For 147 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 7.8 points lower than other critics. (0-100 point scale)

Gabe Toro's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Holy Motors
Lowest review score: 0 The Starving Games
Score distribution:
  1. Positive: 61 out of 147
  2. Negative: 39 out of 147
147 movie reviews
    • 20 Metascore
    • 50 Gabe Toro
    The film similarly boxes itself in when it feels the need to mimic the third-act occurrences of "Paranormal Activity" when it's obvious that improv had the film going in an entirely less predictable direction, clearly pointing out the fallacy of A Haunted House: you can't parody something and also try to emulate it as well.
    • 60 Metascore
    • 42 Gabe Toro
    Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.
    • 36 Metascore
    • 75 Gabe Toro
    What Addicted To Fame lacks in nuance, it makes up for in insight and honesty.
    • 58 Metascore
    • 91 Gabe Toro
    It may very well be the best action movie of the year.
    • 67 Metascore
    • 75 Gabe Toro
    Price Check never successfully makes the shift into a higher-stakes scenario, and the chief culprit is a detour to Los Angeles. The tension between Susan and Pete suddenly lapses into a far more conventional direction.
    • 50 Metascore
    • 25 Gabe Toro
    You wonder if Hollywood is trying to make a point: sex is joyless, and best experienced by recognizable, and recognizably obnoxious people.
    • 51 Metascore
    • 67 Gabe Toro
    Makes sense as a picture focused on spectacle. The story almost seems secondary to the flights of fancy.
    • 84 Metascore
    • 100 Gabe Toro
    Holy Motors keeps kicking into a different gear, much like an eternally waking dream.
    • 53 Metascore
    • 42 Gabe Toro
    It's an audaciously broad topic, and at less than eighty minutes, you wonder what exactly Split gives us that we haven't received from countless other political documentaries.
    • 75 Metascore
    • 75 Gabe Toro
    The Thieves is less interested in the characters than it is the elaborate stunts and gimmicks.
    • 46 Metascore
    • 25 Gabe Toro
    Unfortunately, there are few screens small enough to properly convey how inessential another deadpan suburbs satire is in 2012.
    • 45 Metascore
    • 33 Gabe Toro
    It's not a surprise that he most resembles an older Charles Bronson in Taken 2, as both found the enthusiasm to soldier on in the action genre well into their old age. Bronson had a bit more patience with these films: after this, it's doubtful Neeson will.
    • 54 Metascore
    • 67 Gabe Toro
    Special notice should be given to Billy Campbell, who takes a stock character and gives him a new spin.
    • 61 Metascore
    • 58 Gabe Toro
    17 Girls is mostly fueled by grrl-power, from it's nineties-era femme-centric alt-rock, to it's marginalization of boys as sperm-deposit devices, unfair but a natural corrective to years of women onscreen as purely sexual objects.
    • 52 Metascore
    • 58 Gabe Toro
    It is a credit to Snowman's Land that it's plot twists are, for the most part, not entirely predictable, nor do they ever come across as far-fetched.
    • 44 Metascore
    • 33 Gabe Toro
    In other words, here's the same slop you've seen before, only with brand new accents. Also, more pooping.
    • 41 Metascore
    • 42 Gabe Toro
    Temple and Panabaker are quite good in their lead roles, to the point where you start to hate the fact that the movie's thesis thrives on the girls being damned if they do, and damned if they don't.
    • 57 Metascore
    • 75 Gabe Toro
    Silly, distracting, and undeniably entertaining.
    • 41 Metascore
    • 0 Gabe Toro
    Comes to you courtesy of WWE Films, though it's a considerable departure from their recent family-friendly approach. But it does make sense that the audience for post-apocalyptic films will start out with the Speak & Spell version of this premise, a knuckle-dragging time waster you could predict with your eyes closed. But hey. It's a movie.
    • 66 Metascore
    • 67 Gabe Toro
    Just as the film is about to deliver it's package, it sends the viewer an I.O.U. instead, botching two-thirds of what may be Koepp's most entertaining film as a director.
    • 50 Metascore
    • 50 Gabe Toro
    What dooms Hit and Run, which, charitably, is not as generic as it's name implies, is that the film itself comments on its own sincerity.
    • 57 Metascore
    • 91 Gabe Toro
    Made with a chip on its shoulder and a generational insight that would put most Oscar bait to shame, this completely daft film deserves to be seen by anyone who remotely supports the potential of the horror genre, to frighten, to disgust and to anger.
    • 57 Metascore
    • 58 Gabe Toro
    An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.
    • 36 Metascore
    • 67 Gabe Toro
    It's well-acted, certainly, though these performances belong in a film with sharper pacing, one that breathes easily. But, this directorial debut from Phil Dorling and Ron Nyswaner breathes like a frequent smoker: in fits and starts, peppered with coughs and dry heaves.
    • 50 Metascore
    • 0 Gabe Toro
    The Campaign is insidiously stupid, a laugh-free water balloon lazily tossed at the institution of politics, and one that makes "Semi-Pro" look like a lost Robert Altman film.
    • 81 Metascore
    • 91 Gabe Toro
    'Never Sorry' feels borderline unfinished, as it never draws that line between Ai Weiwei and the generation of successors to his throne that he has inspired. Perhaps it doesn't have to. Perhaps you're already one of them.
    • 62 Metascore
    • 75 Gabe Toro
    Of course, it's because of the film's casually profane tone and commitment to pushing the boundaries of taste and acceptability that makes Klown a step above "The Hangover," a lack of fear towards the lawlessness with which those films only flirt.

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