Thom Ernst

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Original-Cin
For 241 reviews, this critic has graded:
  • 74% higher than the average critic
  • 7% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 7.2 points higher than other critics. (0-100 point scale)

Thom Ernst's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Agnes
Lowest review score: 16 Nemesis
Score distribution:
  1. Positive: 172 out of 241
  2. Mixed: 65 out of 241
  3. Negative: 4 out of 241
241 movie reviews
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    • tbd Metascore
    • 75 Thom Ernst
    Freydís and Gudrid
    It’s not reluctance that prevents Leiser from divulging the driving force of the film’s narrative but rather a self-assured and less defensive “take-it-or-leave-it” attitude. The “opera” aspect of the film will be highlighted in the review and press material, but for Leiser, Freydís and Gudrid, it is simply a good story told through music.
    • 70 Metascore
    • 75 Thom Ernst
    The Bikeriders
    The Bikeriders sparks enough interest to hint at the possibility of stronger stories being washed away in the flow of an unfocused narrative. There are good stories in The Bikeriders, fleshed out within an inch of their potential.
    • 68 Metascore
    • 83 Thom Ernst
    In a Violent Nature
    In a Violent Nature follows the traditional path of a slasher and rises above the genre to be something other than the norm.
    • 79 Metascore
    • 100 Thom Ernst
    Furiosa: A Mad Max Saga
    Furiosa: A Mad Max Saga is not likely to make the same rounds at the Academy Awards as its predecessor. But it remains a winning formula. And when someone tells you that it has the best action sequences put to film—believe them.
    • 86 Metascore
    • 83 Thom Ernst
    I Saw the TV Glow
    I Saw the TV Glow demands the audience's attention. I can’t say that, even with all synapses firing, I was able to catch every (maybe none) of the nuances Schoenbrun was tossing out. But it’s at times like that when I find it best to relax and experience the film rather than struggle to make sense of it.
    • 43 Metascore
    • 50 Thom Ernst
    The Strangers: Chapter 1
    I'll admit that The Strangers had me on the edge of my seat, mostly because I wasn't sure if I planned on staying.
    • 68 Metascore
    • 75 Thom Ernst
    New Life
    Director John Rosman’s debut film New Life is a simple but effective film that sits on the border between thriller and horror. Rosman straddles the line, keeping one foot in both genres and adding an element of apocalyptic drama. The result is a decent film despite the feeling that we’ve seen this before.
    • 72 Metascore
    • 100 Thom Ernst
    The Coffee Table
    The writing in The Coffee Table is almost acrobatic in its delivery, manipulating feelings and ideas by rendering deep guttural emotions in the all too familiar ways. The terror in Casas’ film is linked to the unknown. But differing from other horror films, the unknown in Casas’ film is neither ethereal nor otherworldly.
    • 47 Metascore
    • 83 Thom Ernst
    Boy Kills World
    Mohr appears to be in control even when the film takes wild swipes from the absurd to the dramatic. Still, Boy Kills World works.
    • 62 Metascore
    • 83 Thom Ernst
    Abigail
    Weir is beyond amazing, out-cursing Linda Blair's Regan from The Exorcist, out-dancing M3GAN, and out-terrifying the child with the garden-trowel from Night of the Living Dead.
    • 57 Metascore
    • 75 Thom Ernst
    Sting
    Sting is ridiculous. Still, it's a better movie than it needs to be. A dramatic family backstory sets Sting apart from myriad other creature features.
    • 67 Metascore
    • 75 Thom Ernst
    All You Need Is Death
    All You Need is Death is a film to experience. It requires some work from the audience. An impassive viewer is unlikely to piece together the fragments that make a cohesive whole. This is a film to be discovered, made by a director worth discovering.
    • 65 Metascore
    • 58 Thom Ernst
    The First Omen
    The First Omen is nunsploitation disguised as religious horror bordering on art house. And while individual snippets from the film qualify as genuinely eerie, the overall impression is of a tale told twice-too often.
    • 77 Metascore
    • 83 Thom Ernst
    Love Lies Bleeding
    Love Lies Bleeding is bent in the most unexpected ways, filling the screen with the impossible while refusing to make excuses.
    • 34 Metascore
    • 50 Thom Ernst
    Imaginary
    Imaginary is far too long, at one hour, 44 minutes. The build-up has a few exciting moments. But the climax, intended as the film's centerpiece, is a dull repetition of hallways, locked doors, and unimpressive jump scares. Anyone who has toured a makeshift haunted house at a charitable event has experienced worse scares.
    • 26 Metascore
    • 58 Thom Ernst
    Madame Web
    Madame Web is a strange and quickly forgettable entry in the superhero genre. It falls apart entirely in the third reel with an unimpressive final battle and an odd, but not wholly uninteresting, Buñuel-like expose.
    • 47 Metascore
    • 75 Thom Ernst
    Lisa Frankenstein
    Lisa Frankenstein can be fun, but there is a mean-spiritedness to Cody’s script that doesn’t fit with the film’s premise. It comes mainly at the hands of the creature whose victims are far from charming but don’t necessarily deserve the extreme comeuppance that’s dealt to them.
    • 53 Metascore
    • 83 Thom Ernst
    The Beekeeper
    The Beekeeper is mindless, overblown nonsense timed perfectly to drag us from a haze of prestige films and an awards bait stupor.
    • 43 Metascore
    • 42 Thom Ernst
    Night Swim
    Night Swim is another title to add to the increasingly unreliable canon of films from Jason Blum and James Wan. Not every new project has to be greenlit, gentlemen.
    • 53 Metascore
    • 50 Thom Ernst
    Silent Night
    Silent Night is not the second coming of Die Hard that we might have hoped.
    • 86 Metascore
    • 100 Thom Ernst
    Fallen Leaves
    Kaurismäki does not shrink from present-day buzz-kills like updates on Russia’s attacks against Ukraine, or the afflictions of poverty on Helsinki’s working class. But here again, is the contrast; even amid conflict, things charming and funny can occur.
    • 63 Metascore
    • 91 Thom Ernst
    Thanksgiving
    The film is Roth’s, and so expect a silly premise, comic-book violence, and gory set pieces. What you might not expect is the humour. Thanksgiving is funny.
    • 55 Metascore
    • 67 Thom Ernst
    Butcher's Crossing
    Butcher’s Crossing is a decent western, with decent performances. It’s a film that delivers what’s expected. But for a story that could give Captain Ahab a run for his money, getting the expected is a bit disappointing.
    • 33 Metascore
    • 42 Thom Ernst
    Five Nights at Freddy's
    If Five Nights at Freddy’s has anything to offer in the way of entertainment, scares, and authentic memorabilia, it was buried beneath the determined pandering to those addicted to being on the inside of the joke.
    • 57 Metascore
    • 58 Thom Ernst
    Dicks: The Musical
    The film is broad, campy, audacious and arrives with high expectations. But Dicks ultimately disappoints — and the inherent joke that goes with that line should not pass underappreciated. The title is the joke. But it’s a joke that doesn’t get as much play as it should.
    • 39 Metascore
    • 50 Thom Ernst
    The Exorcist: Believer
    There are many reasons why The Exorcist worked and still does, and why The Exorcist: Believer doesn’t and never will. But to explore the difference between the films too profoundly would be to legitimize Green’s film as a worthy successor to William Friedkin’s masterpiece. It isn’t.
    • 85 Metascore
    • 100 Thom Ernst
    The Eternal Memory
    Sure, The Eternal Memory is tough and occasionally relentless, but it is also affirming in ways unexpected. Significant and intense indeed, but the excursion is far from weary.
    • 40 Metascore
    • 83 Thom Ernst
    Meg 2: The Trench
    Director Ben Wheatley gives the summer blockbuster the finger, and it’s the funniest damn thing I’ve seen this year. Meg 2: The Trench is flawed to perfection; a satirical pummeling of commercial cinema and the first out of gate with a Barbie send-up.
    • 76 Metascore
    • 91 Thom Ernst
    Talk to Me
    Credit goes to the Philippou brothers for their originality and perfectly queasily executed bits of ghoulish anarchy.
    • 70 Metascore
    • 83 Thom Ernst
    Theater Camp
    While so many movies lack a decent wrap-up, Theatre Camp goes out on a high note. You might not walk out humming show tunes, but you will leave smiling. After all, no one does curtain calls better than theatre people.
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