For 46 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 1.6 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: 28 out of 46
  2. Negative: 11 out of 46
46 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.
    • 83 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.
    • 87 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.
    • 75 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.
    • 71 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.
    • 68 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.
    • 78 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.
    • 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.
    • 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.
    • 75 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.
    • 87 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.
    • 63 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.