Matt Zoller Seitz

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For 248 reviews, this critic has graded:
  • 66% higher than the average critic
  • 1% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 9.4 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Gravity
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 19 out of 248
248 movie reviews
    • 76 Metascore
    • 63 Matt Zoller Seitz
    However heartfelt and keenly observed this pessimism is, it becomes monotonous.
    • 52 Metascore
    • 63 Matt Zoller Seitz
    Heart alone does not a good film make.
    • 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.
    • 68 Metascore
    • 63 Matt Zoller Seitz
    The movie never delivers on its considerable promise because it's always in such a hurry to get to the next action scene.
    • 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.
    • 43 Metascore
    • 63 Matt Zoller Seitz
    Equals goes for the Vulcan solution, and while the movie feels a bit thin and padded as a feature, it believes in itself completely, and there are moments when the sincerity of the lead actors and the director's addiction to the narcotics of Kristen Stewart's eyes, lips, neck and hands puts the whole concept over the top.
    • 44 Metascore
    • 63 Matt Zoller Seitz
    Loud, trashy, sweet and weird, the Mighty Morphin Power Rangers reboot Power Rangers is not merely an ideal film for rambunctious and undemanding 12-year olds, it actually sees the world through their eyes.
    • 79 Metascore
    • 63 Matt Zoller Seitz
    The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends have been under-thought or misjudged, to the point where the film becomes a catalog of obscenities.
    • 81 Metascore
    • 63 Matt Zoller Seitz
    There are two movies in Jackie, Pablo Larraín's film about Jackie Kennedy (Natalie Portman) immediately before, during and after the assassination of her husband, President John F. Kennedy. One of these movies is just OK. The other is exceptional. The first one keeps undermining the second.
    • 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.
    • 71 Metascore
    • 63 Matt Zoller Seitz
    True to form, Hacksaw Ridge draws equally on Gibson's bottomless thirst for mayhem and his sincerely held religious beliefs — or some of them, anyway. It's a movie at war with itself.
    • 40 Metascore
    • 63 Matt Zoller Seitz
    Table 19 also feels the need to be a romantic comedy in which all's well that ends well, and it's here that the movie fails most conspicuously.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    The problem, though, is that we never get enough sense of Paz's interior life to judge this movie as anything other than a comeback story about a nice guy who got knocked out by the cosmos and hauled himself up.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    An old-fashioned Biblical spectacular with fresh blood in its veins.
    • 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.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    It's hard to tell if Kevin Pollak's documentary Misery Loves Comedy is too much of a good thing or not enough.
    • 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.
    • 59 Metascore
    • 63 Matt Zoller Seitz
    Despite its lack of originality, as well as its lackadaisical storytelling and world building, it satisfies in that amiably weird way that only a "Cars" film can.
    • 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.
    • 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.
    • 45 Metascore
    • 63 Matt Zoller Seitz
    It's often painful, and not in a good way; it's painful because of the roads it doesn't explore, the shortcuts it takes, and the special pleading it can't stop itself from indulging in.
    • 64 Metascore
    • 63 Matt Zoller Seitz
    The film's hazing scenes evoke the boot camp sequences in "Full Metal Jacket" but without the merciless coldness, because the film's hero, Brad (newcomer Ben Schnetzer, in a career-making star turn) desperately wants to belong to the organization.
    • 81 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.
    • 54 Metascore
    • 63 Matt Zoller Seitz
    The first Malick film I’ve watched where the dots never came together to form a legible image.
    • 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.
    • 58 Metascore
    • 63 Matt Zoller Seitz
    Turbo is just strange and lively enough to make you wish it were better.
    • 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.
    • 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.
    • 60 Metascore
    • 63 Matt Zoller Seitz
    It's filled with big sets, big stunts, and what ought to be big moments, but few of them land.

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