Matt Zoller Seitz
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For 110 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 11.7 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Gett: The Trial of Viviane Amsalem
Lowest review score: 12 The Last of Robin Hood
Score distribution:
  1. Positive: 90 out of 110
  2. Negative: 4 out of 110
110 movie reviews
    • 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.
    • 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
    The movie offers the most psychologically complex screen portrait of a Native American character in at least twenty years, probably more.
    • 75 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.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 75 Matt Zoller Seitz
    If you treat Tomorrowland mainly as an immense cinematic theme park that unveils a new "ride" every few minutes—just as Bird's last feature, "Mission Impossible: Ghost Protocol" was mainly a series of action scenes—its weaker aspects won't be deal-breakers.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    Our Nixon seems to be more interested in evoking emotional than intellectual responses.
    • 51 Metascore
    • 75 Matt Zoller Seitz
    Ford's voice — always deep, lowered an octave by age and one more by William's longing — is even more powerful. This is Ford's best performance since "The Fugitive," maybe since "Witness."
    • 48 Metascore
    • 75 Matt Zoller Seitz
    The film is high-strung, nervous and slightly chilly in the New York scenes, but once the action shifts to the beaches of Venice, it slows down considerably, and fittingly.
    • 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.
    • 54 Metascore
    • 75 Matt Zoller Seitz
    Camp X-Ray has cinematic and moral intelligence.
    • 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.
    • 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.
    • 66 Metascore
    • 75 Matt Zoller Seitz
    In its lumpy-porridge way, this film makes a better case than any other Marvel picture for the notion that quarter-billion-dollar-budgeted, CGI-festooned slabs of multimedia synergy can be art, too, provided they're made by an artist with a vision, and said artist appears to be in control of at least part of the production.
    • 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.
    • 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.
    • 56 Metascore
    • 75 Matt Zoller Seitz
    The movie is a mess, but it's a rich mess. It has weight. It matters.
    • 63 Metascore
    • 75 Matt Zoller Seitz
    It doesn't go quite far enough into melodrama to fuse all of its different pieces together into a satisfying whole but it's an engrossing film all the same: intelligent, sincere and unabashedly goodhearted.
    • 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.
    • 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.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    Remote Area Medical is a rare contemporary documentary that is determined to tell by showing.
    • 71 Metascore
    • 75 Matt Zoller Seitz
    It's a self-aware movie that makes fun of the macho clichés it indulges.
    • 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.
    • 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.
    • 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.
    • 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.

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