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 Inherent Vice
Lowest review score: 12 The Best Man Holiday
Score distribution:
  1. Positive: 31 out of 101
  2. Negative: 53 out of 101
101 movie reviews
    • 72 Metascore
    • 63 Chris Cabin
    In the third act, the film devolves into an extremely unsettling series of sadistic tortures, the kind of stuff that would appeal largely to fans of Funny Games.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Chris Cabin
    Gavin Hood relays a vague sense of what it's like to live in duty, and yet at a distance from one's home, but this vision of the future never rouses, never asks to be remembered.
    • 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.
    • 40 Metascore
    • 38 Chris Cabin
    The film is ntermittently inventive in its visual and physical effects, but its politics are unthinking and obvious, a cheap anti-authoritarian tantrum imbedded in an intergalactic action-melodrama.
    • 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.
    • 68 Metascore
    • 38 Chris Cabin
    Whatever the film's interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
    • 57 Metascore
    • 38 Chris Cabin
    The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
    • 57 Metascore
    • 38 Chris Cabin
    All of Scott Frank's thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with '90s thrillers like The Bone Collector.
    • 61 Metascore
    • 38 Chris Cabin
    The film's half-hearted plea for responsibility and ethics in the news, after joyfully rolling around in its corruption for the majority of its runtime, smacks of plain pandering.
    • 56 Metascore
    • 38 Chris Cabin
    The film turns out to instead be a strained trumpeting of the return of the proverbial king of the box office.
    • 52 Metascore
    • 38 Chris Cabin
    It essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
    • 46 Metascore
    • 38 Chris Cabin
    Whereas a single, stinging one-liner would have sufficed Jacques Tourneur or Fritz Lang, Frank Miller's overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
    • 41 Metascore
    • 38 Chris Cabin
    The film refuses to openly engage the isolationism and hardened cynicism that's often part and parcel of being a career police officer.

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