Matt Zoller Seitz
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For 101 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 Gravity
Lowest review score: 12 The Last of Robin Hood
Score distribution:
  1. Positive: 82 out of 101
  2. Negative: 4 out of 101
101 movie reviews
    • 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.
    • 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.
    • 78 Metascore
    • 88 Matt Zoller Seitz
    A brutal but stirring fantasy.
    • 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.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    It's quite good, for what it is. But it's that "for what it is" part that proves slightly exasperating.
    • 62 Metascore
    • 75 Matt Zoller Seitz
    Black Sea looks so gorgeous and moves with such muscular grace that you might forget, or never imagine, that it's a relatively small action movie.
    • 67 Metascore
    • 75 Matt Zoller Seitz
    By the time you get to the end, Cronenberg has pinned all his people against the screen like so many laboratory specimens, ripped off their scabs, and vivisected their longings: an old wound here, a long--deferred dream there. Still, the movie sticks with you. It's a fleeting nightmare that refuses to fade.
    • 71 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.
    • 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.

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