes from men who obsessively refuse to leave women alone.
    • 42 Metascore
    • 75 Roxana Hadadi
    Night Teeth
    Night Teeth isn’t genuinely original, substantive, or scary. But as a remix of the vampire thriller’s most lizard-brain-focused qualities, Netflix’s latest Halloween offering is appreciated for how few demands it puts on its audience.
    • 41 Metascore
    • 70 Roxana Hadadi
    The Unforgivable
    The Unforgivable transcends its own self-importance and becomes an experience that is often rattling, challenging and haunting.
    • 36 Metascore
    • 45 Roxana Hadadi
    Zone 414
    The ways Zone 414 lifts from its predecessors, borrowing elements from character development to costuming to questions about the utilitarianism of our physical bodies, denies it identifiable or entertaining qualities of its own.
    • 31 Metascore
    • 33 Roxana Hadadi
    Artemis Fowl
    Artemis Fowl, the first Disney movie to have its theatrical release completely scrapped because of the COVID-19 pandemic, is bland and incoherent, with paper-thin character development, unimaginative world building, and a lot of daddy issues.
    • 28 Metascore
    • 40 Roxana Hadadi
    Infinite
    Mark Wahlberg should never be in a science fiction movie ever again. While the Paramount Plus exclusive streaming movie Infinite isn’t entirely his bad — the direction, script, and overall absence of creative vision also range from nonsensical to embarrassing — it suffers profoundly from his bland, phoned-in, looking-for-the-craft-table performance.
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