Sarah-Tai Black

Select another critic »
Los Angeles Times, The Globe and Mail (Toronto)
For 83 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Sarah-Tai Black's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Dahomey
Lowest review score: 25 Emilia Pérez
Score distribution:
  1. Positive: 48 out of 83
  2. Mixed: 28 out of 83
  3. Negative: 7 out of 83
83 movie reviews
view
per page
    • 70 Metascore
    • 25 Sarah-Tai Black
    Emilia Pérez
    It’s a shallow and soulless outing that has no faith in the intelligence of its audience, squanders the considerable skills of its lead actresses, and, in its shallow and inert politics, is pathologically audacious in the worst sense.
    • 80 Metascore
    • 38 Sarah-Tai Black
    Strange Darling
    Fitzgerald gives a strong performance, especially considering the lack of depth her character is afforded, but her impact is drowned out by the film’s truly rancid attempt at upending the gendered inferences that Mollner has staged her character within.
    • 54 Metascore
    • 30 Sarah-Tai Black
    Outlaw Johnny Black
    While its ramshackle editing could be unintentionally humorous, and the obvious dialogue almost veers toward the inadvertently enjoyable, it’s the movie’s insistence on punching down that renders it more of a nightmare than a fever dream.
    • 52 Metascore
    • 30 Sarah-Tai Black
    Magic Mike's Last Dance
    Soderbergh’s film tosses the many lessons of its predecessors, leaving us with a movie that is utterly devoid of its own magic.
    • 52 Metascore
    • 30 Sarah-Tai Black
    On the Come Up
    With a story this well-trodden, exhausted even, the contributions that “On the Come Up” makes are too limited. It feels dated, both in scope and in form.
    • 47 Metascore
    • 38 Sarah-Tai Black
    Alice
    Ver Linden has the potential to twist and upend expectations – to play with genre and character in a way that reworks and remixes both film history and storytelling. Instead, she spends the majority of her film’s runtime vaguely approaching those intentions rather than actually materializing them. It is a tiring series of runarounds that viewers will lose patience for.
    • 72 Metascore
    • 38 Sarah-Tai Black
    Candyman
    In its attempts to revisit the original film’s discrepancies, DaCosta’s film ends up only retracing its narrative inconsistencies with full force and even deeper perplexity. Gone is the alluring entanglement of erotics and fright, replaced here by flat characters limply stumbling over a script intent on hitting us over the head with its social commentary.

Top Trailers

See all »
See all trailers »