For 884 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6.5 points higher than other critics. (0-100 point scale)

Sean Axmaker's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Best of Youth
Lowest review score: 0 Urban Legends: Final Cut
Score distribution:
  1. Negative: 53 out of 884
884 movie reviews
    • 75 Metascore
    • 100 Sean Axmaker
    Secret Ballot is an education hiding in a comedy, a parablelike portrait of the irresistible forces of modernization and democracy meeting the immovable inertia of tradition, culture and power relations written in the blood of the past.
    • 88 Metascore
    • 100 Sean Axmaker
    Beautiful, elevating and achingly sad.
    • 89 Metascore
    • 100 Sean Axmaker
    Giordana's redemptive vision provides a sense of discovery and a well of hope in the most devastating of troubles, and beautiful surprises in love, friendship and family.
    • 79 Metascore
    • 100 Sean Axmaker
    While Look at Me at times falls into familiar plotting, it never offers false hope or false characters.
    • 84 Metascore
    • 100 Sean Axmaker
    Desplechin fearlessly dives into raw, bitter revelations and surfaces with hope as our heroes try again to get it right.
    • 62 Metascore
    • 100 Sean Axmaker
    5x2
    Ozon's greatest special effect is holding the camera in tight on the faces of Bruni-Tedeschi (one of the most expressive faces in French cinema) and Freiss.
    • 78 Metascore
    • 100 Sean Axmaker
    The result is rich, lush -- simply exquisite.
    • 87 Metascore
    • 100 Sean Axmaker
    It's Treadwell's contradictions and controversies that fascinate Herzog the filmmaker, inspiring him to create this enthralling documentary portrait, his best film in years.
    • 70 Metascore
    • 100 Sean Axmaker
    Kurosawa leaves much of the explanation enigmatic but he fills the film with an eerie emptiness, where suicides erupt out of nowhere and mankind dissolves in an oily smudge of hopelessness, adrift between life and death.
    • 73 Metascore
    • 100 Sean Axmaker
    Though he's foggy on the specifics, Angelopoulos makes the tides of history felt through each painterly frame.
    • 80 Metascore
    • 100 Sean Axmaker
    This beautifully sculpted poetic naturalism has more in common with the expressive use of words in the great screenplays of '40s and '50s than with modern movies.
    • 78 Metascore
    • 100 Sean Axmaker
    Confronts the line between the celebration and the exploitation of innocence with an uneasy tension that is discomforting at best.
    • 71 Metascore
    • 100 Sean Axmaker
    It's the most intense, unpredictable and thrilling cinematic experience I've had the pleasure to squirm through in ages.
    • 77 Metascore
    • 100 Sean Axmaker
    Tommy Lee Jones steps behind the camera to direct himself in the most impressive directorial debut the American cinema has seen in some time, a contemporary western both rough and poetic, laconic and passionate.
    • 85 Metascore
    • 100 Sean Axmaker
    The texture and intensity of the odyssey makes it spellbinding.
    • 87 Metascore
    • 100 Sean Axmaker
    A hauntingly poetic triumph.
    • 71 Metascore
    • 100 Sean Axmaker
    A sly, smart and very funny caricature of corporate politics and image culture.
    • 74 Metascore
    • 100 Sean Axmaker
    Director Mohammad Rasoulof has fashioned the ultimate metaphor for a society adrift from its culture.
    • 84 Metascore
    • 100 Sean Axmaker
    Devastating, uncompromising and riveting.
    • 80 Metascore
    • 100 Sean Axmaker
    The style is pure Hou: richly textured atmosphere, tiptoeing camerawork and long, languorous takes of scenes full of privileged moments of human activity.
    • 61 Metascore
    • 100 Sean Axmaker
    The language and the landscape is French, but the sensibility and style is unmistakably Eastern European.
    • 74 Metascore
    • 100 Sean Axmaker
    When Riyadh's family jokes about the purple stain that marks them as resistance targets after they vote, the black humor speaks volumes about them as individuals, as Sunnis and as Iraqis with a dream of a better way.
    • 84 Metascore
    • 100 Sean Axmaker
    Bujalski's gift for capturing the awkwardness of social relationships and the messy, unkempt details of everyday life is revealing.
    • 84 Metascore
    • 100 Sean Axmaker
    For all the ephemeral pleasure of the company of old friends, there is a chasm between them and the dynamics shift from moment to moment. The beauty of the film is how director Kelly Reichardt brilliantly captures those moments with lucid simplicity.
    • 77 Metascore
    • 100 Sean Axmaker
    51 Birch Street, like the best of the recent wave of personal documentaries, is both a compelling story and an eye-opening bit of social history.
    • 84 Metascore
    • 100 Sean Axmaker
    Oregon-born and Seattle-based director James Longley profiles three lives in his impressionistic portrait of Iraq's Sunni, Shia and Kurd communities.
    • 98 Metascore
    • 100 Sean Axmaker
    Like the folk tales from centuries past, Pan's Labyrinth is a dark odyssey with nightmarish visions and cruel threats, but coming through the sacrifice and suffering is the childlike belief in magic and imagination that for Del Toro represents the hope and optimism of a happily ever after in this cruel world.
    • 82 Metascore
    • 100 Sean Axmaker
    It's unmistakably the work of aging cinema activist Loach, who wears his social-justice heart on his sleeve and pauses the story for lively debates among the characters, especially as Sinn Fein signs a treaty that many think betrays the cause.
    • 74 Metascore
    • 100 Sean Axmaker
    The familiar majesty of the Statue of Liberty and the New York skyline is replaced with anticipation and imagination. The sense of hope and wonder is the greater for it, and the sense of promise glows from the screen.
    • 74 Metascore
    • 100 Sean Axmaker
    It's a dissection of how the media found and fed and nurtured the story in their insatiable need for content to fill their news hours and talk shows, how it just as quickly turned on them and transformed the story from celebration to vilification, and how the public turned right along with them.

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