Sara Stewart

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New York Post
For 607 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Sara Stewart's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Dolemite Is My Name
Lowest review score: 0 Would You Rather
Score distribution:
  1. Positive: 324 out of 607
  2. Mixed: 176 out of 607
  3. Negative: 107 out of 607
607 movie reviews
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    • 36 Metascore
    • 38 Sara Stewart
    Captive
    For a story whose appeal hinges on the saving grace of getting a "purpose-driven life," this one's got remarkably little of it.
    • 34 Metascore
    • 38 Sara Stewart
    Keeping Up with the Joneses
    This flaccid comedy tries to spark your interest by undressing two of its four stars down to their underwear for significant periods of time. More outrageously, neither of those people is Jon Hamm.
    • 43 Metascore
    • 38 Sara Stewart
    Violet & Daisy
    Predicated almost entirely on the repeated juxtaposition of innocent girlishness and mindless violence, Violet & Daisy could still have been campy fun — instead, it wilts for lack of wit.
    • 40 Metascore
    • 25 Sara Stewart
    Domino
    Domino, though, is the dregs: This thriller may be randomly set one year in the future, yet it’s hopelessly regressive — a parade of lame stereotypes that feels directed by an out-of-touch Old Hollywood old guy (De Palma is 78).
    • 40 Metascore
    • 25 Sara Stewart
    Insidious: Chapter 2
    At the start of Insidious 2, a young woman opens her mouth to speak and someone else’s voice comes out of her. Demonic possession? Nope, just some inexplicable dubbing to kick off this clunker of a horror sequel.
    • 32 Metascore
    • 25 Sara Stewart
    Primal
    There is a limit to the redemption Nicolas Cage can grant a terrible movie, and Primal is it.
    • 20 Metascore
    • 0 Sara Stewart
    Would You Rather
    Would you rather . . . watch this movie, or spend an hour and a half having your arm hairs plucked out with a rusty pair of tweezers? I’d have chosen the latter if it’d been on offer.
    • 34 Metascore
    • 38 Sara Stewart
    Aloft
    Aloft is less like a story than a dream, populated with gorgeous people and symbolism you can interpret any way you like.
    • 22 Metascore
    • 25 Sara Stewart
    Home Sweet Hell
    Dreadful, misogynist slog of a film.
    • 65 Metascore
    • 25 Sara Stewart
    Troublemakers: The Story of Land Art
    This reverential documentary, crammed with insidery art-world anecdotes, seems unlikely to convince the average viewer why it was so important that several male artists ventured out of New York at that time to push dirt around with shovels and bulldozers.
    • 64 Metascore
    • 38 Sara Stewart
    The Mountain
    This is the kind of movie that gives art-house movies a bad name. Seeing as it’s about lobotomies in the 1950s, it is also ripe for “ice-pick- through-the-eye” jokes about the pain of watching it. But I would never stoop so low.
    • 41 Metascore
    • 38 Sara Stewart
    Raze
    Ultimately, though, the lack of story and relentless suffering make Raze appealing for hard-core genre fans only.
    • 58 Metascore
    • 38 Sara Stewart
    Low Down
    First-time feature director Jeff Preiss has a top-notch duo in John Hawkes, as the affable but troubled Joe, and Elle Fanning as his teen daughter, Amy, but neither can really get out from under the film’s heavy-handed tone, a one-note trip down a bleak memory lane.
    • 54 Metascore
    • 38 Sara Stewart
    12 Strong
    It’s macho eye-candy of the cheapest kind, endless scenes of gunfire and explosions and rugged, handsome actors running while shooting and yelling.
    • 54 Metascore
    • 25 Sara Stewart
    Some Velvet Morning
    Minus its smirky twist ending, it’d make perfect material for New York’s new “That’s Abuse” domestic violence awareness campaign.
    • 53 Metascore
    • 38 Sara Stewart
    Don't Stop Believin': Everyman's Journey
    Pineda is lovely, but I stopped believin’ in this documentary long before it was over.
    • 53 Metascore
    • 25 Sara Stewart
    Donnybrook
    If you’re looking for a poverty-porn fix, Donnybrook ought to hit the spot. If not, you’ll likely find this a pointless exercise in gratuitous violence that imagines itself deep because it’s got an opera-heavy score.
    • 53 Metascore
    • 38 Sara Stewart
    Approaching the Unknown
    Unfortunately, his machine fails en route; way more unfortunately, he comes up very short compared to Mark Watney, the red planet-stranded astronaut played with such humor and energy by Matt Damon in last year’s “The Martian.”
    • 53 Metascore
    • 25 Sara Stewart
    Red Sparrow
    “Do you know how long it takes to peel the skin from a human body?” a torture-happy Russian goon asks in Red Sparrow. I imagine it feels about as long as sitting through this atrocious spy thriller.
    • 45 Metascore
    • 38 Sara Stewart
    The 15:17 to Paris
    Compelling drama it is not.
    • 52 Metascore
    • 38 Sara Stewart
    Everything, Everything
    It’s a heavy lift to find any single thing that happens here remotely plausible, and ultimately it almost seems a horror movie misinterpreted as a romance. File this one under “The Fault in Our Screenplay.”
    • 52 Metascore
    • 25 Sara Stewart
    Saint Laurent
    Ultimately, though, Saint Laurent is beautifully dressed with little substance, which doesn’t do much to subvert a prevailing stereotype about the industry as a whole.
    • 51 Metascore
    • 38 Sara Stewart
    The Neon Demon
    It’s too bad there’s already a movie out this week called “The Shallows”; it would work so perfectly for the new film from Nicholas Winding Refn (“Drive”).
    • 51 Metascore
    • 25 Sara Stewart
    How to Be Single
    It will probably not surprise you to learn that this film, generically directed by Christian Ditter (“Love, Rosie”), was written by the people behind 2009’s “He’s Just Not That Into You.” Seven years later, guess what? He’s still not that into you! And I wouldn’t be, either, not with this lot.
    • 51 Metascore
    • 25 Sara Stewart
    Valerian and the City of a Thousand Planets
    If you’re going to call your sci-fi movie Valerian and the City of a Thousand Planets, you’d better be sure Valerian (Dane DeHaan) is a guy your audience can get behind. Director Luc Besson styles him as a cocky space rogue, but Valerian is weak sauce. And so is this movie.
    • 51 Metascore
    • 25 Sara Stewart
    Skyscraper
    There’s no better time than summer for a fun, brainless thriller. All you need is three key ingredients: a charismatic hero, a hateable villain and a snappy screenplay...Skyscraper, regrettably, cuts likable star Dwayne “The Rock” Johnson off at the knees by failing to deliver on the other two.
    • 51 Metascore
    • 38 Sara Stewart
    The Call
    I’ll say one thing for The Call: Its ending is actually a bit of a surprise. Just when you think it couldn’t get any stupider, pow! I’ll be damned, Hollywood, you still have the power to blindside.
    • 50 Metascore
    • 38 Sara Stewart
    Now You See Me
    None of these seemingly plot-rich questions are explored; instead, we’re stuck with a greasy-haired Mark Ruffalo, as his detective character flounders along in their wake, muttering that he doesn’t have time for this magic crap.
    • 49 Metascore
    • 25 Sara Stewart
    Krampus
    Seeing as Krampus is about the Alpine demon who punishes Christmas a-holes, this is a promising start — but alas, it’s all downhill from there, making a murky and humorless hash out of a pretty great piece of
    • 49 Metascore
    • 38 Sara Stewart
    V/H/S/2
    With the exception of “Tape 49” — the Simon Barrett-directed segment about the PI — the films are ridiculously shaky, their camerawork so determinedly guerrilla-style that it’s difficult not to look away, sometimes at crucial moments. Found footage is all well and good, but if it’s unwatchable, it might as well have stayed lost.
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