Matt Zoller Seitz
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For 85 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 11.2 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Boyhood
Lowest review score: 12 Don Peyote
Score distribution:
  1. Positive: 69 out of 85
  2. Negative: 4 out of 85
85 movie reviews
    • 65 Metascore
    • 100 Matt Zoller Seitz
    True to the spirit of the original film, "Monsters Inc.", and matches its tone. But it never seems content to turn over old ground.
    • 63 Metascore
    • 100 Matt Zoller Seitz
    Don't see this movie if you have a weak stomach, or if you don't like movies that mix horror-movie violence and cornball humor. Don't see if it you're expecting production values beyond a couple of vehicles, a farmhouse and about twelve buckets of gore. Don't see this movie if your definition of a great or classic film is one that bowls you over with the importance of its subject or the awesome scope of its vision. Do see if it you want to be be reminded that it's possible to make a relaxed, engrossing, funny, sometimes scary movie on almost no money.
    • 64 Metascore
    • 100 Matt Zoller Seitz
    If I were nine years old, I would see the monsters-versus-robots adventure Pacific Rim 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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
    • 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.
    • 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.
    • 58 Metascore
    • 88 Matt Zoller Seitz
    The movie offers the most psychologically complex screen portrait of a Native American character in at least twenty years, probably more.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    I can't imagine anyone who liked the show not enjoying this film, even though the first half is stronger than the second, which spirals into a frenzy of double- and triple-crossing that's less engaging than watching the characters reconnect, awkwardly but with feeling.
    • 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.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.
    • 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.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste.
    • 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.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    Gone Girl is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
    • 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.
    • 72 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.
    • 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.
    • 55 Metascore
    • 75 Matt Zoller Seitz
    The most striking and curious aspect of Man of Steel is the way it minimizes and even shuts out women.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    Our Nixon seems to be more interested in evoking emotional than intellectual responses.
    • 58 Metascore
    • 75 Matt Zoller Seitz
    A dark, weird, smutty, fitfully amusing comedy that ultimately wears out its welcome. As a provocation, it's aces, especially if — like the film's writer-director, Randy Moore — you hate Disney and everything it stands for.
    • 53 Metascore
    • 75 Matt Zoller Seitz
    For all the psychological realism of Carrie and Margaret's relationship, however, this remake has a comic book feeling.
    • 59 Metascore
    • 75 Matt Zoller Seitz
    The film's plot is articulated cleanly, if a bit too plainly at times, but as is so often the case in Sayles' movies, that's not where the director's interest lies. Go for Sisters lacks the epic quilt qualities of such sprawling Sayles pictures as "Lone Star" or "City of Hope," but this seems more a matter of intent than evidence of any sort of failure of vision.
    • 49 Metascore
    • 75 Matt Zoller Seitz
    This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man" — not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of.
    • 41 Metascore
    • 75 Matt Zoller Seitz
    Bell's performance is the best reason to see Raze.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 75 Matt Zoller Seitz
    The movie is a mess, but it's a rich mess. It has weight. It matters.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    It's a self-aware movie that makes fun of the macho clichés it indulges.
    • 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.
    • 57 Metascore
    • 75 Matt Zoller Seitz
    The star rating at the top would be two-and-a-half if I were only judging what's on the screen. The other half-star is for audacity.
    • 49 Metascore
    • 75 Matt Zoller Seitz
    Calling Space Station 76 a spoof of 1970s science fiction doesn't do the trick. It's quiet, slow movie that's often funny, sometimes sad, and occasionally uncomfortable.
    • 54 Metascore
    • 75 Matt Zoller Seitz
    Camp X-Ray has cinematic and moral intelligence.
    • 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.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    Remote Area Medical is a rare contemporary documentary that is determined to tell by showing.
    • 68 Metascore
    • 75 Matt Zoller Seitz
    Much of the film's appeal lies in watching the two lead actors enact subtle, honest moments of observed behavior.
    • 33 Metascore
    • 75 Matt Zoller Seitz
    Annie is light on its feet, frothy, and always insistently, at times provocatively kind, determined to melt grumpy hearts like marshmallows.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Matt Zoller Seitz
    Turbo is just strange and lively enough to make you wish it were better.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 63 Matt Zoller Seitz
    Heart alone does not a good film make.
    • 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.
    • 76 Metascore
    • 63 Matt Zoller Seitz
    However heartfelt and keenly observed this pessimism is, it becomes monotonous.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 63 Matt Zoller Seitz
    Even if you have a high tolerance for whimsy, Mood Indigo may still be too much.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 82 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.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Matt Zoller Seitz
    Gandolfini's quietly magnificent performance is the only reason to see Violet & Daisy.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Just bloody eye and ear candy.
    • 41 Metascore
    • 50 Matt Zoller Seitz
    The picture is assembled with energy and a smidgen of style, but it's tiresome and slight.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately this film has none of their urgency or sense of control; for long stretches it just doesn't seem to have any idea what, exactly, it wants to say, or be.
    • 61 Metascore
    • 50 Matt Zoller Seitz
    Lacks the original's momentum. It only sometimes builds to the peaks of lunacy that you want and need from this sort of picture. It goes here, it goes there, it does this, it does that.
    • 39 Metascore
    • 50 Matt Zoller Seitz
    Divorce Corp is directed and edited at roughly the same level of imagination as a network newsmagazine story: talking head, talking head, talking head, cut to a chart, exterior shot of a courthouse, cut to another chart, talking head.
    • 42 Metascore
    • 50 Matt Zoller Seitz
    This latest, a thriller about a photographer who might be a killer, is wild pop fly that disappears in the stands.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    Too bad it isn't a wickeder, subtler, more imaginative movie.
    • 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.
    • 63 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.
    • 31 Metascore
    • 50 Matt Zoller Seitz
    If only Dying of the Light had broken Schrader's recent close-but-no-cigar streak.
    • 22 Metascore
    • 38 Matt Zoller Seitz
    The car chase thriller Getaway has a wild premise and few good moments, and if there were an Oscar for wrecking police cars, it would absolutely win.
    • 28 Metascore
    • 38 Matt Zoller Seitz
    There are a few nice moments of performance and filmmaking (including the elaborately choreographed final shot), but not enough to redeem a film that seems to flinch from the harsh truths it was presumably created to address.
    • 14 Metascore
    • 12 Matt Zoller Seitz
    The worst American film I've seen this year.
    • 46 Metascore
    • 12 Matt Zoller Seitz
    The problem — and wow, it's a big one — is that none of these actors have material firm enough to shape into a bona fide performance.

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