Matt Zoller Seitz
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For 80 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 10.9 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Boyhood
Lowest review score: 12 Don Peyote
Score distribution:
  1. Positive: 65 out of 80
  2. Negative: 4 out of 80
80 movie reviews
    • 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.
    • 58 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.
    • 75 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.
    • 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.

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