For 166 reviews, this critic has graded:
  • 35% higher than the average critic
  • 13% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 12.7 points lower than other critics. (0-100 point scale)

Martin Tsai's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 Little Hope Was Arson
Lowest review score: 10 Poseidon Rex
Score distribution:
  1. Positive: 39 out of 166
  2. Negative: 54 out of 166
166 movie reviews
    • 44 Metascore
    • 30 Martin Tsai
    A "Saw" knockoff without the torture porn.
    • tbd Metascore
    • 30 Martin Tsai
    Little parallelism or consequence can be gleaned from Kwak's narrative that crosscuts points between 1963 and 2010. Seeing as his surrogate in the first film is absent in the sequel, the shared cultural memory has also given way to genre exercise.
    • tbd Metascore
    • 30 Martin Tsai
    When a director merely goes through the motions, even Chekhov can be reduced to daytime soap.
    • tbd Metascore
    • 30 Martin Tsai
    Making sense was never a top priority for "K," and its sequel is just as much of a hot mess.
    • 41 Metascore
    • 30 Martin Tsai
    Whereas Haneke's films grapple with the blunt force of violence, novice filmmaker Markus Blunder just lets the violence snowball all the way down a slippery slope.
    • 57 Metascore
    • 30 Martin Tsai
    So instructional is the film, directed by Brook's son, Simon, that it feels like one of those P90X or Insanity home fitness programs: Try this at home. You too can perform on stage.
    • 28 Metascore
    • 30 Martin Tsai
    Familiar paternal regret gets ratcheted up here with an illogical and gratuitous investigative exercise.
    • 42 Metascore
    • 30 Martin Tsai
    Whereas the original "Monsters" was a road movie about an odd couple fleeing an alien-infested zone, "Dark Continent" cribs from contemporary war movies like "The Hurt Locker" and "American Sniper," then tosses in extraterrestrials as an afterthought.
    • 34 Metascore
    • 30 Martin Tsai
    The film hardly scratches Abu Ghraib's surface.
    • tbd Metascore
    • 30 Martin Tsai
    Dela Torre tinkers with some of the undead's best-known traits, yet his reinvented wheel still feels like a retread.
    • 42 Metascore
    • 30 Martin Tsai
    Andrew Douglas, who directed the 2005 "The Amityville Horror" remake, mishandles the standard noir as straightforward drama and gives it an unfortunate after-school-special vibe.
    • 32 Metascore
    • 30 Martin Tsai
    Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.
    • 52 Metascore
    • 30 Martin Tsai
    Barker just hammers home the human-interest angle with a stirring score that serves to instruct the appropriate emotional response to each scene. The tacked-on uplift in the end is beyond comprehension, given that some of its subjects remain in peril.
    • 26 Metascore
    • 30 Martin Tsai
    Filmmakers Scott Beck and Bryan Woods water down the element of surprise, even if they get the found footage shtick down to a science.
    • 32 Metascore
    • 30 Martin Tsai
    The slickly produced documentary Farmland often comes off like lobbyist propaganda, profusely extolling the virtues of the independent American farmer.
    • tbd Metascore
    • 30 Martin Tsai
    Director Hilarion Banks dutifully captures all of it in a series of nicely shot extended takes, which would have been fine if the cast had been able to interact in some sort of uniform tone.
    • 32 Metascore
    • 30 Martin Tsai
    It's essentially a glorified PowerPoint presentation that juxtaposes archival footage — an echo chamber of interviews, readings and performances taken entirely out of context — with amateurish stock footage and a short running time.
    • 34 Metascore
    • 30 Martin Tsai
    Although this film doesn't miss the whole point of found footage as the recent "Into the Storm" did, Jung does little to help suspend our disbelief.
    • tbd Metascore
    • 30 Martin Tsai
    Corrado Jay Boccia's directorial debut strikes as almost passable, with a relatively known cast and elaborate stunts. But his inexperience rears its ugly head as the film never musters real suspense and urgency.
    • 51 Metascore
    • 30 Martin Tsai
    The method to Von Trier's madness is that he provokes thought alongside outrage in his parables. Here, Gebbe musters only outrage, as her antagonists are without nuance, mercy or any redeeming quality.
    • tbd Metascore
    • 30 Martin Tsai
    There are rich veins to mine here had writer-director David R. Higgins bothered.
    • 24 Metascore
    • 30 Martin Tsai
    The obnoxious sound design and score divest the film of much of its suspense, and perhaps more important characters have no survival instincts. The audience never has a chance to build some false hope that someone might make it out alive.
    • 43 Metascore
    • 30 Martin Tsai
    At its best, the film seems as dreary a travelogue as that Nia Vardalos vehicle "My Life in Ruins." At its worst, Chaplin of the Mountains feels like an overambitious film-school thesis with superfluous political and philosophical posturing.
    • tbd Metascore
    • 30 Martin Tsai
    Rountree and Banks have come up with a nonsensical and pointless genre exercise.
    • 31 Metascore
    • 30 Martin Tsai
    There's little going on in the final product other than good intentions, as Jeta Amata always seems overreaching for the right buttons to push.
    • tbd Metascore
    • 30 Martin Tsai
    Writer-director Larry Brand is all too eager to show off his cleverness. Bad dialogue and Cinemax aesthetics make all the clichés seem even more clichéd.
    • tbd Metascore
    • 30 Martin Tsai
    The Business of Disease seeks to cast suspicion on Big Pharma, but it proves to be a glorified PowerPoint presentation interspersed with commentary by people of questionable qualifications who aim to incite paranoia with propaganda, conspiracy theories and straw-man arguments.
    • 29 Metascore
    • 30 Martin Tsai
    The film operates under the assumption that the average Joe associates Mormonism more with "Sister Wives" than Mitt Romney, so the film will be an eye-opener only for subscribers to such stereotypes.
    • 31 Metascore
    • 30 Martin Tsai
    Though billed as a 3-D experience, Leonardo is flat in more ways than one.
    • tbd Metascore
    • 30 Martin Tsai
    With a succession of tangential flashbacks, the film gradually disengages viewers from the plot.

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