Michael Roffman

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For 61 reviews, this critic has graded:
  • 63% higher than the average critic
  • 1% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 5.8 points higher than other critics. (0-100 point scale)

Michael Roffman's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Revenant
Lowest review score: 0 Bad Santa 2
Score distribution:
  1. Positive: 42 out of 61
  2. Negative: 5 out of 61
61 movie reviews
    • 62 Metascore
    • 50 Michael Roffman
    Juliet, Naked could have been great. Hawke and Byrne do have a chemistry, but they’re always on a separate bill, to crib from the musical theme. Even worse is the ensemble of supporting characters, which tends to be the strongest facet of any Hornby adaptation.
    • 86 Metascore
    • 83 Michael Roffman
    Mission: Impossible knows exactly what it needs to be: a fun and chummy thrill ride that’s always self-aware. Fallout follows that agenda, while also revisiting its more severe roots. It’s a sequel in every sense of the word, reintroducing not only familiar faces, but styles, themes, and motifs of past films.
    • 62 Metascore
    • 91 Michael Roffman
    Whether we follow Han Solo through hyperspace for more adventures is up to Disney, but what we got here is enough to keep us coming back again and again...That’s the best kind of Star Wars movie.
    • 63 Metascore
    • 75 Michael Roffman
    Narratively, the Zellners are always looking to zag, and while that leads to some surprising passages, not all of them are safe. Instead, they often spill into dead ends, forcing them to backtrack and carry on elsewhere.
    • 81 Metascore
    • 67 Michael Roffman
    Revenge is one big fuck you to a genre that has treated women like meat — often literally — and she takes back the reigns with incredible muscle. But what makes the movie riveting is how Lutz’s transition from damsel to destructor is filled with all kinds of tumbles.
    • 44 Metascore
    • 91 Michael Roffman
    Everything is dandy until it’s not and that’s what makes Hot Summer Nights such a stirring and vivid presentation. The stakes are real. Those stakes are what elevate the film from being strictly a chewy exercise in nostalgia.
    • 66 Metascore
    • 75 Michael Roffman
    It’s essentially David Fincher’s The Game matched with the comic overtones of Horrible Bosses, which is why it winds up being an entertaining jaunt.
    • 55 Metascore
    • 75 Michael Roffman
    Although the film lacks his absurdism, there’s a musicality to Wain’s direction that’s addicting, and the emotional punch in the final five minutes proves there’s a future for the filmmaker that goes way beyond the yucks.
    • 85 Metascore
    • 75 Michael Roffman
    For all its strengths, The Last Jedi is a very manic film, fueled by excellent ideas that could have been parsed out in smarter ways.
    • 65 Metascore
    • 50 Michael Roffman
    It’s a treacly slog that’s regretfully forgettable.
    • 75 Metascore
    • 75 Michael Roffman
    With Creep 2, you’re never truly convinced the narrative is going the way you think it’s going, and while that may be frustrating to some (aka, those who don’t understand the concept of psychological thrillers), it’s almost enchanting for those looking for one good scare.
    • 73 Metascore
    • 75 Michael Roffman
    This is a very effective story that works as a love letter to both a life and a city in transition.
    • 79 Metascore
    • 91 Michael Roffman
    Baumbach uses this twisted reunion as a brilliant funnel for all of his world-building — and it’s quite a story, broken down into multiple sections, no less. Yes, he goes nuts with the exposition, but there’s little offense here considering, well, that’s exactly how it would go down in reality.
    • 69 Metascore
    • 83 Michael Roffman
    It
    The whole movie is affecting, so much so that Pennywise doesn’t even matter. In a way, he’s more of a McGuffin to the real horrors at hand, from parental abuse to violent bullying to the unnerving revelation that life has only just begun.
    • 73 Metascore
    • 91 Michael Roffman
    It’s a very human film, oozing with heart and believable stakes, a brilliant marriage that mirrors the enduring ethos of the Spider-Man comic book.
    • tbd Metascore
    • 83 Michael Roffman
    May It Last isn’t just a portrait of a band, it’s a scrapbook of a family, one that’s thorough, funny, and full of larger-than-life stories that will tickle the funny bone as often as they bruise the heart.
    • 51 Metascore
    • 58 Michael Roffman
    Things move at such a breakneck pace and the film is so manic tonally that Rough Night winds up feeling more like a series of vignettes than an actual movie.
    • 65 Metascore
    • 42 Michael Roffman
    In one corner, you have Scott, fighting to tell an existential thriller about gods, creators, and evolution, and in the other, you have this obvious insistence to pay an ungodly amount of fan service to the past.
    • 60 Metascore
    • 75 Michael Roffman
    Unlike similar thrillers cut from the same antihero cloth, Katz and Blair aren’t too concerned with frivolous and expected dalliances like redemption or honor. Instead, they run Coster-Waldau through the ringer, capitalizing on an unforgiving narrative that may be too bleak and uncompromising for some.
    • 77 Metascore
    • 83 Michael Roffman
    This isn’t about the inner mechanics of the game, and it’s not even strictly a film about gambling, per se. It’s a dense character study that rests on the shoulders of Johnson, who delivers his strongest performance to date, casually handling every scene with a magnetism that recalls the likes of ’70s era De Niro or even the aforementioned Caan.
    • 65 Metascore
    • 67 Michael Roffman
    The problem is that, for all of its cinematic merits, there’s something strange about this particular vampiric parable.
    • 63 Metascore
    • 75 Michael Roffman
    When you’re not shaking your head at Theron’s glass-crunching gymnastics, you’re probably soaking up Leitch’s emerald-lensed atmospheres, Luhrmann-esque set pieces, and the sensual lighting that could give Nicolas Winding Refn a seizure or two. That’s all without saying a single thing about its fabulous soundtrack.
    • 86 Metascore
    • 100 Michael Roffman
    No Hollywood suit and no diehard fan could have had the foresight to picture something like this, namely because nobody but Wright had any idea what this was supposed to be. This is something that’s been brewing inside his head for over two decades, and that unquestionable dedication, confidence, and passion fuels each and every scene of Baby Driver.
    • 77 Metascore
    • 100 Michael Roffman
    This is a filmmaker’s film, a fully realized statement that oozes with the assurance and confidence of a hungry visionary who not only knows what he wants to do but how to do it.
    • 55 Metascore
    • 67 Michael Roffman
    While American Fable isn’t without its share of flaws, it’s the type of inventive production that hints of happier endings to come.
    • 38 Metascore
    • 42 Michael Roffman
    Although it’s by far the weakest of the three, there are some genuinely creative moments that spark the brain and fry the hairs.
    • 40 Metascore
    • 58 Michael Roffman
    What really hurts the film is its messy screenplay and boilerplate direction.
    • 66 Metascore
    • 58 Michael Roffman
    There’s just no subtlety to any of the proceedings and while there’s an argument to made in how the film’s fairly transparent about these intentions, none of it rises above being anything more than an average historical recap.
    • 65 Metascore
    • 58 Michael Roffman
    For a film that’s all about hope and rebellion, it’s kind of ironic how it’s such a conflicted mess in and of itself. The Force should have been stronger with this one.
    • 38 Metascore
    • 0 Michael Roffman
    Everything’s so achingly foul and with zero finesse, which makes for an awful, joyless experience.

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