For 76 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 2.3 points higher than other critics. (0-100 point scale)

James Rocchi's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Smashed
Lowest review score: 0 America
Score distribution:
  1. Positive: 43 out of 76
  2. Negative: 13 out of 76
76 movie reviews
    • 71 Metascore
    • 100 James Rocchi
    Ponsoldt, Paul and Winstead make a remarkably effective team for this film's points and purposes, and Smashed burns long after it goes down smoothly.
    • 69 Metascore
    • 100 James Rocchi
    Sightseers homicidal holiday isn't just a pitch-black comedy made with skill, will and brains; it's also another demonstration that Wheatley is, to use an all-too-appropriate phrase, going places.
    • 78 Metascore
    • 100 James Rocchi
    Drive works as a great demonstration of how, when there's true talent behind the camera, entertainment and art are not enemies but allies.
    • 79 Metascore
    • 100 James Rocchi
    A Most Violent Year asks you to watch and listen and pay close attention; it also rewards that investment with subtle, real pleasures and provocations. Set in that messy place where crime, business, law and politics intersect — which is to say, the real world — A Most Violent Year is a slow-burn drama about what kinds of compromises you'll make in order to tell yourself you haven't compromised.
    • 89 Metascore
    • 100 James Rocchi
    Selma is one of the best American films of the year — and indeed perhaps the best — precisely because it does not simply show what Dr. King did for America in his day; it also wonders explicitly what we have left undone for America in ours.
    • 82 Metascore
    • 91 James Rocchi
    Calling Love Is Strange a great gay love story is both precise and inaccurate; I doubt I’ll see a more finely performed and beautifully crafted love story, with or without any mere modifiers, up on the big screen this year.
    • 79 Metascore
    • 90 James Rocchi
    Not only brutal but also brutally funny, Gone Girl mixes top-notch suspenseful storytelling with the kind of razor-edged wit that slashes so quick and clean you're still watching the blade go past before you notice you're bleeding.
    • 62 Metascore
    • 83 James Rocchi
    Warm and funny, real and raw, Hello I Must Be Going deserves a hearty welcome from moviegoers looking for an honest and frank comedy that never forgets to help us care about its characters.
    • 88 Metascore
    • 83 James Rocchi
    The quest to be the best is a familiar film story, but if director-writer Chazelle has achieved anything here, it’s a deeply and richly different take on that journey—not only examining the cost of struggle but the reward of it, showing both what it takes to be great and what happens when you don’t have it.
    • 71 Metascore
    • 83 James Rocchi
    The Raid 2 brings the noise, but length, repetition and too much space also make it a slightly reduced echo of its predecessor.
    • 60 Metascore
    • 83 James Rocchi
    It knows how to mock cliché big things, like jokes about set-dressing and music video montages; it’s also wise about small matters, right down to the font and the framing device.
    • 76 Metascore
    • 81 James Rocchi
    Heartfelt and haunting, sympathetic while still aware of the limits of sympathy, Wild incorporates beautiful direction, smart writing and brave acting.
    • 73 Metascore
    • 80 James Rocchi
    Cold in July never actually turns into the film you think it's going to, and even if that means there's a few unanswered questions ricocheting around your head as the credits roll, it also provides real, rich pleasures as it zigzags into the darkness.
    • 59 Metascore
    • 80 James Rocchi
    Perhaps the best thing about What If, the new romantic comedy from director Michael Dowse (“Goon”), is that for all of its banter and batted eyes, from its awkward introductions to its inevitable climactic declarations of love, everyone in it feels like a real human being.
    • 57 Metascore
    • 80 James Rocchi
    Willfully empty but wildly entertaining, The Equalizer stands out from its peers like a wolf among lapdogs, as Fuqua and Washington bring out the best in each other for the benefit of the audience.
    • 64 Metascore
    • 80 James Rocchi
    This isn't disposable popcorn entertainment, or a winking “war” film like “Inglourious Basterds.” Ayer's aim here is a film that will stick, and stick with you. And he achieves it.
    • 67 Metascore
    • 80 James Rocchi
    The Circle has a sincerity and an honesty that shames far more expensive but over-polished dramas. Plenty of movies have happy endings; The Circle shows you both the happy ending and the incredibly hard work it took to get there.
    • 72 Metascore
    • 80 James Rocchi
    There's an extraordinarily tough and smart delicacy to Still Alice, and it stretches far beyond the writing or Moore's performance or even the sympathy of the circumstance.
    • 58 Metascore
    • 80 James Rocchi
    Kingsman: The Secret Service is a startlingly enjoyable and well-made action film leavened by humor and slicked along by style, made by, for, and about people who’ve seen far too many Bond films.
    • 60 Metascore
    • 80 James Rocchi
    A feel-good movie that earns all those good feelings, McFarland, USA might be running on a predetermined track, but the heart it shows along the journey is what makes it a winner.
    • 56 Metascore
    • 80 James Rocchi
    Like a perfect cocktail mixes the sour with the sweet and the bright with the boozy, Focus combines seamless, superbly-crafted filmmaking with the fizz and fun created by its leads.
    • 31 Metascore
    • 80 James Rocchi
    The Lazarus Effect is a smart, unsubtle chiller that should leave even a dedicated horror fan shaken and spooked from its opening scene’s revelations to its final scene’s implications.
    • 48 Metascore
    • 80 James Rocchi
    While initially playing like a fish-out-of-water (or, more specifically, into-the-water) rom-com, Hunt’s Ride winds up being surprisingly satisfying, a film with the guts to talk about the things that really matter underneath what could have been a glib, shallow version of the same tale.
    • 75 Metascore
    • 80 James Rocchi
    By taking the mob film back to its basics of land, family and death, Munzi’s film strips away artifice, cliche and gun-in-fist glamor to make a story of family and fury that burns cold and slow.
    • 73 Metascore
    • 78 James Rocchi
    Strong, stirring, triumphant and tragic, The Imitation Game may be about a man who changed the world, but it’s also about the world that destroyed a man.
    • 66 Metascore
    • 76 James Rocchi
    A closer, richer examination of a slice of time as specific as it is short.
    • 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.

Top Trailers