Teo Bugbee

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The New York Times
For 242 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 5.4 points lower than other critics. (0-100 point scale)

Teo Bugbee's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Milla
Lowest review score: 10 Broken Diamonds
Score distribution:
  1. Positive: 112 out of 242
  2. Mixed: 108 out of 242
  3. Negative: 22 out of 242
242 movie reviews
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    • 67 Metascore
    • 70 Teo Bugbee
    Diamond Hands: The Legend of WallStreetBets
    It’s a zippy, entertaining approach that offers a surprising degree of insight into the psychology that produced the GameStop phenomenon. Investors played with serious money, but their mind-set was a farcical dive into hyperspace — a week of gambling in a cyber-Vegas that, for some, was worth the hangover.
    • 67 Metascore
    • 50 Teo Bugbee
    Storm Boy
    Storm Boy tries to present itself as a modern fable, where the lessons learned relate directly to present-day concerns over the environment, industrialization and the marginalization of indigenous cultures. But these themes come across as didactic rather than moving.
    • 67 Metascore
    • 70 Teo Bugbee
    Sweetheart
    To the film’s credit, the central relationship remains realistically drawn — a teenage courtship that’s marked by misunderstandings and mood swings. The characters aren’t always sweet, but they never feel phony.
    • 67 Metascore
    • 70 Teo Bugbee
    Giant Little Ones
    Where many coming-of-age films build their stories around the discovery of a fixed selfhood, “Giant Little Ones” succeeds when it chooses to treat youthful identity as open to shift with accumulated experience.
    • 66 Metascore
    • 90 Teo Bugbee
    Clara's Ghost
    As is perhaps appropriate, given the comic occupations of the Reynolds (and the Elliott) family, this unusual, unsettling and terrific little film presents itself not as a domestic opera, but as a family comedy.
    • 66 Metascore
    • 80 Teo Bugbee
    You Cannot Kill David Arquette
    What’s fascinating is Arquette’s vulnerability, both emotionally and physically.
    • 66 Metascore
    • 70 Teo Bugbee
    Cowboys
    The observant nature of this character drama offers Zahn in particular the opportunity to expand into new territory. He hasn’t lost the spaciness that once made him a lovable comedic sidekick, but here fatherhood endows that same charm with pathos, even tragedy.
    • 66 Metascore
    • 70 Teo Bugbee
    The Dog Doc
    For audiences who don’t mind being jealous of sick dogs, The Dog Doc is a thought-provoking look at what is missing from modern medicine — for animals and for people.
    • 66 Metascore
    • 70 Teo Bugbee
    The Road Movie
    The camera offers no protection; it only provides a witness. Fortunately for audiences, it’s more pleasurable to witness anarchy than it is to experience it.
    • 66 Metascore
    • 80 Teo Bugbee
    Carmen
    Writer and director Valerie Buhagiar makes the wise decision to orient her film toward what’s pleasurable rather than what’s logical. The Maltese countryside sparkles in the sunlight, and McElhone delights with a charming and slightly loopy performance as the irreverent spiritual leader.
    • 65 Metascore
    • 60 Teo Bugbee
    ¡Viva Maestro!
    Dudamel is a joyfully appealing figure, and the film benefits from following such an amiable subject. But the documentary lacks the rigor it would take to turn this warm portrait into a proper cinematic symphony.
    • 65 Metascore
    • 60 Teo Bugbee
    Cocoon
    The softness lacks detail, the butterfly metaphors lack originality, but the movie is pleasant, a balmy introduction to adult feelings of desire and belonging.
    • 47 Metascore
    • 50 Teo Bugbee
    Fallen
    Like other fixtures of the Y.A. genre, Fallen is filmed with a professional sheen that sacrifices emotional sincerity for high production values.
    • 65 Metascore
    • 70 Teo Bugbee
    The Rose Maker
    It’s a relaxed film, one that allows the audience to sit back and, if not smell the roses, then at least appreciate them.
    • 65 Metascore
    • 70 Teo Bugbee
    Please Baby Please
    The film’s ironic tone largely defangs the transgressive films it parodies, but Kramer does broaden the scope of the queer leather canon.
    • 64 Metascore
    • 50 Teo Bugbee
    Adam
    Adam is a movie that tackles big ideas about queerness and comes out looking confused — making it an experience that frustrates even as it tries to endear.
    • 64 Metascore
    • 60 Teo Bugbee
    The Villainess
    It’s hard to enjoy the action when you witness its emotional cost, but once Sook-hee starts slashing goons from atop motorcycles, it’s equally impossible to root for the violence to stop.
    • 64 Metascore
    • 60 Teo Bugbee
    To the End
    Lears clearly feels earnest sympathy for her subjects and passion for their cause, but the film often replicates for viewers the same atmosphere of hopelessness that makes climate activism a hard sell for voters.
    • 63 Metascore
    • 30 Teo Bugbee
    Villains
    Despite some committed performances, particularly from a refreshingly natural Maika Monroe, Villains is a hackneyed farce rich in gimmicks and poor in substance.
    • 63 Metascore
    • 50 Teo Bugbee
    The Hole in the Ground
    In a film where the central horror is the otherworldly absence of personality, the intended fear is undermined by the presence of a mother and son whose flawlessness is itself unnerving.
    • 23 Metascore
    • 20 Teo Bugbee
    Music
    This is a bizarre movie, one that parades confused ideas about care, fantasy and disability with a pride that reads as vanity. It is audacious, in the sense that making it certainly took some audacity.
    • 63 Metascore
    • 40 Teo Bugbee
    Tove
    The soft-focus cinematography is beautiful but drippy, and this general tendency toward mushy melodramatics presents an unflattering contrast to the sharp-lined vivacity that Jansson brought to the page.
    • 63 Metascore
    • 50 Teo Bugbee
    18½
    The film’s referential pleasures feel insubstantial, diminished by the direct comparison to more meaningful works of the period.
    • 62 Metascore
    • 50 Teo Bugbee
    The Good House
    The trouble with this cinematic Trojan horse is that the superficial blandness dominates the frame. It’s hard to feel the story’s stakes when the images are always indicating no danger ahead.
    • 62 Metascore
    • 60 Teo Bugbee
    Ahead of the Curve
    The film’s subjects are overwhelmingly earnest, but the movie suffers for its substitution of enterprise over entertainment.
    • 62 Metascore
    • 60 Teo Bugbee
    Yomeddine
    Yomeddine makes its strongest impression through the direction and performances; at times, the story is rather flimsy.
    • 62 Metascore
    • 70 Teo Bugbee
    H is for Happiness
    Its meticulous visuals do frequently tip into preciousness, yet this cuteness is offset by the movie’s refreshingly direct take on depression and despair. This unusual children’s film may be fussy, but to its credit, it is not frivolous.
    • 62 Metascore
    • 60 Teo Bugbee
    Lu Over the Wall
    Lu sometimes feels more like a cynical plot device than a character. The problem is only amplified by the animation itself.
    • 62 Metascore
    • 80 Teo Bugbee
    Ideal Home
    Ideal Home is genuinely funny, and the poignant and pithy script is aided by the chemistry between its stars, who are equally adept with comedic punch lines as they are with dramatic gut punches.
    • tbd Metascore
    • 30 Teo Bugbee
    True to the Game
    The direction, by Preston A. Whitmore II, seems hampered by either a lack of resources or a lack of interest.
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