Savina Petkova

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Little White Lies, The Film Stage, The Playlist
For 37 reviews, this critic has graded:
  • 56% higher than the average critic
  • 8% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 11.5 points higher than other critics. (0-100 point scale)

Savina Petkova's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 The Chronology of Water
Lowest review score: 40 Fantastic Machine
Score distribution:
  1. Positive: 31 out of 37
  2. Mixed: 6 out of 37
  3. Negative: 0 out of 37
37 movie reviews
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    • 56 Metascore
    • 42 Savina Petkova
    The Wizard of the Kremlin
    The film’s whole narrative set-up reveals itself flimsy and unconvincing––it doesn’t take much to realize that a conversation between a political advisor and a political expert could never in a million years be so toothless and dull.
    • 85 Metascore
    • 50 Savina Petkova
    I'm Still Here
    On this occasion Salles has somehow failed to find the right cinematic framework for this biopic storytelling. The film feels uncalibrated, but not in the free-flowing, depth-exploring, liberated kind of way.
    • 62 Metascore
    • 58 Savina Petkova
    Armand
    The film may not leave any deep marks or make you consider parenthood in a new light, but it still constitutes an auspicious debut.
    • 65 Metascore
    • 42 Savina Petkova
    Wild Diamond
    Khebizi, an acting newcomer, delivers a performance that’s this close to perfection, using her sparse dialogue and highly stylized gestures to make Liane appear almost untouchable. If only the script could live up to the level of complexity her first role achieves.
    • 47 Metascore
    • 40 Savina Petkova
    Fantastic Machine
    Fantastic Machine makes for a decent A-level crash-course in media history, before you graduate to Kirsten Johnson’s far superior Cameraperson.
    • 72 Metascore
    • 58 Savina Petkova
    Society of the Snow
    On the one hand, Society of the Snow is a perfectly watchable film punctured by affect and empathy, and on the other it taps into the power of cinema to bear witness––even in the most conventional of genres––to those who no longer are with us.

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