Matt Zoller Seitz
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For 120 reviews, this critic has graded:
  • 76% higher than the average critic
  • 0% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Dog
Lowest review score: 12 The Last of Robin Hood
Score distribution:
  1. Positive: 99 out of 120
  2. Negative: 5 out of 120
120 movie reviews
    • 52 Metascore
    • 50 Matt Zoller Seitz
    The ratio of humor and action and parent-child bonding is so formulaic, and the character design and molded-figurine-like animation so typical of the genre in the age of Pixar (and Pixar imitators), that Epic evaporates from the mind within minutes of leaving the theater.
    • 43 Metascore
    • 50 Matt Zoller Seitz
    Gandolfini's quietly magnificent performance is the only reason to see Violet & Daisy.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Just bloody eye and ear candy.
    • 41 Metascore
    • 50 Matt Zoller Seitz
    The picture is assembled with energy and a smidgen of style, but it's tiresome and slight.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately this film has none of their urgency or sense of control; for long stretches it just doesn't seem to have any idea what, exactly, it wants to say, or be.
    • 61 Metascore
    • 50 Matt Zoller Seitz
    Lacks the original's momentum. It only sometimes builds to the peaks of lunacy that you want and need from this sort of picture. It goes here, it goes there, it does this, it does that.
    • 39 Metascore
    • 50 Matt Zoller Seitz
    Divorce Corp is directed and edited at roughly the same level of imagination as a network newsmagazine story: talking head, talking head, talking head, cut to a chart, exterior shot of a courthouse, cut to another chart, talking head.
    • 42 Metascore
    • 50 Matt Zoller Seitz
    This latest, a thriller about a photographer who might be a killer, is wild pop fly that disappears in the stands.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    Too bad it isn't a wickeder, subtler, more imaginative movie.
    • 38 Metascore
    • 50 Matt Zoller Seitz
    The November Man wants to be taken seriously, except when it doesn't. This creates viewer whiplash. The movie is confused and often untrustworthy.
    • 65 Metascore
    • 50 Matt Zoller Seitz
    The film that Memphis most reminds me of is Bruce Weber's "Let's Get Lost," a meandering, ostentatiously gorgeous black-and-white documentary about Chet Baker.
    • 31 Metascore
    • 50 Matt Zoller Seitz
    If only Dying of the Light had broken Schrader's recent close-but-no-cigar streak.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    This ensemble drama about troubled upper-middle class strivers is slick, confident, and rather empty, and structurally more self-defeating than clever.
    • 40 Metascore
    • 50 Matt Zoller Seitz
    It's blandly, often listlessly bad, check-the-blockbuster-boxes bad, just-out-of-film-school-and-shopping-a-tentpole-screenplay bad.
    • 34 Metascore
    • 50 Matt Zoller Seitz
    If you love rape jokes, Get Hard is your movie.
    • 50 Metascore
    • 50 Matt Zoller Seitz
    The film's fuzzy mystical undertones are irksome as well. They seem less aligned with 19th century representations of Christian or Muslim spirituality than with fond childhood memories of "Star Wars."

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