Matt Zoller Seitz

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For 218 reviews, this critic has graded:
  • 66% higher than the average critic
  • 1% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 9.8 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Manchester by the Sea
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 14 out of 218
218 movie reviews
    • 56 Metascore
    • 75 Matt Zoller Seitz
    It's executed with such passion that it holds together better than you might expect.
    • 66 Metascore
    • 75 Matt Zoller Seitz
    While the film works as a primer for viewers who are curious about Lear but don’t know the details of his life and work, it’s more interesting as a movie about age and memory.
    • 68 Metascore
    • 75 Matt Zoller Seitz
    Noah is more of a surrealist nightmare disaster picture fused to a parable of human greed and compassion, all based on the bestselling book of all time, the Bible, mainly the Book of Genesis.
    • 59 Metascore
    • 75 Matt Zoller Seitz
    It's a mess, but a glorious one, and it's so clearly the expression of one artist's vision, seemingly immune to studio notes, that when you find yourself wondering "Who on earth could this possibly be for?" you realize that it's a compliment. As an entertainment, Rules Don't Apply deserves an extra half-star for audacity.
    • 41 Metascore
    • 75 Matt Zoller Seitz
    Bell's performance is the best reason to see Raze.
    • 53 Metascore
    • 75 Matt Zoller Seitz
    The film's tone is just as original. How to describe it? it owes a bit to the biographical films of Ken Russell, which teetered on the edge of camp and used facts as a springboard for wild fancy; but it's much sweeter.
    • 61 Metascore
    • 75 Matt Zoller Seitz
    Like many films by Besson — "The Professional," "The Fifth Element," "The Messenger" and other high-octane shoot-'em-ups — Lucy starts out riveting but becomes less engaging as it goes along.
    • 70 Metascore
    • 75 Matt Zoller Seitz
    This is a huge, unwieldy topic. The filmmakers do an admirable job of condensing their information and making it comprehensible. They don't really succeed in unifying it, though, or in making the whole enterprise seem like more than a collection of talking points for people who are mad about climate change deniers, people paid to sow doubt about the damage caused by smoking, and their ilk.
    • 63 Metascore
    • 75 Matt Zoller Seitz
    Burning Sands, Gerald McMurray's feature filmmaking debut, is one of the fresher entries, thanks mainly to its setting: a historically black fraternity on a historically black campus like Howard, the university where the co-writer and director got his degree.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    Lamb is empathetic and untrustworthy, haunting but often unpersuasive. In the end it's hard to say what the film's point is. But it lingers in the mind.
    • 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.
    • 76 Metascore
    • 63 Matt Zoller Seitz
    However heartfelt and keenly observed this pessimism is, it becomes monotonous.
    • 52 Metascore
    • 63 Matt Zoller Seitz
    Heart alone does not a good film make.
    • 55 Metascore
    • 63 Matt Zoller Seitz
    Even when the movie's not working, its style fascinates. That "not working" part is a deal breaker, though — and it has little to do with Luhrmann's stylistic gambits, and everything to do with his inability to reconcile them with an urge to play things straight.
    • 68 Metascore
    • 63 Matt Zoller Seitz
    The movie never delivers on its considerable promise because it's always in such a hurry to get to the next action scene.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    Iron Man 3 builds on the first film's political cynicism by suggesting that politicians and arms dealers dream up foreign policy crises to consolidate power and make money, but it doesn't develop this notion in detail, because if it did, the audience would tune out.
    • 43 Metascore
    • 63 Matt Zoller Seitz
    Equals goes for the Vulcan solution, and while the movie feels a bit thin and padded as a feature, it believes in itself completely, and there are moments when the sincerity of the lead actors and the director's addiction to the narcotics of Kristen Stewart's eyes, lips, neck and hands puts the whole concept over the top.
    • 44 Metascore
    • 63 Matt Zoller Seitz
    Loud, trashy, sweet and weird, the Mighty Morphin Power Rangers reboot Power Rangers is not merely an ideal film for rambunctious and undemanding 12-year olds, it actually sees the world through their eyes.
    • 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.
    • 81 Metascore
    • 63 Matt Zoller Seitz
    There are two movies in Jackie, Pablo Larraín's film about Jackie Kennedy (Natalie Portman) immediately before, during and after the assassination of her husband, President John F. Kennedy. One of these movies is just OK. The other is exceptional. The first one keeps undermining the second.
    • 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.
    • 71 Metascore
    • 63 Matt Zoller Seitz
    True to form, Hacksaw Ridge draws equally on Gibson's bottomless thirst for mayhem and his sincerely held religious beliefs — or some of them, anyway. It's a movie at war with itself.
    • 39 Metascore
    • 63 Matt Zoller Seitz
    Table 19 also feels the need to be a romantic comedy in which all's well that ends well, and it's here that the movie fails most conspicuously.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    The problem, though, is that we never get enough sense of Paz's interior life to judge this movie as anything other than a comeback story about a nice guy who got knocked out by the cosmos and hauled himself up.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    An old-fashioned Biblical spectacular with fresh blood in its veins.
    • 64 Metascore
    • 63 Matt Zoller Seitz
    The problem is, for all its surface intelligence, "Mockingjay, Part 1" has little depth, and that sometimes makes it much more frustrating than a more knowingly shallow and silly movie might have been.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    It's hard to tell if Kevin Pollak's documentary Misery Loves Comedy is too much of a good thing or not enough.
    • 59 Metascore
    • 63 Matt Zoller Seitz
    It's better than OK, and a few elements sing; but overall it frustrates. Its delights come from its willingness to depart from formula, but formula still rules it.
    • 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).

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