Matt Zoller Seitz

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For 176 reviews, this critic has graded:
  • 71% higher than the average critic
  • 1% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 11 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 100 Bloody Acres
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 11 out of 176
176 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.
    • 94 Metascore
    • 100 Matt Zoller Seitz
    The best parts of it feel truly new, even as they channel previous animated classics (including the works of Hayao Miyazaki) and explore situations and feelings that everyone has experienced to some degree.
    • 90 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.
    • 88 Metascore
    • 88 Matt Zoller Seitz
    For all its visual audacity and honest feeling, Anomalisa is a modest, even slight work, aesthetically sealed off from the same reality it engages.... But there's so much beauty and sadness in it, and so many exquisitely conceived scenes (including an impromptu musical performance that ranks with Kaufman's greatest moments), that it would be miserly to underrate it.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    The movie's major, perhaps only, fault is that its brilliant construction denies it the storytelling clarity and basic insights that conventional nonfiction films provide.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Stillman pushes the comedy right up to the edge of screwball.
    • 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.
    • 85 Metascore
    • 75 Matt Zoller Seitz
    As written by Sean Baker and Chris Bergoch and directed by Baker, it's assured and immensely likable, and truly independent in story and style.
    • 84 Metascore
    • 88 Matt Zoller Seitz
    As gorgeous and impenetrable as a dream.
    • 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
    • 75 Matt Zoller Seitz
    What it definitely isn't is a biography of David Foster Wallace, much less a celebration of his work and worldview.
    • 82 Metascore
    • 75 Matt Zoller Seitz
    Rams is an involving, at times curiously exciting film, because the story is so clean and simple and we always know what's at stake.
    • 82 Metascore
    • 75 Matt Zoller Seitz
    It can't quite seem to get out of its own way. It is intelligent and sensitive and assembled with a great care, and worth watching just for its images of the jungle.
    • 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
    • 88 Matt Zoller Seitz
    It's hard to write about In Jackson Heights without sounding like you're trying to write poetry.
    • 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.
    • 81 Metascore
    • 75 Matt Zoller Seitz
    Private Property is a terrific example of the spell that a confident film can weave by placing a handful of troubled characters in a confined location, and in the end it does feel like as much of a tragedy as a potboiler.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    The film ultimately runs up against the limitations of its own nature.... But it’s still an exhilarating ride, filled with archetypal characters with plausible psychologies, melodramatic confrontations fueled by soaring emotions, and performances that can be described as good, period, rather than "good, for 'Star Wars.'"
    • 80 Metascore
    • 88 Matt Zoller Seitz
    The most fascinating thing about the film is how it leans into predictability rather than make a show of fighting it.
    • 80 Metascore
    • 88 Matt Zoller Seitz
    A brutal but stirring fantasy.
    • 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
    • 63 Matt Zoller Seitz
    The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends have been under-thought or misjudged, to the point where the film becomes a catalog of obscenities.

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