Moira Macdonald

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For 330 reviews, this critic has graded:
  • 69% higher than the average critic
  • 4% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 9 points higher than other critics. (0-100 point scale)

Moira Macdonald's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Fences
Lowest review score: 25 Fifty Shades Darker
Score distribution:
  1. Negative: 23 out of 330
330 movie reviews
    • 91 Metascore
    • 88 Moira Macdonald
    Cold War seduces its viewer, in its brief running time. You might find, in the quiet of its poignant ending, that it has left its mark on your heart.
    • 28 Metascore
    • 50 Moira Macdonald
    The Aspern Papers, brief as it is, needed more of a lightness of touch; if you weigh down melodrama too much, it dies.
    • 60 Metascore
    • 75 Moira Macdonald
    While the structure occasionally feels a bit awkward, On the Basis of Sex has the kind of crowd-pleasing story that skims over any minor shortcomings; by its end, you’re ready to cheer.
    • 87 Metascore
    • 100 Moira Macdonald
    If Beale Street Could Talk is a film about injustice, about patience and anger, beauty and despair — but, ultimately, it’s about love.
    • 61 Metascore
    • 63 Moira Macdonald
    The film’s light, sardonic approach is a tricky match with its subject matter: 9/11; power-crazed, empty-souled politicians; dark ambitions. It’s entertaining, sure, but a lot of us might not feel like laughing.
    • 47 Metascore
    • 63 Moira Macdonald
    It isn’t “Working Girl” — Second Act is more earnest and less funny — but it’s a pleasant enough diversion, helped along immensely by Lopez’s warm screen presence and by a first-rate Sassy Best Friend performance by Leah Remini.
    • 68 Metascore
    • 75 Moira Macdonald
    Most of all, you see Roberts, who takes hold of this movie like a lamppost in the winter darkness. That huge Julia Roberts smile turns up here, but it’s haunting.
    • 66 Metascore
    • 100 Moira Macdonald
    Mary Poppins Returns, made with palpable love for its predecessor, is glorious and gorgeous, and I adored it.
    • 60 Metascore
    • 63 Moira Macdonald
    You find yourself focusing on the details of Alexandra Byrne’s flowing costumes, or on the wince-inducing meticulousness of Robbie’s post-pox makeup, rather than caught up in the story. Except when Ronan’s face catches the light; there, Mary Queen of Scots finds its fire.
    • 93 Metascore
    • 100 Moira Macdonald
    Just as it lulls you, it also devastates.
    • 96 Metascore
    • 100 Moira Macdonald
    Alfonso Cuarón’s Roma is a wondrously pure example of one of the great gifts that cinema can give us: to drop us into a time, a place and a life; immersing us in the sounds and the sights and the emotions, large and small, experienced by someone we’re not.
    • 63 Metascore
    • 63 Moira Macdonald
    Does “Anna” deliver on its billing? Well, it does for a while. For its first half, the movie’s blend of earnest teen crooning and dismembered blood-geyser heads is pretty entertaining.
    • 90 Metascore
    • 88 Moira Macdonald
    The real fun here is in the three central performances, each of which threatens to steal the film (giving “The Favourite,” appropriately, its own balance-of-power issues).
    • 61 Metascore
    • 63 Moira Macdonald
    Jason Reitman’s The Front Runner is so crowded with characters and overlapping conversations and crammed-full rooms that it’s easy to miss the quiet at its center: the enigma that is Gary Hart.
    • 70 Metascore
    • 75 Moira Macdonald
    The likable tale of a real-life friendship, Green Book lets us spend two hours in the company of two electric actors.
    • 71 Metascore
    • 75 Moira Macdonald
    A conventional but thoroughly entertaining film.
    • 66 Metascore
    • 75 Moira Macdonald
    “Turn off your brain, and let your heart do da talking,” advised Rocky, and he was right. This franchise just might go on forever, and my heart kind of hopes that it does.
    • 52 Metascore
    • 50 Moira Macdonald
    While it’s often great fun to look at, “Crimes of Grindelwald” fails at what should be Rowling’s great strength: storytelling. Three more to go, and an infusion of magic is desperately needed.
    • 84 Metascore
    • 100 Moira Macdonald
    Widows is smart, soulful and surprising in every frame, weaving statements on race, gender, crime and grief into a tick-tock (and tip-top) heist plot.
    • 51 Metascore
    • 75 Moira Macdonald
    While the first “Grinch” I will always adore It’s possible that there’s still room for one more. Hearing the Who’s sing their songs to the skies — It’s still movie magic, whatever the size.
    • 71 Metascore
    • 75 Moira Macdonald
    It’s Hedges who owns the film, who lets us see Jared’s pain and confusion on his tightly clenched face — and who, in a gentle epilogue, gives us a lovely, wordless demonstration of freedom.
    • 76 Metascore
    • 88 Moira Macdonald
    Pike shows us both the strength and the quietly growing fear, as Marie becomes a jittery shadow, her voice getting thicker, more desperate.
    • 64 Metascore
    • 50 Moira Macdonald
    You don’t really watch Suspiria, you endure it.
    • 39 Metascore
    • 63 Moira Macdonald
    An enjoyably nutty more-is-more family holiday extravaganza.
    • 49 Metascore
    • 50 Moira Macdonald
    Except for its songs, Bohemian Rhapsody too quickly becomes forgettable; something the real-life man at its center, who died of AIDS-related illness in 1991 at the age of 45, never was. Watch the real footage; you’ll see.
    • 80 Metascore
    • 88 Moira Macdonald
    Diego Garcia’s cinematography plays a key role, showing us lavender sunsets, endless plains and fire spreading down a hill like melting butter. Amid this beauty, Dano’s direction is restrained, letting us focus on the pain in Mulligan’s darting eyes.
    • 87 Metascore
    • 88 Moira Macdonald
    The movie lets Israel have the last laugh, deliciously so.
    • 64 Metascore
    • 75 Moira Macdonald
    Florid but warmhearted — much like the man at its center — The Happy Prince is a haunting portrait of the aftermath of betrayal; of how the master of comedy became a tragedy.
    • 39 Metascore
    • 50 Moira Macdonald
    In between all of these delights is an awful lot of filler
    • 58 Metascore
    • 50 Moira Macdonald
    Political satire is one of the trickiest of genres; this one, running out of steam and nerve, ultimately becomes a too-familiar example of another genre: the 93-minute movie that feels way, way too long.

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