Matt Zoller Seitz

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For 252 reviews, this critic has graded:
  • 67% higher than the average critic
  • 1% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 9.3 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Nightcrawler
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 20 out of 252
252 movie reviews
    • 80 Metascore
    • 88 Matt Zoller Seitz
    This is a tearjerker of a film but also a joyous one.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    Huerta is such a commanding figure, and the array of historical footage marshalled on behalf of her story is so impressive, that the film makes a strong impression.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    This is a powerful movie, but perhaps its greatest triumph is that for a brief time it resurrects Kitty Genovese, and lets us see her as a person.
    • 66 Metascore
    • 88 Matt Zoller Seitz
    The Cold Lands is less a story than an experience, and that, as such, anything one might say about it could be considered a spoiler.
    • 71 Metascore
    • 88 Matt Zoller Seitz
    The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.
    • 58 Metascore
    • 88 Matt Zoller Seitz
    A very good jazz movie and a very good heroin movie, if indeed there's much practical difference between the two modes—and perhaps there isn't.
    • 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.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    Time out of Mind seems to have been undertaken for no other reason than that the filmmakers and actors believed in the truth of the material. How many American movies can you say that about?
    • 69 Metascore
    • 88 Matt Zoller Seitz
    The 3-D animation is designed and executed in an unrealistic manner, paying loving attention to light and shadow but tossing the laws of physics out of the nearest classroom window.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.
    • 74 Metascore
    • 88 Matt Zoller Seitz
    This is Smith's show, and it's all about the writing here, with Smith serving more as a town crier, an information delivery device in human form.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    This is a movie that doesn't merely tell a gripping, important story, but reminds us that the storyteller and the storytelling matter just as much.
    • 95 Metascore
    • 88 Matt Zoller Seitz
    Baldwin's voice as a writer comes through powerfully anyway. It was wise to have Jackson read Baldwin's words plainly in his own voice, rather than attempt an impersonation.
    • 33 Metascore
    • 88 Matt Zoller Seitz
    After Earth is ultimately too thin of a story to support all of its grandiose embellishments, but so what? It's better to try to pack every moment with beauty and feeling than to shrug and smirk. The film takes the characters and their feelings seriously, and lets its actors give strong, simple performances.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    Wright is a brilliant director of turbocharged exposition, elegant but bruising action sequences, and graphically bold comedic overkill.
    • 51 Metascore
    • 88 Matt Zoller Seitz
    Slick and sometimes goofy as it is, Blackhat is an odd, fascinating movie: a high-tech action thriller about the human condition. I can think of no better current illustration of the notion that, to quote this site's founder, it's not what a movie is about, it's how it's about it.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    The process of transformation is the story, and the story truly belongs to the artist.
    • 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.
    • 52 Metascore
    • 88 Matt Zoller Seitz
    The best thing about this movie is that you believe in the relationship. Hart and Johnson are a classic comedy duo in the tradition of Abbott & Costello, Bob Hope & Bing Crosby and Gene Wilder & Richard Pryor.
    • 70 Metascore
    • 88 Matt Zoller Seitz
    This movie feels as if somebody woke from an intense nightmare, decoded it and realized it was rather unsubtly working through some of their unresolved issues, then brought it to Judd Apatow and said, "Here's your next comedy."
    • 81 Metascore
    • 88 Matt Zoller Seitz
    It's hard to write about In Jackson Heights without sounding like you're trying to write poetry.
    • 94 Metascore
    • 88 Matt Zoller Seitz
    This is a movie of vision and integrity made on an epic scale, a series of propositions dramatized with machinery, bodies, seawater and fire. It deserves to be seen and argued about. They don't make them like this anymore. Never did, really.
    • 71 Metascore
    • 88 Matt Zoller Seitz
    Common wisdom says Hollywood doesn't make this kind of movie anymore. But it's not true.
    • 78 Metascore
    • 88 Matt Zoller Seitz
    Those who don't know anything about the tale going in (a category that included me) might be gobsmacked by what happens. The order of events doesn't stick to any established commercial movie template. What happens feels as random yet eerily inevitable as life itself.
    • 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.
    • 37 Metascore
    • 88 Matt Zoller Seitz
    For all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's "1941" — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as "misunderstood."
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Newtown is being characterized as an apolitical documentary, just a portrait of Newtown before, during and after the shootings, but that's not entirely true.
    • 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.
    • 66 Metascore
    • 88 Matt Zoller Seitz
    Every few seconds there's an image that delights for delight's sake.

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