Matt Zoller Seitz

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For 175 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 Ex Machina
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 11 out of 175
175 movie reviews
    • 42 Metascore
    • 63 Matt Zoller Seitz
    There are too many major characters and too many points of emphasis. As elegantly directed as it sometimes is, it feels disjointed, scattered.
    • 47 Metascore
    • 63 Matt Zoller Seitz
    So what are you looking at, really? Is the movie a bait-and-switch? Probably. The film has fun with the idea that nobody would have gotten involved were it not for the chance to work with James Franco and perhaps perform in a sex scene with James Franco (there are no sex scenes involving James Franco, if you were wondering).
    • 53 Metascore
    • 63 Matt Zoller Seitz
    Unfortunately, early hints that the the actor-filmmaker's latest will be a brilliant, bloody, sustained workplace satire don't pan out. This is an intelligently composed, crisply edited, sometimes amusing, but otherwise unremarkable cross/double cross gangster picture.
    • 45 Metascore
    • 63 Matt Zoller Seitz
    It's often painful, and not in a good way; it's painful because of the roads it doesn't explore, the shortcuts it takes, and the special pleading it can't stop itself from indulging in.
    • 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.
    • 50 Metascore
    • 63 Matt Zoller Seitz
    No matter how feverishly Gilliam directs and no matter how enthusiastically his actors act, the whole thing remains too, er, theoretical.
    • 58 Metascore
    • 63 Matt Zoller Seitz
    Turbo is just strange and lively enough to make you wish it were better.
    • 48 Metascore
    • 63 Matt Zoller Seitz
    The picture begins vanishing from the memory the instant that its final credits roll, and its laid back attitude suggest it's fine with that.
    • 55 Metascore
    • 63 Matt Zoller Seitz
    Clare Lewins' new documentary I Am Ali is a great introduction to the boxer, activist and super-celebrity if you don't know much about him. It doesn't break any new ground, not does it claim to, but it's likable and reasonably thorough.
    • 60 Metascore
    • 63 Matt Zoller Seitz
    It's filled with big sets, big stunts, and what ought to be big moments, but few of them land.
    • 54 Metascore
    • 63 Matt Zoller Seitz
    Even if you have a high tolerance for whimsy, Mood Indigo may still be too much.
    • 63 Metascore
    • 63 Matt Zoller Seitz
    Zero Charisma is a movie about emotionally inert people who labor mightily to change their lives in small ways, and whose efforts at self-improvement are thwarted by emotional feedback loops that cause them to make the same mistakes over and over. If it were possible to roll your way out of real world crises, these guys would do just fine, but there are no saving throws in life.
    • 44 Metascore
    • 63 Matt Zoller Seitz
    There are a few brilliantly realized moments, the acting is mostly strong despite the weak script (Affleck and Cavill are both superb—Affleck unexpectedly so), and there's enough mythic raw material sunk deep in every scene that you can piece together a classic in your mind if you're feeling charitable; but if you aren't, “Batman v. Superman” will seem like a missed opportunity.
    • 49 Metascore
    • 63 Matt Zoller Seitz
    Jean-Claude Van Damme, whose work as the villain in Enemies Closer is the only reason to see this film.
    • 42 Metascore
    • 63 Matt Zoller Seitz
    The most galling thing about Transcendence, though, isn't its inability to get a handle on what, if anything, it wants to say about the enormous changes happening to the human race, it's the movie's ending, which seems calculated to reassure us that everything's going to be fine as long as the right people are in charge, especially if they're good looking.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    If nothing else, McConaughey's goofball autodidact's intensity certifies that there is, in fact, a "Matthew McConaughey" type of character, and that McConaughey originated it.
    • 70 Metascore
    • 63 Matt Zoller Seitz
    This is ultimately a frustrating work. The Walk has everything it needs to be a modern classic, except for an understanding that when you have everything you need to make such a film, it doesn't need to hype itself and explain itself. It can just be.
    • 64 Metascore
    • 63 Matt Zoller Seitz
    As a portrait of a great artist and activist, Finding Fela is worth a look, but it's Gibney's weakest work as a filmmaker.
    • 68 Metascore
    • 63 Matt Zoller Seitz
    Worse, Z for Zachariah is ultimately too dramatically slight and brief for its ambitions, despite its sometimes labored myth-making script and visuals.
    • 63 Metascore
    • 63 Matt Zoller Seitz
    An intelligent but not terribly effective drama. And its discussion of military ethics, especially with regard to what it means to be able to kill people without physical consequences, is promising, but it does not go far enough.
    • 56 Metascore
    • 63 Matt Zoller Seitz
    This is is the kind of movie that makes you appreciate Schwarztman's unique brand of screen energy, if you didn't already.
    • 48 Metascore
    • 63 Matt Zoller Seitz
    The movie never entirely rises to the height of its ambitions, though: there are moments when you can practically hear it straining to impart significance to what is, in the end, a fairly standard sensitive-young-criminal-in-over-his-head story.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 59 Metascore
    • 50 Matt Zoller Seitz
    Only fitfully entertaining or illuminating.
    • 68 Metascore
    • 50 Matt Zoller Seitz
    An impressive display of film craft and a profoundly ugly movie—so gleeful in its violence and so nihilistic in its world view that it feels as though the director is daring his detractors to see it as a confirmation of their worst fears about his art.
    • 47 Metascore
    • 50 Matt Zoller Seitz
    And this is ultimately what damages In the Heart of the Sea more than anything else: it is so very many different things, but they all feel detached from each other, almost like a bunch of self-contained mini-movies stitched end-to-end, with the framing device serving as needle and thread.

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