Matt Zoller Seitz
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For 105 reviews, this critic has graded:
  • 77% higher than the average critic
  • 0% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Inherent Vice
Lowest review score: 12 The Last of Robin Hood
Score distribution:
  1. Positive: 85 out of 105
  2. Negative: 4 out of 105
105 movie reviews
    • 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.
    • 78 Metascore
    • 100 Matt Zoller Seitz
    A rare and welcome exception to that norm.
    • 91 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 100 Matt Zoller Seitz
    It is wrenching but never exploitive. It is impressively skeptical of the same mission that it takes on its shoulders: to make something positive from a senseless crime without diminishing its senselessness. This film doesn't just revisit an atrocity, it moves through it, and finds meaning in it.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 62 Metascore
    • 88 Matt Zoller Seitz
    The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name.
    • 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.
    • 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
    • 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."
    • 80 Metascore
    • 88 Matt Zoller Seitz
    A brutal but stirring fantasy.
    • 58 Metascore
    • 88 Matt Zoller Seitz
    An appealing comedy with an unabashed streak of melodrama, sharp dialogue, and a superb ensemble cast, anchored by a lead performance by Al Pacino in lovable scamp mode.
    • 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.
    • 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.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 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.

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