Ben Kenigsberg
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For 262 reviews, this critic has graded:
  • 35% higher than the average critic
  • 8% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 9.1 points lower than other critics. (0-100 point scale)

Ben Kenigsberg's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 The Strange Little Cat
Lowest review score: 0 Date Movie
Score distribution:
  1. Positive: 67 out of 262
  2. Negative: 48 out of 262
262 movie reviews
    • 57 Metascore
    • 30 Ben Kenigsberg
    Roos forecasts and explains every development with a title card, a device not unlike having someone yammering in your ear throughout the entire feature run time. In a more self-effacing director's commentary, he might have asked us, at least, to forgive the pun.
    • tbd Metascore
    • 30 Ben Kenigsberg
    Muddy sound contributes to the atmosphere of confusion, while the script (credited to the director, Nick Gaglia, along with Mr. Gallagher and Ms. Donohue) goes nowhere.
    • 50 Metascore
    • 30 Ben Kenigsberg
    This is crudely mounted, earnest advocacy, getting its points across at any cost.
    • 33 Metascore
    • 30 Ben Kenigsberg
    The Hero of Color City cannily distills the children’s movie to its lowest common denominator: bright colors flashing on screen.
    • 16 Metascore
    • 30 Ben Kenigsberg
    Mr. Farina gives Authors Anonymous a sharpness it otherwise lacks.
    • 29 Metascore
    • 30 Ben Kenigsberg
    The narration promises surprises (“This story may challenge what you think you know about the roles men and women play in Mormon homes”), but the movie might have started by examining its straw-man conception of the audience.
    • 38 Metascore
    • 30 Ben Kenigsberg
    Based on characters created by Rodriguez's then-seven-year-old son, Racer Max, the film doesn't belong in wide release. It belongs on a refrigerator door, alongside "100%" spelling tests, old lunch menus, and notices from the PTA.
    • 33 Metascore
    • 30 Ben Kenigsberg
    The logistics of raising money and securing permits for the cause are not the most compelling or irreverent subject. The movie’s goal is straightforward advocacy.
    • tbd Metascore
    • 30 Ben Kenigsberg
    Cartoonish in its depiction of class disparities, A Little Game gains some subtlety from its performers: Mr. Abraham, an old pro, does fine work alongside Ms. Ballard, a newcomer.
    • 43 Metascore
    • 30 Ben Kenigsberg
    For a film about mouthwatering cuisine, it offers only fleeting delectable sensations.
    • 31 Metascore
    • 30 Ben Kenigsberg
    Despite eclectic casting and occasional experiments with objective camera, the director, David Gelb (“Jiro Dreams of Sushi”), can’t breathe similar life into this risible mix of pseudoscientific hokum and supernatural freakouts.
    • 38 Metascore
    • 30 Ben Kenigsberg
    What Ouija lacks in wit and originality, it makes up in volume — a trademark of the “Transformers” director Michael Bay, who is one of the producers.
    • 36 Metascore
    • 30 Ben Kenigsberg
    There's no guiding power at work here; it's Evolution without a shred of intelligent design.
    • 28 Metascore
    • 30 Ben Kenigsberg
    Less methodical and witty than its predecessors, Patient Zero often turns its infected characters into mindless, lurching zombies.
    • 29 Metascore
    • 30 Ben Kenigsberg
    There’s a way to tell this story that wouldn’t come across as soggy or manipulative. However well intentioned, Louder Than Words doesn’t find that tone.
    • 22 Metascore
    • 30 Ben Kenigsberg
    While the oafish men come off poorly, the treatment of women as nothing more than schemers and monstrous Martha Stewart clones seems woefully past its expiration date.
    • tbd Metascore
    • 30 Ben Kenigsberg
    Unfortunately, poor execution prevents the movie from achieving an authentic throwback feel. Although the principal cast members are Broadway veterans, here they struggle with technological and tonal issues.
    • 56 Metascore
    • 30 Ben Kenigsberg
    This superficial movie plays like a fashion shoot with robes.
    • 39 Metascore
    • 30 Ben Kenigsberg
    The movie finally undermines all pretensions of satire with its geeky eagerness to subvert expectations.
    • 19 Metascore
    • 30 Ben Kenigsberg
    [An] inert, exasperatingly proportioned phantasmagoria from Roland Joffé.
    • tbd Metascore
    • 30 Ben Kenigsberg
    Tiger Lily Road aims for the bleak humor of a Coen brothers film, but a jaunty sitcom score spoils the tone. There’s barely an action that doesn’t strain credulity.
    • 31 Metascore
    • 30 Ben Kenigsberg
    The scariest thing in the movie is a cameo by Scott Baio.
    • 18 Metascore
    • 30 Ben Kenigsberg
    Saving Christmas seems determined to win any perceived war on Christmas through brute force.
    • 37 Metascore
    • 30 Ben Kenigsberg
    Jessabelle is depressingly rote.
    • 42 Metascore
    • 25 Ben Kenigsberg
    Devil’s Knot is an inert exercise, visually and dramatically on par with "Drew Peterson: Untouchable."
    • 62 Metascore
    • 25 Ben Kenigsberg
    What’s hypnotic for five minutes at the Whitney Museum does not necessarily carry over to an 80-minute movie, and Visitors might conceivably run half that length without the slow motion. Reggio’s film premiered in Toronto with live musical accompaniment, a gimmick that probably enhanced the experiential aspect of what’s otherwise a glorified installation piece.
    • 14 Metascore
    • 20 Ben Kenigsberg
    Cringeworthy feel-good weepie, which finds Kate Hudson's vivacious ad-pitch whiz questioning her life choices after being diagnosed with terminal colon cancer.
    • 8 Metascore
    • 20 Ben Kenigsberg
    Among Ravens claws itself to death with sophomoric symbolism.
    • 39 Metascore
    • 20 Ben Kenigsberg
    His closing dedication—“For my daughter”—turns this into something actively creepy, as opposed to merely brainless, boring and inept.
    • 24 Metascore
    • 20 Ben Kenigsberg
    The answers aren’t satisfying, and The Pyramid, despite an unpretentious matinee vibe, is mostly interesting in seeing how little light can be on screen before a bare minimum of suspense and coherence dissipates. There is, truly, not much to see in this movie.
    • 26 Metascore
    • 20 Ben Kenigsberg
    Constant close-ups give the sense that the movie itself is violating viewers’ personal space, while an earnest moral suggests that online communication can’t substitute for face-to-face interaction: a topic Friended to Death doesn’t seem to know much about.
    • 30 Metascore
    • 20 Ben Kenigsberg
    Jake Squared combines the most grating tendencies of meta navel-gazing with the sexism of reality television — pushing the limit of viewer tolerance to zero.
    • 31 Metascore
    • 20 Ben Kenigsberg
    Come Back to Me has seamier goals, employing a quasi-religious conceit to justify its shocks of gore and sexual assault. In that regard, at least, it is grotesquely predictable.
    • 24 Metascore
    • 20 Ben Kenigsberg
    All Apollo 18 has to offer is endless radio crackle and visual incoherence. And what's out there, tormenting the astronauts? The answer is dumber than a box of moon rocks.
    • 43 Metascore
    • 20 Ben Kenigsberg
    "It is a study of the psychopathologies of perversions," co-director Federico Sanchez says in the press notes for Eternal, which is certainly one way to rationalize a trashy lesbian vampire flick.
    • 57 Metascore
    • 20 Ben Kenigsberg
    Ironically, Leiner's two monuments to pothead delirium seem vastly more coherent than this hazy attempt to mine the zeitgeist, a film every bit as pointed as its nounless title.
    • 18 Metascore
    • 20 Ben Kenigsberg
    The Apparition turns out to be nothing more than a series of feebly constructed "Boo!" scenes tacked together to achieve (barely) feature length.
    • 16 Metascore
    • 20 Ben Kenigsberg
    Watching it means waiting for the other shoe to drop: anticipating the moment when this already tacky weepie will resolve itself in horrific, exploitative fashion.
    • 19 Metascore
    • 20 Ben Kenigsberg
    Nasty for nastiness’s sake, Kite drags to achieve its brief running time; you wonder whether the slow motion is an artistic device or a stalling tactic.
    • 21 Metascore
    • 20 Ben Kenigsberg
    [A] preposterous ensemble piece.
    • 26 Metascore
    • 20 Ben Kenigsberg
    Even without Mr. Rice in the news, No Good Deed would be damaged goods: an inert “Cape Fear” rehash that can’t seem to choose its favorite contrivance.
    • tbd Metascore
    • 20 Ben Kenigsberg
    This New York shaggy-dog story from Sujewa Ekanayake is an example of extreme-makeshift filmmaking — but not, unfortunately, a successful one.
    • 32 Metascore
    • 20 Ben Kenigsberg
    Feels motivated by envy more than anything else-it's a sour, petty act of mockery that values its own ineptitude over genuine cleverness, travestying Quentin Tarantino and others simply for dreaming up gimmicks that worked.
    • 43 Metascore
    • 20 Ben Kenigsberg
    Whether it's the guitar-strum soundtrack, "lyrical" cornfield shots, or arrhythmic performances, Steal Me has at least one indie-film cliché too many.
    • 30 Metascore
    • 20 Ben Kenigsberg
    In drag or out of it, the soft-spoken star has rarely been less convincing than when locking and loading from his home arsenal or dangling from a decaying Detroit edifice.
    • 33 Metascore
    • 10 Ben Kenigsberg
    Fuu . . . cryin' out loud, this movie's dumb.
    • 12 Metascore
    • 10 Ben Kenigsberg
    Acknowledging Hurricane Sandy, Jersey Shore Massacre reminds viewers that it’s hardly the worst disaster to hit the region. But it gives the Hindenburg stiff competition.
    • 11 Metascore
    • 0 Ben Kenigsberg
    Pre- credits, Date Movie runs a mere 70 minutes, which increasingly seems like seven minutes, repeated 10 times.

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