Matt Zoller Seitz
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For 97 reviews, this critic has graded:
  • 76% higher than the average critic
  • 1% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 11.8 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Gett: The Trial of Viviane Amsalem
Lowest review score: 12 The Last of Robin Hood
Score distribution:
  1. Positive: 79 out of 97
  2. Negative: 4 out of 97
97 movie reviews
    • 100 Metascore
    • 100 Matt Zoller Seitz
    I love how Boyhood admits that, in certain ways, growing up stinks. Every character has a least one moment in which they have to heed the advice of Corinthians and put away childish things. None of them like it.
    • 96 Metascore
    • 100 Matt Zoller Seitz
    For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.
    • 94 Metascore
    • 88 Matt Zoller Seitz
    Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere" — which means it's slow and grim and deliberately hard to love — yet it's fascinating, and the performances and photography are outstanding.
    • 92 Metascore
    • 100 Matt Zoller Seitz
    With Gett, the Trial of Viviane Amsalem, siblings Ronit and Shlomi Elkabetz prove that they rank with the finest filmmakers alive.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 86 Metascore
    • 75 Matt Zoller Seitz
    Like its hero, Stand Clear of the Closing Doors goes with the flow and has a chaotic and thrilling time but doesn't know where to go or what to do with itself.
    • 84 Metascore
    • 88 Matt Zoller Seitz
    It asks a lot of us. In fact it asks us to set aside everything we've been conditioned to think movies are, and roll with a different way of seeing and hearing things, and connect.
    • 82 Metascore
    • 88 Matt Zoller Seitz
    The movie is significant as a movie: it's intelligent, sensitive and expertly made. But it's also significant because of its ability to provoke introspection and arguments. In its deceptively modest way, it's as much a Rorschach test as "American Sniper." Everybody who sees it will draw a different picture of the elephant.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    It wants to put you smack-dab in the middle of a particular place during a particular time, and let you marinate in that place and time through quiet montages and long—sometimes very long—scenes.
    • 81 Metascore
    • 63 Matt Zoller Seitz
    In the end Foxcatcher proves impossible to embrace because of fundamental miscalculations in performance, direction and makeup, along with a certain clumsiness in the way that it tries to use its profoundly sad story to make some kind of grand statement about American values, or the lack thereof.
    • 81 Metascore
    • 100 Matt Zoller Seitz
    Inherent Vice is a film about a stoner which itself seems stoned. This is just one small part of what makes it distinctive.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    Wright is a brilliant director of turbocharged exposition, elegant but bruising action sequences, and graphically bold comedic overkill.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    It's quite good, for what it is. But it's that "for what it is" part that proves slightly exasperating.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Gone Girl is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    An account of a film that was never made despite all the love that its makers poured into it, yet somehow it's warm and inspirational: a call to arms for dreamers everywhere.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste.
    • 78 Metascore
    • 100 Matt Zoller Seitz
    A brilliant science fiction movie — more of an "experience" than a traditional story, with plenty to say about gender roles, sexism and the power of lust?
    • 77 Metascore
    • 63 Matt Zoller Seitz
    The movie is at its best when it's immersing you in a series of conundrums and letting you feel what it's like to live with them, and wrestle with them. All of these people are doing the best they can, but the system is broken.
    • 76 Metascore
    • 63 Matt Zoller Seitz
    What's missing is a sense of how Monroe, seemingly a law-abiding young man before his family's financial dark days, suddenly went from being a go-along-to-get-along type to a budding criminal mastermind.
    • 76 Metascore
    • 63 Matt Zoller Seitz
    However heartfelt and keenly observed this pessimism is, it becomes monotonous.
    • 76 Metascore
    • 100 Matt Zoller Seitz
    Co-directors Allison Berg and Frank Keraudren seem to be operating from a place of nonjudgmental curiosity, so pure and sustained that it becomes indistinguishable from love. They can't get enough of John Wojtowicz.
    • 76 Metascore
    • 100 Matt Zoller Seitz
    This is a classic film, not just because every scene and line is casually beautiful and devoid of extraneous touches, but because its tone is mercilessly exact.
    • 76 Metascore
    • 75 Matt Zoller Seitz
    It's slightly frustrating that the movie doesn't venture a point-of-view on any of these larger issues, which are less clear cut than the matters of sexual abuse and its immediate enablers.
    • 75 Metascore
    • 100 Matt Zoller Seitz
    It is wrenching but never exploitive. It is impressively skeptical of the same mission that it takes on its shoulders: to make something positive from a senseless crime without diminishing its senselessness. This film doesn't just revisit an atrocity, it moves through it, and finds meaning in it.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    It's a rapturous experience, mostly, though tempered by a certain Godardian crankiness. Watching it is, I would imagine, as close as we'll get to being able to be Godard, sitting there thinking, or dreaming. It's a documentary of a restless mind.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    Martin Scorsese's The Wolf of Wall Street is abashed and shameless, exciting and exhausting, disgusting and illuminating; it's one of the most entertaining films ever made about loathsome men.
    • 74 Metascore
    • 88 Matt Zoller Seitz
    Interstellar is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    Our Nixon seems to be more interested in evoking emotional than intellectual responses.
    • 72 Metascore
    • 63 Matt Zoller Seitz
    Abrams and his screenwriters (Robert Orci, Alex Kurtzman and Damon Lindelof) are so obsessed with acknowledging and then futzing around with what we already know about Kirk, Spock, McCoy, Uhura, Scotty and company that the movie doesn’t breathe.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    It's a self-aware movie that makes fun of the macho clichés it indulges.

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