For 538 reviews, this critic has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 3.6 points lower than other critics. (0-100 point scale)

Joe Leydon's Scores

  • Movies
Average review score: 55
Highest review score: 100 High Fidelity
Lowest review score: 0 Movie 43
Score distribution:
  1. Negative: 73 out of 538
538 movie reviews
    • 79 Metascore
    • 100 Joe Leydon
    Trenchantly witty and acutely insightful.
    • 85 Metascore
    • 100 Joe Leydon
    Uproarious. Line for line, minute to minute, writer-director Judd Apatow's latest effort is more explosively funny, more frequently, than nearly any other major studio release in recent memory.
    • 77 Metascore
    • 90 Joe Leydon
    This enjoyable East-meets-Western likely will succeed on its own terms as a sure-fire, long-legged crowd-pleaser.
    • 58 Metascore
    • 90 Joe Leydon
    Evidencing savvy visual flair and compelling storytelling skill, Goyer infuses heart and vigor into material that could have come off as overly familiar at best, sappily improbable at worst.
    • 68 Metascore
    • 90 Joe Leydon
    Imagine a live-action version of the "Dilbert" comic strip with a touch of Hal Hartley's deadpan absurdism, and you're ready for the frequently uproarious "Office Space."
    • 71 Metascore
    • 90 Joe Leydon
    Immensely entertaining and unabashedly inspirational.
    • 71 Metascore
    • 90 Joe Leydon
    Ingeniously conceived and impressively executed, Pleasantville is a provocative, complex and surprisingly anti-nostalgic parable.
    • 74 Metascore
    • 90 Joe Leydon
    A doggone hilarious cartoon extravaganza...virtually bursts at the seams with a supersized abundance of witty wordplay, silly songs and inspired sight gags.
    • 78 Metascore
    • 90 Joe Leydon
    Four excellent lead performances, vividly evoked ambience and a masterfully sustained mood of quiet desperation mark Sydney as an impressive piece of work.
    • 71 Metascore
    • 90 Joe Leydon
    Having earned his stripes by directing a few TV episodes, Frakes makes an auspicious debut as a feature filmmaker, sustaining excitement and maintaining clarity as he dashes through a two-track storyline.
    • 84 Metascore
    • 90 Joe Leydon
    If John Cassavetes had directed a script by Eric Rohmer, the result might have looked and sounded like Mutual Appreciation.
    • 53 Metascore
    • 90 Joe Leydon
    Deftly mixing alternating tracks of playful rowdiness, thoughtful introspection, ferociously slamming rock and not-so-quiet desperation, helmer Manu Boyer scores impressively with I Trust You to Kill Me, arguably the best rockumentary since "Some Kind of Monster."
    • 56 Metascore
    • 90 Joe Leydon
    A smart, subtle and seriously funny dramedy bound to find favor with sophisticated auds.
    • 73 Metascore
    • 90 Joe Leydon
    At once raucously free-wheeling and meticulously contrived, picture satisfies as a boys-gone-wild laff riot that also clicks as a seriocomic beat-the-clock detective story.
    • 75 Metascore
    • 90 Joe Leydon
    Deliberately paced, richly atmospheric drama also boasts first-rate work by a splendid supporting cast and impressive production values.
    • 66 Metascore
    • 90 Joe Leydon
    Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure.
    • 88 Metascore
    • 90 Joe Leydon
    A seductive, fascinating tapestry of small-town life.
    • 70 Metascore
    • 90 Joe Leydon
    Stevens offers a couple of revelations that bring the documentary to a dramatically and emotionally satisfying conclusion — and, not incidentally, leave a viewer with the pleasing sensation of discovering a worthy individual.
    • 74 Metascore
    • 90 Joe Leydon
    Equal parts suspenseful road movie, persuasively detailed period drama and emotionally resonant coming-of-age story, The Retrieval is an outstanding example of regional indie filmmaking accomplished with limited resources and an abundance of skill.
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