For 107 reviews, this critic has graded:
  • 17% higher than the average critic
  • 2% same as the average critic
  • 81% lower than the average critic
On average, this critic grades 13.5 points lower than other critics. (0-100 point scale)

Chris Cabin's Scores

  • Movies
  • TV
Average review score: 46
Highest review score: 100 A Touch of Sin
Lowest review score: 12 The Best Man Holiday
Score distribution:
  1. Positive: 33 out of 107
  2. Negative: 56 out of 107
107 movie reviews
    • 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.
    • 67 Metascore
    • 38 Chris Cabin
    Bill Condon ignores the delights and hardships of becoming an artist in lieu of simply presenting the long-touted liberating effects of art.
    • 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.
    • 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.
    • 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.
    • 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.
    • 41 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.
    • 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.
    • 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.
    • 39 Metascore
    • 38 Chris Cabin
    The lack of any visual ingenuity, reflexivity, or awareness of genre tropes diminishes the intermittent pleasures of the action's slightly involving kineticism.
    • 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.
    • 48 Metascore
    • 38 Chris Cabin
    The film is a redundant showcase for Seth MacFarlane's racy, dick-centric sense of humor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 Metascore
    • 25 Chris Cabin
    Josh Heald's script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
    • 41 Metascore
    • 25 Chris Cabin
    The film's exasperating atonality washes out any legitimate idea about identity, education, nature versus nurture, or artificial intelligence that Neill Blomkamp hoped to evince.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 25 Chris Cabin
    An awfully expensive and grossly extended Cialis commercial.
    • 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.

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