Ben Kenigsberg
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For 231 reviews, this critic has graded:
  • 35% higher than the average critic
  • 7% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 9.5 points lower than other critics. (0-100 point scale)

Ben Kenigsberg's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Inherent Vice
Lowest review score: 0 Date Movie
Score distribution:
  1. Positive: 56 out of 231
  2. Negative: 45 out of 231
231 movie reviews
    • 63 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.
    • 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.
    • 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.
    • 56 Metascore
    • 30 Ben Kenigsberg
    This superficial movie plays like a fashion shoot with robes.
    • 50 Metascore
    • 30 Ben Kenigsberg
    This is crudely mounted, earnest advocacy, getting its points across at any cost.
    • 43 Metascore
    • 30 Ben Kenigsberg
    For a film about mouthwatering cuisine, it offers only fleeting delectable sensations.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Ben Kenigsberg
    Devil’s Knot is an inert exercise, visually and dramatically on par with "Drew Peterson: Untouchable."
    • 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.
    • 39 Metascore
    • 30 Ben Kenigsberg
    The movie finally undermines all pretensions of satire with its geeky eagerness to subvert expectations.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Ben Kenigsberg
    Jessabelle is depressingly rote.
    • 36 Metascore
    • 30 Ben Kenigsberg
    There's no guiding power at work here; it's Evolution without a shred of intelligent design.
    • 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.
    • 33 Metascore
    • 10 Ben Kenigsberg
    Fuu . . . cryin' out loud, this movie's dumb.
    • 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.
    • 31 Metascore
    • 30 Ben Kenigsberg
    The scariest thing in the movie is a cameo by Scott Baio.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 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.
    • 28 Metascore
    • 30 Ben Kenigsberg
    Less methodical and witty than its predecessors, Patient Zero often turns its infected characters into mindless, lurching zombies.
    • 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.
    • 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.
    • 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.
    • 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.

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