For 66 reviews, this critic has graded:
  • 13% higher than the average critic
  • 3% same as the average critic
  • 84% lower than the average critic
On average, this critic grades 17.7 points lower than other critics. (0-100 point scale)

Chris Cabin's Scores

  • Movies
  • TV
Average review score: 42
Highest review score: 100 A Touch of Sin
Lowest review score: 12 What Maisie Knew
Score distribution:
  1. Positive: 13 out of 66
  2. Negative: 42 out of 66
66 movie reviews
    • 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.
    • 79 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 38 Chris Cabin
    The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
    • 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.
    • 42 Metascore
    • 38 Chris Cabin
    There's no sense of visual artifice to match the ludicrous pitch of the script, and subsequently, the film comes off as awkward and uncertain.
    • 68 Metascore
    • 38 Chris Cabin
    Jon Favreau's film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
    • 45 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.
    • 61 Metascore
    • 25 Chris Cabin
    Justin Lin strives to approximate something like Ocean's Eleven for petrosexuals, but testosterone outweighs wit and cleverness at every turn in Chris Morgan's starched script.
    • 63 Metascore
    • 25 Chris Cabin
    The zombies twitch, leap, gnash, and destroy, but the film has all the thrill and surprise of a model U.N. summit.
    • 47 Metascore
    • 25 Chris Cabin
    An awfully expensive and grossly extended Cialis commercial.
    • 34 Metascore
    • 25 Chris Cabin
    Raja Gosnell's particular zeal to modernize the Smurfs only develops this would-be family comedy into a shamelessly manipulative smurftastrophe.
    • 41 Metascore
    • 25 Chris Cabin
    The film doubles down on the love-hate relationship with ultra-violence that typified its predecessor, but A History of Violence this is not.
    • 40 Metascore
    • 25 Chris Cabin
    A full realization of the very worst fears one could imagine when its director, James Wan, unexpectedly emerged from the torture-porn murk with its original, spiritedly directed predecessor.
    • 49 Metascore
    • 25 Chris Cabin
    A dim anti-privatization parable that preaches a familiar strain of cynical, unchallenged self-righteousness in the face of widespread abuse of civil liberties.
    • 38 Metascore
    • 25 Chris Cabin
    The film is absent of humor and thrills, and accented with designs and color schemes that are equally notable for their lack of risk.
    • 44 Metascore
    • 25 Chris Cabin
    The breadth of Vince Vaughn's gregarious persona has never been given free reign by any director and this certainly isn't the game-changer.
    • 37 Metascore
    • 25 Chris Cabin
    The strain to make the film both an educational tool and a child-minded entertainment is noticeable throughout.
    • 37 Metascore
    • 25 Chris Cabin
    There's no personality in the design or the script, which only renders the cynical aftertaste of this convoluted one-squirrel-against the-world story all the more potent.
    • 39 Metascore
    • 25 Chris Cabin
    Even when compared to other films posing as Ford Mustang commercials, Need for Speed isn't particularly memorable for anything other than the startling incompetence and dull sheen of the end result.
    • 55 Metascore
    • 25 Chris Cabin
    That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
    • 43 Metascore
    • 25 Chris Cabin
    It's hard to see the fiscal woes at the center of Zach Braff's second feature as anything more than a fashionable depiction of first-world problems.
    • 34 Metascore
    • 25 Chris Cabin
    A film so overworked to ensure mass-market appeal that it loses the charming oddness and loose goofiness that has allowed these characters to endure.
    • 35 Metascore
    • 25 Chris Cabin
    For all the brawn on display, the film never slows down to take in the thrill and talent of hand-to-hand combat.
    • 74 Metascore
    • 12 Chris Cabin
    David Siegel and Scott McGehee's film renders the rhapsodic Henry James novel of the same name into an abhorrent slice of tasteless familial drama.