For 68 reviews, this critic has graded:
  • 35% higher than the average critic
  • 7% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 15.7 points lower than other critics. (0-100 point scale)

Martin Tsai's Scores

  • Movies
  • TV
Average review score: 44
Highest review score: 70 Finding Mr. Right
Lowest review score: 10 Poseidon Rex
Score distribution:
  1. Positive: 12 out of 68
  2. Negative: 26 out of 68
68 movie reviews
    • 68 Metascore
    • 70 Martin Tsai
    Witnessing him defy long odds, gravity and death is a thrill; even the uninitiated should find his unresolved father complex of interest.
    • 78 Metascore
    • 70 Martin Tsai
    Not Yet Begun to Fight is barely an hour long, but it justifies a theatrical release with a lyrical meditation on nature and war.
    • 68 Metascore
    • 70 Martin Tsai
    Director Yoruba Richen has refreshingly avoided making this polemic into propaganda, a temptation many lesser documentarians could not resist.
    • 50 Metascore
    • 70 Martin Tsai
    Its depiction of esoteric facets of immigrant life lends an air of credibility seldom seen in rom-coms.
    • 47 Metascore
    • 70 Martin Tsai
    The lens work by "Crouching Tiger" cinematographer Peter Pau looks super slick; and the film's conformity to trends in regional commercial cinema yields respectable results. But Special ID truly comes alive when it busts out the good ol' fashioned Hong Kong daredevil stunt work.
    • 63 Metascore
    • 70 Martin Tsai
    Throughout Rob the Mob, De Felitta maintains an unfailingly sympathetic stance toward the lovers and the mafiosi alike, while keeping enough distance from all to disapprove of their dirty deeds and deter any viewer identification with them.
    • 68 Metascore
    • 70 Martin Tsai
    Bears has warmth and fuzziness in spades, especially when the lot of them snoozes on logs. Amid its heaping serving of cuddliness, though, the film doesn't sugarcoat the harsh reality and unforgiving elements with which the bears have to contend.
    • 71 Metascore
    • 70 Martin Tsai
    Without passing judgment, Dickman illustrates how Hanna's way of life and personal convictions compelled his politics. He also allows Steve Hanna a fair shot at presenting his version of the events.
    • 65 Metascore
    • 70 Martin Tsai
    Director Megan Griffiths and writers Huck Botko and Emily Wachtel flesh out a female perspective that's refreshing and engrossing without demonizing or objectifying men.
    • 63 Metascore
    • 70 Martin Tsai
    In spite of its insufferably whimsical tendencies — exemplified by its original title, "Oh Boy" — the film may have turned out to be a deeply profound modern postscript about fascism. This isn't that far-fetched a reading at all.
    • 77 Metascore
    • 70 Martin Tsai
    Though Mission Blue gets its title from Earle's nonprofit organization, the film rarely comes across as propaganda.
    • 54 Metascore
    • 60 Martin Tsai
    The home-movie vérité style of the early scenes pays dividends when inexplicable occurrences suddenly take us by surprise.
    • 63 Metascore
    • 60 Martin Tsai
    It does have a point of view, but the intended conclusion ripens for the picking in a roundabout way.
    • 48 Metascore
    • 60 Martin Tsai
    Although this horror flick is somewhat absurd and seemingly forgettable when viewed in a vacuum, its coincidentally contemporaneous release with "Blue Is the Warmest Color" urges immediate reconsideration.
    • 33 Metascore
    • 60 Martin Tsai
    The Christmas Candle" seems destined to be a Hallmark movie of the week. But in spite of the hammy histrionics requisite for the genre, it is not at all a turkey.
    • 65 Metascore
    • 60 Martin Tsai
    Even at a meager 40 minutes, the film feels padded... But so long as the jubilance brought about by lemurs can compel more protection for the near-extinct species, the film will have served its purpose.
    • 53 Metascore
    • 60 Martin Tsai
    The film supplies a succession of hyper-stylized and potent set pieces without ever establishing any sort of internal logic.
    • 24 Metascore
    • 50 Martin Tsai
    With verbal jabs and sight gags in equal measure, the script proves serviceably funny. As the film progresses, though, the hilarity does not escalate along with the outrageousness.
    • 29 Metascore
    • 50 Martin Tsai
    The screenplay by Lane Shadgett and director Trevor White relies far too much on telling rather than showing.
    • 72 Metascore
    • 50 Martin Tsai
    Given the routineness of the chase itself, what jumps out here is the pervasive desperation shared by just about every character.
    • 40 Metascore
    • 50 Martin Tsai
    While the cast and crew's competence well exceed what anyone would expect from this breed of B movies, they cannot compensate for the flawed internal logic in the screenplay.
    • 40 Metascore
    • 50 Martin Tsai
    Like a typical Hollywood action-thriller, though, the screenplay jeopardizes the film. The twists concocted by writers James Robert Johnston and Bennett Yellin are mostly predictable; and the ones you don't see coming are outlandish.
    • 17 Metascore
    • 50 Martin Tsai
    Some instances of impiousness work better than others.
    • 57 Metascore
    • 50 Martin Tsai
    Despite this notable cast, the remake never manages to drum up much excitement for its sleepy hamlet rousing or for its characters, finally filled with purpose.
    • 43 Metascore
    • 50 Martin Tsai
    The film is certainly interesting, despite the fact that it's a glorified promotional video for Muniz's installations.
    • 52 Metascore
    • 50 Martin Tsai
    Miss Lovely does exude an air of authenticity... But much of the film remains underdeveloped.
    • 30 Metascore
    • 50 Martin Tsai
    One Candle, Two Candles proves worthwhile at least as a cultural curio.
    • 71 Metascore
    • 50 Martin Tsai
    This journey into "Martha Marcy May Marlene" territory is never as tense and gripping as it should be, the incidents and most of the performances too tamped-down to spark a much-needed sense of animating friction.
    • 58 Metascore
    • 50 Martin Tsai
    By allowing Cameron's first-person account to take command of the narrative, though, the film seems to gloss over meaningful logistics of the expedition.
    • 48 Metascore
    • 40 Martin Tsai
    The film's colorblindness does not make up for its latent sexism.