For 101 reviews, this critic has graded:
  • 16% higher than the average critic
  • 2% same as the average critic
  • 82% lower than the average critic
On average, this critic grades 13.3 points lower than other critics. (0-100 point scale)

Chris Cabin's Scores

  • Movies
  • TV
Average review score: 46
Highest review score: 100 Timbuktu
Lowest review score: 12 Grown Ups 2
Score distribution:
  1. Positive: 31 out of 101
  2. Negative: 53 out of 101
101 movie reviews
    • 50 Metascore
    • 63 Chris Cabin
    If the film's copycat visual artistry illuminates nothing, at least its script is sincerely devoted to probing Finkel and Longo's odd partnership.
    • 61 Metascore
    • 50 Chris Cabin
    The film's aesthetic is marked by off-tempo editing and a tone that vacillates between grim and coy, and though it's occasionally visually evocative, it's also unmistakably over-calculated.
    • 78 Metascore
    • 50 Chris Cabin
    The film is nothing without the physicality of the performers, as Joss Whedon's script handles the transition of Shakespeare's language to modern day indifferently.
    • 44 Metascore
    • 50 Chris Cabin
    Though the cast partially eschews the family-friendly timidity that the film defers to in the end, this would-be wild thing remains little more than a rowdy endorsement of the status quo.
    • 47 Metascore
    • 50 Chris Cabin
    We're only allowed an insufficient glimpse of the anxiousness and curiosity that drive these creatures, a tactic which feels suspiciously like hesitance masquerading as enigma.
    • 54 Metascore
    • 50 Chris Cabin
    All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
    • 75 Metascore
    • 50 Chris Cabin
    Though occasionally aesthetically alluring and evocative, feels like an introductory chapter to a more substantive, sprawling study of the actor.
    • 41 Metascore
    • 50 Chris Cabin
    The films that Robert Rodriguez emulates here are known for similar unexpected narrative turns, but the crucial value that he misses is their actual cheapness.
    • 58 Metascore
    • 50 Chris Cabin
    When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
    • 63 Metascore
    • 50 Chris Cabin
    For the most part, it's a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.
    • 53 Metascore
    • 50 Chris Cabin
    The narrative doesn't want for ambition, but Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.
    • 74 Metascore
    • 50 Chris Cabin
    It only conveys the awesome strangeness of its characters and their universe when director Brian Singer breaks away from the perpetual build-up of the film's unwieldy plot.
    • 58 Metascore
    • 50 Chris Cabin
    Stuart Murdoch clearly knows quite a bit about crafting pop tunes, but the film's consideration of the work of songwriting is totally flippant.
    • 61 Metascore
    • 50 Chris Cabin
    The flippancy toward the story's thematic concerns and character construction suggests that the film, like the boxtrolls' myriad gadgets and inventions, was largely built from used parts.
    • 60 Metascore
    • 50 Chris Cabin
    The film devolves quickly into a pedestrian character study that basks in Gary Webb's public shaming and victimization, losing sight of the bravery and probing talent that characterized his writing.
    • 74 Metascore
    • 50 Chris Cabin
    Much like his hero, Christopher Nolan's goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
    • 60 Metascore
    • 50 Chris Cabin
    If there's a general air of emotional authenticity woven throughout all this garden-variety, faith-in-family hokum, it's in the racing scenes.
    • 67 Metascore
    • 50 Chris Cabin
    The filmmakers cut the film to emphasize the story's familiar plot points, rather than highlight any instances of personal visual artistry.
    • 57 Metascore
    • 38 Chris Cabin
    A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
    • 61 Metascore
    • 38 Chris Cabin
    Offers all the ingredients for a great feast of enticing visions and thematic concerns, only to have them be prepared, plated, and served with the grace of Elmer Fudd.
    • 56 Metascore
    • 38 Chris Cabin
    Arvin Chen's Taiwan is dominated by eccentricity in tone and atmosphere, but in a very careful, pronounced way, as to never really run the danger of being truly strange.
    • 52 Metascore
    • 38 Chris Cabin
    Tina Gordon Chism's film collapses into a series of clumsy improvisatory sketches, tied up in cheap, risibly sentimental catharsis.
    • 33 Metascore
    • 38 Chris Cabin
    The art of storytelling is both of distinct narrative interest and personal issue in the latest payload of calcified nonsense from one of modern cinema's oddest would-be auteurs.
    • 55 Metascore
    • 38 Chris Cabin
    All its faux-patriotism isn't played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
    • 62 Metascore
    • 38 Chris Cabin
    The script's jumble of plot asides and family-friendly pandering is enough to make you want to root for a hero.
    • 68 Metascore
    • 38 Chris Cabin
    Praises the electric carelessness of teenage angst while depicting it as if it were ultimately no more exciting, though no less pleasant, than an hour in the wave pool.
    • 58 Metascore
    • 38 Chris Cabin
    It's hard to ignore the fact that a substantial percentage of Letourneur's would-be character study is dedicated to concentrated Schadenfreude that's unbalanced and without any real narrative weight.
    • 78 Metascore
    • 38 Chris Cabin
    Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
    • 75 Metascore
    • 38 Chris Cabin
    Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
    • 61 Metascore
    • 38 Chris Cabin
    The songs still sound great here, but the instruments aren't amplified nearly as much as the nostalgia and vanity of the men who wield them.

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