Rene Rodriguez
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For 1,666 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Rene Rodriguez's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dancer in the Dark
Lowest review score: 0 Antitrust
Score distribution:
1,666 movie reviews
    • 87 Metascore
    • 50 Rene Rodriguez
    All is Lost is more fun to think about than it is to actually watch: It’s a testament to a great actor, an experimental piece of cinema and a bit of a bore.
    • 86 Metascore
    • 50 Rene Rodriguez
    The Master has become a contest between two gifted actors trying to shout each other down. The commitment to their roles is impressive, but it's tethered to a weightless, airless movie, a film so enamored of itself, the audience gets shut out.
    • 85 Metascore
    • 50 Rene Rodriguez
    What The Long Day Closes lacks is a narrative thread, however slim, to match the perfectly realized setting and wonderful visuals Davies has crafted. The whole thing feels like a chapter of a much larger work, one that, if finished, would doubtless prove more intriguing than what we get here. [7 Aug 1993, p.G5]
    • Miami Herald
    • 82 Metascore
    • 50 Rene Rodriguez
    An artsy bore.
    • 82 Metascore
    • 50 Rene Rodriguez
    Although it deals with some monumental themes, Mademoiselle Chambon also feels wispy and inconsequential.
    • 81 Metascore
    • 50 Rene Rodriguez
    As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.
    • 80 Metascore
    • 50 Rene Rodriguez
    The movie is practically incomprehensible.
    • 80 Metascore
    • 50 Rene Rodriguez
    Despite the great care and research that went into the movie, Frost/Nixon pales in comparison to Oliver Stone's "Nixon" when it comes to humanizing the infamous leader.
    • 79 Metascore
    • 50 Rene Rodriguez
    Watching an army of apes riding horses heading into battle is undeniably cool, but that’s the only thing the movie gives you: Neat eye candy. Dawn of the Planet of the Apes is written at a level so low, even 8- year-olds will find it lacking.
    • 76 Metascore
    • 50 Rene Rodriguez
    While We’re Young starts off as an empathetic, funny look at middle age and winds up as profound and schematic as a Neil Simon play — or, for the younger set, an episode of "The New Girl."
    • 76 Metascore
    • 50 Rene Rodriguez
    The main problem with Submarine is that Oliver is not a likable protagonist.
    • 75 Metascore
    • 50 Rene Rodriguez
    Feels like the shell of a wonderful story.
    • Miami Herald
    • 75 Metascore
    • 50 Rene Rodriguez
    It's much easier to linger on his youthful idealism than on how that idealism eventually manifested itself. It certainly makes for a much prettier picture. But when your subject is Ernesto ''Che'' Guevara, it is disingenuous.
    • 74 Metascore
    • 50 Rene Rodriguez
    The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
    • 72 Metascore
    • 50 Rene Rodriguez
    The actors are talented enough to carry the movie, but they fade into the background once things grow dire, and the special effects take over. There's no sense of wonder or awe.
    • 71 Metascore
    • 50 Rene Rodriguez
    Tadpole was shot on digital video, and the images often look smeary and blurry, to the point of distraction. Then again, in a better movie, you might not have noticed.
    • 71 Metascore
    • 50 Rene Rodriguez
    Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.
    • 71 Metascore
    • 50 Rene Rodriguez
    The film lacks the menace and danger of Sendak's book, along with the beautiful simplicity and delicated, understated portrait of a lonely, misunderstood boy.
    • 71 Metascore
    • 50 Rene Rodriguez
    Director Hector Babenco's sentimental, unconvincing adaptation of Varella's book, is a soft, simplistic look at a tough, complicated subject.
    • 70 Metascore
    • 50 Rene Rodriguez
    A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
    • 70 Metascore
    • 50 Rene Rodriguez
    Certainly pleasant, and occasionally endearing, but it's also strangely empty and unsatisfying, like hearing about someone else's wild dream: You can appreciate the details, but you don't really care how it turns out.
    • 69 Metascore
    • 50 Rene Rodriguez
    Unstoppable is the slowest, talkiest movie you'll ever see about a runaway freight train loaded with toxic chemicals.
    • 69 Metascore
    • 50 Rene Rodriguez
    An impeccably shot, studiously staged, passionately acted bore, one of those curious fizzles in which everyone seems to do everything right, but the film simply refuses to take off.
    • 69 Metascore
    • 50 Rene Rodriguez
    Palo Alto is a pale imitation of the early novels of Bret Easton Ellis, who wrote about young ennui and misdirection from the inside out.
    • 69 Metascore
    • 50 Rene Rodriguez
    The Avengers has a knockout final 30 minutes, all gee-whiz crash and bang and eye candy that makes grand use of 3D and IMAX and all the other toys. But the Transformers movies did that, too.
    • 69 Metascore
    • 50 Rene Rodriguez
    For all its splendor, The New World is really a love affair between Malick and his camera.
    • 69 Metascore
    • 50 Rene Rodriguez
    It feels like three movies stitched together.
    • 69 Metascore
    • 50 Rene Rodriguez
    There are 10 minutes of animation in the film, and it could have used a few more: They have a spirited, inventive energy that the rest of this well-intentioned but awfully melodramatic movie lacks.
    • 69 Metascore
    • 50 Rene Rodriguez
    The movie fails utterly at coming up with a story that merits all the eye candy.
    • 69 Metascore
    • 50 Rene Rodriguez
    From a purely cinematic standpoint, The Underneath is Soderbergh's most daring work yet, full of elliptical flashbacks and fast-forwards; ominous camera angles and cinematic tricks. But Soderbergh's movies (sex, lies and videotape, Kafka, King of the Hill) have always been cunningly smart, and The Underneath is not. [28 April 1995, p.5G]
    • Miami Herald

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