For 89 reviews, this critic has graded:
  • 61% higher than the average critic
  • 0% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

James Rocchi's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Smashed
Lowest review score: 0 The Paperboy
Score distribution:
  1. Positive: 48 out of 89
  2. Negative: 14 out of 89
89 movie reviews
    • 67 Metascore
    • 75 James Rocchi
    The humor and drama don’t neutralize each other; in what’s perhaps Stewart’s most successful achievement as a director, the changes in tone work in a harmony, not at cross-purposes.
    • 79 Metascore
    • 75 James Rocchi
    Two things make The Sessions stand out. One is the level of acting...The other is that, while we all know sex is more than boobs and bits and butts, it also does include those things, and The Sessions does not hide behind euphemism or gentle cutaways, montages or misty light.
    • 56 Metascore
    • 75 James Rocchi
    If there's one thing that wounds On the Road, it's that the film is full of things -- having sex, doing drugs, being free -- that are far more enjoyably experienced by one's self as opposed to watching other people enjoy them on screen.
    • 56 Metascore
    • 75 James Rocchi
    The End of Love is hardly a work of revelation. At the same time, it's surprisingly well-executed, nicely performed and manages to combine a warm and gentle sense of the rhythms of life with a cold and bright-eyed look at the world and its lead's flaws and character.
    • 79 Metascore
    • 75 James Rocchi
    It’s an American film that talks about race with strong feeling, common sense and good humor; it’s an indie screenwriting-directing debut as polished as it is provocative; it’s a satire that also lets its characters be people; it’s a showcase of clever craft and direction as well as whip-smart comedic writing brought to life by a dedicated, charismatic cast that also conveys real ideas and emotion.
    • 58 Metascore
    • 75 James Rocchi
    It’s a bit of an irony that The Voices doesn’t have much to say, but the fact of the matter is that it’s the tone and the tenor of the film that make it most watchable; a truly hilarious film about truly horrible things, the real artistry in Satrapi’s direction of The Voices speaks for itself.
    • 53 Metascore
    • 70 James Rocchi
    Attractively made, good-hearted, and more than a little redundant even as it's trying a little too hard, Earth to Echo nonetheless will hit the sweet spot for parents looking for innocent PG-rated entertainment for their kids in a summer full of PG-13 spectacle and mayhem.
    • 76 Metascore
    • 70 James Rocchi
    Unlike the stiff-jawed heroics of the other Marvel films, this feels a little looser and lighter, with Pratt as charming, amoral accidental leader Peter Quill, an earthling among the stars who, as he will tell you, is also known as the roving brigand “Starlord.”
    • 65 Metascore
    • 70 James Rocchi
    It works as well as it does precisely because of an intelligence, humanity and restraint we rarely see in Hollywood films.
    • 68 Metascore
    • 70 James Rocchi
    Both ludicrous and ludicrously entertaining, John Wick's stylish look, B-movie vibe and less-is-more, longer-takes-are-stronger-takes approach to action make it a standout.
    • 62 Metascore
    • 70 James Rocchi
    Gripping, smart and genuinely thrilling, Black Sea elevates itself above most other thrillers by how wisely and well it brings you down to the depths alongside its crew.
    • 52 Metascore
    • 70 James Rocchi
    Unrepentant, uneven and unique, Da Sweet Blood of Jesus proves that Lee can still make a film worthy of the arguments it will most certainly start.
    • 55 Metascore
    • 70 James Rocchi
    With superb, nuanced comedy performances from both White and Marsden, The D Train is a great, out-of-left-field star vehicle with tough laughs and real regret in it.
    • 56 Metascore
    • 70 James Rocchi
    Escobar: Paradise Lost plays more like Greek tragedy than the kind of drug-war tale we’d get in a broader, bigger film, and that is no small part of the many reasons it works.
    • 46 Metascore
    • 67 James Rocchi
    Black Rock isn't going to become the sort of classic that "Deliverance" was, but if you like your scares smart, and like them to happen to people you actually care about, then Aselton's island of friendship and fury is a nice place to visit.
    • 76 Metascore
    • 67 James Rocchi
    Obvious Child is well-made and wickedly bold, but I still found myself wishing for a little more subtle maturity on the part of its characters and creators.
    • 58 Metascore
    • 64 James Rocchi
    Murdoch’s film is fraught with ambition and aspiration, but a little thin on talent and technique.
    • 88 Metascore
    • 63 James Rocchi
    This is not a film in need of creativity, passion or energy; what it needed was restraint, consideration and direction. This is not saying that Birdman is awful, or a debacle; there are superb scenes here, as well as excellent performance moments, but they get drowned out in the flood of Iñárritu’s ambition, energy and fantasies.
    • 44 Metascore
    • 60 James Rocchi
    The Love Punch gets by in no small part thanks to the individual charms and collective chemistry between leads Pierce Brosnan and Emma Thompson.
    • 48 Metascore
    • 60 James Rocchi
    This movie hardly rates as first-class animation, but it gets in, gets the job done, and moves on both swiftly and well.
    • 41 Metascore
    • 60 James Rocchi
    Before I Go To Sleep‘s combination of talents on both sides of the camera means that while it may not rocket you to the edge of your seat as quickly and cruelly as the recent “Gone Girl,” it's hardly a snooze.
    • 53 Metascore
    • 60 James Rocchi
    Mr. Edwards has given his film a strong narrative spine — depicting years in the life of young Abraham Lincoln as his family suffers and strives to succeed in Indiana — with such committed actors bringing life to the tale that the audience can't help but be engaged even as the staid, stark visuals keep viewers at arm's length.
    • 47 Metascore
    • 60 James Rocchi
    Even with all the teen angst and temporal alterations, the film stays fleet, funny and fast, especially as our leads figure out, through trial and error, how they can take advantage of their new abilities in ways large and small.
    • 45 Metascore
    • 60 James Rocchi
    The action is shot far better than it is in most Marvel movies, with clarity in the framing and a fluid skill to the cutting.
    • 55 Metascore
    • 60 James Rocchi
    There’s nothing in Home that you haven’t seen before, but there’s a lot in it your kids haven’t; as animated sci-fi for small fry, it’s a success whose modest but well-executed ambitions are no small part of its charm.
    • 39 Metascore
    • 60 James Rocchi
    While The Barber may be a first-time directorial effort, it’s tense and taut enough to make an impression thanks in no small part to the steadying, strong presence of Glenn.
    • 52 Metascore
    • 60 James Rocchi
    Boulevard consistently evokes the road not traveled, but doesn’t particularly stand out alongside other dramas that have explored the same terrain.
    • 67 Metascore
    • 60 James Rocchi
    Mr. Holmes may not be the biggest or boldest recent updating of Sherlock, but McKellen’s performance alone is almost reason enough to see it on the big screen.
    • 61 Metascore
    • 58 James Rocchi
    The Boxtrolls is a swing-and-miss for Laika; when you move forward with revolutionary techniques while standing still in terms of your themes, stories and settings, no amount of technical trickery or animation genius can bring the boring to vivid life.
    • 40 Metascore
    • 50 James Rocchi
    With both Garner and Shahedi providing voice-over, the small-town stakes and the big thematic ideas, Butter feels like someone trying to create the lemonade tang and quenching zest of, say, Alexander Payne's "Election."

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