Vikram Murthi

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IndieWire, RogerEbert.com, The A.V. Club, The Daily Beast, The Film Stage, Variety
For 109 reviews, this critic has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Vikram Murthi's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Amazing Grace
Lowest review score: 33 Fantastic Beasts: The Crimes of Grindelwald
Score distribution:
  1. Positive: 58 out of 109
  2. Mixed: 47 out of 109
  3. Negative: 4 out of 109
109 movie reviews
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    • 52 Metascore
    • 50 Vikram Murthi
    Greed
    Greed fails because it’s overstuffed with subplots and organized via a maddening time-hopping structure.
    • 52 Metascore
    • 33 Vikram Murthi
    Fantastic Beasts: The Crimes of Grindelwald
    It’s sad that Fantastic Beasts pulls off what I assumed was impossible: It turned an imaginative fantasy world into dreary wallpaper.
    • 51 Metascore
    • 42 Vikram Murthi
    The Six Triple Eight
    From beginning to end, The Six Triple Eight never trusts its audience to actually engage with the material beyond its inspiring surface, evidenced by a lengthy coda featuring title cards that literally restate the film’s plot over archival footage of the 6888th Battalion. Unsung heroes deserve better.
    • 51 Metascore
    • 58 Vikram Murthi
    The Gentlemen
    Too often, The Gentlemen creaks through the motions of Ritchie’s patented vision, absent the spark necessary to bring his fast-paced action and profane zingers to life. It’s like watching a reunited band struggle to recapture the energy of its glory days.
    • 50 Metascore
    • 50 Vikram Murthi
    How to Talk to Girls at Parties
    It’s everything and nothing at once.
    • 48 Metascore
    • 63 Vikram Murthi
    Jungle
    Jungle succeeds in communicating the young Israeli kid’s horrible situation, as well as the camaraderie between him and his new friends, but falls short when trying to visually explicate his mental state.
    • 46 Metascore
    • 42 Vikram Murthi
    El Chicano
    The story never even grazes the sublime; it’s dull and banal, coasting on familiarity from beginning to end. Here, the clichés don’t celebrate a reunion. They’re at war.
    • 45 Metascore
    • 42 Vikram Murthi
    The Parenting
    Shot and directed like a sitcom episode, The Parenting runs on (good, awkward, creepy) vibes, which is probably why Parker Posey, who plays the home’s “mysterious” owner and exposition dispenser, injects energy into the film just by being her off-kilter self. . . Unfortunately, The Parenting isn’t a hangout movie where tone can reign supreme.
    • 44 Metascore
    • 50 Vikram Murthi
    The King's Man
    The film’s tone is less cheeky and more serious, especially in the first half, but Vaughn and co-screenwriter Karl Gajdusek have their cake and eat it too by doling out standard “Kingsman”-esque thrills in between heady conversations about non-violence, colonialism, and the horrors of war.
    • 43 Metascore
    • 42 Vikram Murthi
    The Beast Within
    The Beast Within has nothing much to offer except the domestic violence allegory at its center, so Farrell repeatedly emphasizes, spotlights, and underlines it in red, just in case anyone was unclear about what the film was really about.
    • 43 Metascore
    • 50 Vikram Murthi
    Bob Marley: One Love
    "One Love” plods through an inert, and-then-this-happened structure that neglects to illuminate or entertain. It’s watchable only because of performances from Kingsley Ben-Adir and Lashana Lynch, who admirably attempt to imbue Bob and Rita Marley, respectively, with genuine life absent from the rest of the film.
    • 43 Metascore
    • 42 Vikram Murthi
    Back to Black
    The palpable sincerity behind “Back to Black” almost makes its myriad weaknesses more glaring. Everyone involved in the film approaches the late artist with love and respect, but its tawdry instincts and misguided sense of responsibility let her memory down.
    • 41 Metascore
    • 42 Vikram Murthi
    Easter Sunday
    Every performer conveys sincere enthusiasm to be on screen with other Filipino actors, but their joy is squandered by a cartoonish story that squanders its honest core. Easter Sunday will likely please Koy’s fanbase and possibly anyone eager to find grandma-and-kid-friendly entertainment, but everyone else might find it lacking.
    • 40 Metascore
    • 67 Vikram Murthi
    Welcome To Marwen
    Zemeckis has crafted a work that may be dismissed and forgotten by the general public, but will inevitably remain a curiosity for cinephiles and auteurists everywhere. Not a bad feat for a guy embarking upon the fourth decade of his career.
    • 40 Metascore
    • 50 Vikram Murthi
    Without Blood
    The sincerity of Without Blood can’t be denied, but alas, the road to mediocrity is paved with good intentions.
    • 39 Metascore
    • 42 Vikram Murthi
    Three Christs
    An insipid, boring mess, Three Christs doesn’t even have the decency to be amusing, apart from Stephen Root’s forced delivery of the film’s title followed by a what-a-world head shake.
    • 39 Metascore
    • 75 Vikram Murthi
    Ella McCay
    Watching Ella McCay can sometimes feel like time travel, particularly for those vested in bygone eras of American filmmaking, but if you’re capable of tuning into its wavelength, an old but worthwhile spirit can be found.
    • 35 Metascore
    • 42 Vikram Murthi
    Venom
    It’s a cliché to praise a film by saying that an actor “is having fun” on screen, but Hardy having fun with a weirdly bland character and his absurd, sassy alter ego goes a long way to giving Venom a reason to exist.
    • tbd Metascore
    • 58 Vikram Murthi
    Hacking Hate
    Hacking Hate can charitably be construed as a subversion of social media incentivization, a filmic attempt to channel free-floating rage towards powerful entities who make money off of human fragility and social discord. But as an exercise in positive or progressive radicalization, it falls short of its aims by communicating well-known problems without offering solutions beyond the need to soldier on in the face of such vast hatred.
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