For 57 reviews, this critic has graded:
  • 57% higher than the average critic
  • 1% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

James Rocchi's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Sightseers
Lowest review score: 0 America
Score distribution:
  1. Positive: 34 out of 57
  2. Negative: 12 out of 57
57 movie reviews
    • 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.
    • 89 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.
    • 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.
    • 52 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.
    • 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.
    • 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.
    • 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."
    • 49 Metascore
    • 50 James Rocchi
    The film's look and feel are far more purposeful and propulsive than the story and script, but even so, Space Station 76 has more than a few laughs inside its brazen bizarreness.
    • 81 Metascore
    • 50 James Rocchi
    Top Five is that movie precisely so good and yet still so flawed that you can watch greatness slip out of its ambitious but awkward reach right in front of your eyes.
    • 44 Metascore
    • 48 James Rocchi
    Both Tipton and Teller are better than this material.
    • 61 Metascore
    • 42 James Rocchi
    Sorrentino's very title suggests someone who doesn't have the most well-defined sense of where they ultimately want to wind up; as goes the Talking Heads song, so goes the movie.
    • 36 Metascore
    • 40 James Rocchi
    The Captive is chock full of sealed rooms, kidnappings and abducted prisoners, but what it can never escape is its director's own shadow.
    • 65 Metascore
    • 33 James Rocchi
    Forbes’ script simply cannot make the things she lived through alive for us in anything but the most glib, shallow and contrived way.
    • 53 Metascore
    • 30 James Rocchi
    The Amazing Spider-Man 2, is just good enough to make you painfully aware of all the ways it's not good at all.
    • 32 Metascore
    • 30 James Rocchi
    The material swings between the sensual and the puritanical with whiplash-inducing speed; the dialogue all too often has the flat, dead sound of a first draft.
    • 44 Metascore
    • 30 James Rocchi
    At the climax of Into the Storm, colossal tornadoes make noise, blow things up, and go around in circles; that's pretty much all the film does, too.
    • 29 Metascore
    • 30 James Rocchi
    The bad news is that no matter how charming or fizzy the chemistry between the actors might be, they're still trapped in the dead, fake melodrama and brainless coincidences of a Nicholas Sparks story.
    • 55 Metascore
    • 25 James Rocchi
    Honoré's made better films, and he'll make better films again; the most damning thing you can say about this one isn't that it feels like Honore doing a third-rate imitation of Francois Ozon ("Potiche," "8 Women"), but rather that it often feels like Honoré doing a third-rate imitation of himself.
    • 30 Metascore
    • 25 James Rocchi
    Nature Calls demonstrates yet again that the real question for any bad script is not "Who wrote this garbage?" but, rather, "Who read this garbage and thought it would make a viable way to spend time?"
    • 65 Metascore
    • 25 James Rocchi
    Muddled, muffled and mixing empty comedy with empty dramatics, The We and the I is an abject failure.
    • 74 Metascore
    • 25 James Rocchi
    Promising outer-space majesty and deep-thought topics like some modern variation on Stanley Kubrick's “2001: A Space Odyssey,” Interstellar instead plays like a confused mix of daringly unique space-travel footage like you’ve never seen and droningly familiar emotional and plot beats that you’ve seen all too many times before.
    • 37 Metascore
    • 20 James Rocchi
    Reitman clearly wanted to create a mosaic of sharp-edged shards held together by the mortar of art; with Men, Women and Children, what he's delivered is a group of broken bits mired in the morass of pretension.
    • 45 Metascore
    • 0 James Rocchi
    A lurid, florid, humid, flaccid and insipid waste of time and money for the audience and for everyone who made it.
    • 15 Metascore
    • 0 James Rocchi
    It would be one thing if D'Souza had an idea, or any idea, he could stick to as a through-line in his project. But America isn't a documentary; it's more like the badly-filmed version of a badly-written, meandering op-ed piece from a paper that lacks fact-checking or proofreading.

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