For 331 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 6 points lower than other critics. (0-100 point scale)

Tom Russo's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 88 Ralph Breaks the Internet
Lowest review score: 25 Bucky Larson: Born to Be a Star
Score distribution:
  1. Negative: 51 out of 331
331 movie reviews
    • 70 Metascore
    • 50 Tom Russo
    After a point, we’re left wondering whether we’re watching a character study or caricature. Either way, the portrait gradually morphs from intriguing to tedious.
    • 67 Metascore
    • 75 Tom Russo
    At its best moments, Creed II manages a feat nearly as striking as anything that Michael B. Jordan’s Rocky Balboa protégé pulls off in the boxing ring: It doesn’t play all that much like a sequel.
    • 71 Metascore
    • 88 Tom Russo
    The imaginative, touching, and dizzyingly animated Ralph Breaks the Internet is a sequel with a rich, broad vision that addresses all of these issues faster than you can say Fix-It Felix.
    • 60 Metascore
    • 63 Tom Russo
    The particulars are often fascinating, but all the solemnity does work against a more rousing finish. The Netflix-distributed feature might equal “Braveheart” (1995) in its gritty authenticity, but that standard-setter’s memorably transportive quality was ultimately a far battle cry from this.
    • 51 Metascore
    • 50 Tom Russo
    The result is a reworking that feels both unnecessary and uninspired, even if it’s too genial and visually captivating to be flat-out off-putting.
    • 39 Metascore
    • 50 Tom Russo
    What starts as a modest, agreeable riff on E.T.A. Hoffmann’s original tale — and, more relevantly, Tchaikovsky’s ballet — eventually veers into stultifying action, rote twists, and other badly forced contemporary tweaks.
    • 66 Metascore
    • 75 Tom Russo
    It’s as if Hill took his familiar sly humor and sneaked it into a segment from Richard Linklater’s “Boyhood.”
    • 58 Metascore
    • 25 Tom Russo
    He (Barinholtz) works hard to creatively lampoon a nation divided, and his first-timer’s ambition and thematic investment are admirable. Disappointingly, though, he lacks storytelling chops, aiming for wildly provocative satire but instead churning out a technically spotty screed.
    • 83 Metascore
    • 75 Tom Russo
    Go figure that the year’s most outrageously harrowing action movie turns out to be an arthouse doc from National Geographic.
    • 60 Metascore
    • 75 Tom Russo
    Everyone from Channing Tatum to Danny DeVito to Hollywood transplant LeBron James is here voicing the movie’s winsomely rendered snow creatures, but it’s the creative story more than the routine-if-likable characters that makes this one so engaging.
    • 57 Metascore
    • 63 Tom Russo
    Tricky territory to navigate, but it ultimately lends some genuine poignancy to the story’s familiar accidental-family themes. If there’s someplace Roth makes a mark, it’s here.
    • 67 Metascore
    • 75 Tom Russo
    Kendrick’s interplay with Lively crackles, whether they’re going for laughs or something darker. Both are big selling points — as is their director, even if it’s not as advertised.
    • 58 Metascore
    • 75 Tom Russo
    Notoriously remembered as a mastermind of the Final Solution, Eichmann was also infamous for the just-following-orders dispassion he maintained all the way through his trial, a banality that Kingsley channels expertly.
    • 27 Metascore
    • 63 Tom Russo
    Some of this smutty irreverence is undeniably hilarious, goosed along by Melissa McCarthy’s game presence as Phil’s estranged LAPD partner and human foil. (In other felt-free casting, Maya Rudolph is equally entertaining as Phil’s trusty secretary, even if Elizabeth Banks and Joel McHale go to waste.)
    • 38 Metascore
    • 75 Tom Russo
    Berg and Wahlberg deliver a relentlessly paced, addictively slick paramilitary thriller actively catering to fans of gonzo brutality and turbocharged machismo.
    • 63 Metascore
    • 63 Tom Russo
    The stylishly crafted film mostly succeeds in its engaging (and tagline-ready) ambition to chronicle “how mankind discovered man’s best friend,” even if its naturalistic strengths are swapped out for an exaggeratedly epic tone in the later going.
    • 66 Metascore
    • 63 Tom Russo
    Why can’t the film maintain its subtler shadings throughout? It’s a puzzle.
    • 60 Metascore
    • 75 Tom Russo
    It’s surprising to see how straight McGregor plays it for director Marc Forster (the J.M. Barrie portrait “Finding Neverland”), allowing the CG-animated Pooh and friends to endearingly steal the show.
    • 50 Metascore
    • 50 Tom Russo
    Save for a couple of crisp standalone segments incorporated as tone-setters, Washington’s first-ever sequel is a narratively and visually muddled disappointment, one that regularly confuses numbing brutality with vicariously thrilling righteous vengeance.
    • 70 Metascore
    • 88 Tom Russo
    It’s fast, it’s funny, it’s superficial, it’s full of likable stars and scientific mumbo-jumbo, and, above all, it taps into the human urge to see big things become little and little things get big. It’s as close to lizard-brain entertainment as superhero blockbusters get, and as the mercury pushes toward 100, I’ll take it.
    • 50 Metascore
    • 50 Tom Russo
    Character quirks know no limits in the indie dramedy Boundaries, a multi-generational road-trip movie that gives both Vera Farmiga and Christopher Plummer richly drawn roles to play.
    • 85 Metascore
    • 63 Tom Russo
    Hawke delivers a strong melancholy variation on his familiar emotional cool as Reverend Toller.
    • 56 Metascore
    • 75 Tom Russo
    Tag
    What’s most unexpectedly gratifying is how much energy veteran standup director Jeff Tomsic and his splashy cast pour into ensuring that this is legit entertainment, packed with gonzo wit and even some sentiment.
    • 68 Metascore
    • 75 Tom Russo
    The drama palpably, potently conveys the group’s misgivings, their jangling nerves, the foolhardy resignation pushing them on despite themselves.
    • 56 Metascore
    • 50 Tom Russo
    As he did with his "Everest" cast, Kormákur draws a strong, pathos-rich performance from Woodley, filled with moments of her character confronting her own mortality and looking back on safe choices not made. It’s solid drama, but also very slow going.
    • 62 Metascore
    • 75 Tom Russo
    Veteran London theater director Dominic Cooke (the BBC’s “The Hollow Crown”) and acclaimed novelist Ian McEwan adapt the fractured-narrative feature from McEwan’s book, enhancing the elegant prose with additional bits of rich characterization and handsomely shot scenery.
    • 46 Metascore
    • 50 Tom Russo
    Thoroughly vanilla comedy, a movie jammed with well-meaning girl power messages but surprisingly little edge.
    • 55 Metascore
    • 63 Tom Russo
    Keener’s performance keeps the film grounded even as blunt scenes of the opposing camp’s machinations flirt with soap opera villainy.
    • 57 Metascore
    • 63 Tom Russo
    The pervasive, absorbing bitterness and hurt falter only when the story eases off its characters’ cynical insistence that people don’t change. Sudeikis knows how to play jarringly nasty — see “Colossal,” for one — but choked-up can be a reach here.
    • 45 Metascore
    • 63 Tom Russo
    The engaging dynamic between our hero and his gargantuan, computer-generated pal is the movie’s best surprise, with silly and straight bits both working mostly as intended for director Brad Peyton (Johnson’s “Journey 2” and “San Andreas”).

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