For 96 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Rob Nelson's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Mysteries of Lisbon
Lowest review score: 10 Killers
Score distribution:
  1. Positive: 44 out of 96
  2. Negative: 12 out of 96
96 movie reviews
    • 47 Metascore
    • 60 Rob Nelson
    This merciless work of anti-entertainment is arguably admirable for being as disturbingly disgusting as it wants to be.
    • 57 Metascore
    • 60 Rob Nelson
    If a dominatrix is one who takes total control of her passive partner, then R100 is the cinematic equivalent of a kinky femme fatale in black leather and stiletto heels, cracking a whip and a smile.
    • 55 Metascore
    • 60 Rob Nelson
    Payback is a rarefied conceptual documentary that will appeal to a limited but highly appreciative audience.
    • 40 Metascore
    • 60 Rob Nelson
    This disarmingly cheeky, intermittently gorgeous trifle would create the perfect bookend to a career begun almost 50 years ago.
    • 71 Metascore
    • 60 Rob Nelson
    This low-budget shocker eventually pays off, displaying just enough narrative ingenuity to compensate for a cinematically crude and logistically sketchy deployment of the requisite blood-and-guts mayhem.
    • 67 Metascore
    • 60 Rob Nelson
    First-time writer-director Stephen Chbosky adapts his young-adult bestseller with far more passion than skill, which suits familiar scenes of adolescent awkwardness aptly enough.
    • 57 Metascore
    • 60 Rob Nelson
    Overly melodramatic but fairly engrossing.
    • 72 Metascore
    • 60 Rob Nelson
    The movie is witty only on occasion. But it lingers in the mind, thanks largely to its trio of actors -- especially Alex Karpovsky.
    • 58 Metascore
    • 60 Rob Nelson
    Paramount's Footloose reboot never quite cuts loose enough to distinguish itself from the original.
    • 65 Metascore
    • 50 Rob Nelson
    Variably articulate subjects drone on and on in an 83-minute film that could easily make its TV news-style point in a half-hour or less.
    • 58 Metascore
    • 50 Rob Nelson
    We Bought a Zoo is an odd bird, warm-blooded but largely lifeless.
    • 50 Metascore
    • 50 Rob Nelson
    Waiting for Super to deliver the funny is an experience as long as the film itself.
    • 37 Metascore
    • 50 Rob Nelson
    A literary film that stands to work best for those who don't read, The Words is a slick, superficially clever compendium of stories about authors of uncertain talent and varying success.
    • 67 Metascore
    • 50 Rob Nelson
    An extraordinarily engrossing tale becomes an extremely uncinematic experience in the hands of Israeli documentarian Nadav Schirman.
    • 75 Metascore
    • 50 Rob Nelson
    Solidly acted but aloof and slow as molasses.
    • 48 Metascore
    • 50 Rob Nelson
    This documentary plays like an extended episode of “Unsolved Mysteries,” deficient as it is in stylistic zeal, investigative spirit and plain old scares.
    • 55 Metascore
    • 50 Rob Nelson
    This fawning docu goes to lengths to portray the octogenarian Playboy magazine founder as among the greatest figures of 20th-century American popular culture, while only cursorily acknowledging his status as a pioneering softcore pornographer.
    • 59 Metascore
    • 50 Rob Nelson
    The narratively jumbled film...features too many scenes that amount to mere stargazing.
    • 57 Metascore
    • 50 Rob Nelson
    Alternately gutsy and preachy, specific and scattered, the righteously angry pic risks alienating those who could be galvanized by its proof of Big Oil's corrupting omnipotence.
    • 57 Metascore
    • 50 Rob Nelson
    The helmer’s narrative dead end here registers not as a lack of nerve so much as a lack of imagination.
    • 56 Metascore
    • 50 Rob Nelson
    Oddly overstuffed with cameos by bigscreen actors playing tongue-in-cheek versions of themselves, Webber's Los Angeles-set, microbudget dramedy delivers some rare and beautiful moments of daddy day-care, but its tone shifts more wildly than a preschooler's disposition and its narrative is stillborn.
    • 49 Metascore
    • 50 Rob Nelson
    Far less chilling than versions from 1951 and 1982, Universal's latest take on The Thing at least has a strong lead thesp in Mary Elizabeth Winstead, recruited for the studio's bid to turn a tale of ice-cold macho paranoia into a beauty-vs.-beast shocker a la "Alien."
    • tbd Metascore
    • 50 Rob Nelson
    Even devotees of the Replacements' defiant perversity will be unsatisfied with this talky tribute to a noisy band.
    • 61 Metascore
    • 50 Rob Nelson
    A weaker "Elephant," Quebecois director Denis Villeneuve's school-shooting drama Polytechnique nevertheless distinguishes itself by endeavoring to comprehend the 25-year-old man who murdered more than a dozen female students at Montreal's Polytechnique School in 1989.
    • 49 Metascore
    • 50 Rob Nelson
    A costumer that's well named for being pleasant and conventional but little more.
    • 67 Metascore
    • 50 Rob Nelson
    A movie that tries and fails to channel the indelibly dreamy mood of Sofia Coppola's "The Virgin Suicides." Well-intentioned but derivative and only intermittently engaging, the suburban Michigan-set indie hits at least as many false notes as true ones.
    • 46 Metascore
    • 40 Rob Nelson
    Mistaking over-the-top dysfunctional family cruelty for comedy and drama, Another Happy Day tries and fails to channel "Rachel Getting Married" in its protracted tale of a wedding-party weekend that turns predictably from scabrous to redemptive.
    • 41 Metascore
    • 40 Rob Nelson
    Shovels enough dirt on the Tea Party guru and self-described hockey mom to satisfy her haters, but lacks sufficient humor and insight to make it a must-see for anyone outside the Brit muckraker's fan base.
    • 75 Metascore
    • 40 Rob Nelson
    Some genre fans who prefer the silly to the satiric may bite, but the anemic pic isn’t remotely weird or witty enough for cult immortality.
    • 45 Metascore
    • 40 Rob Nelson
    The effort of sussing out this satire’s attitude seems silly for the fact that its jokes just aren’t funny enough.
    • 69 Metascore
    • 40 Rob Nelson
    Not clever enough to be truly pretentious.
    • 50 Metascore
    • 40 Rob Nelson
    A typically smart performance by Juliette Binoche isn't enough to keep Elles from drowning in pseudo-intellectual pretension and general banality.
    • 38 Metascore
    • 40 Rob Nelson
    This monotonously deadpan coming-of-age comedy has little to recommend it beyond some beautiful widescreen cinematography and the momentary kick of seeing David Duchovny looking like a stoned Jesus as Goat Man.
    • 56 Metascore
    • 40 Rob Nelson
    Acquitting herself capably in a lead role that strips her bare in more ways than one, Robin Weigert (HBO’s “Deadwood”) proves worthy of a future in features, whereas first-time writer-director Stacie Passon mainly exposes her background in commercials.
    • tbd Metascore
    • 40 Rob Nelson
    Abundantly goofy, but atmospheric only in spots, this flat-affect screwballer has its moments, and may attract a minor cult.
    • 32 Metascore
    • 40 Rob Nelson
    Bursting with cheap f/x, the pic is often tedious when not repugnant, but it’s hard to dislike.
    • 59 Metascore
    • 40 Rob Nelson
    Finding a pulse only in the band's late-reel performance of "Alive," a lusty passage that would've begun a pic intent on making a case for the group's greatness, "Twenty" simply counts the years from 1991 via sludgy backstage and onstage footage whose rarity can't forgive its inclusion. Crowe's critic mentor, the late Lester Bangs, would cringe.
    • 23 Metascore
    • 40 Rob Nelson
    Formulaic and forgettable.
    • 67 Metascore
    • 40 Rob Nelson
    Director Scott Hamilton Kennedy (“The Garden”) favors formulaic uplift over investigation, failing to offer a p.o.v. on whether young creative people should be driven as mercilessly as these. Lackluster videography further dulls the pic, which culminates in frustratingly fleeting glimpses of the students’ year-end performances.
    • 49 Metascore
    • 40 Rob Nelson
    Pulling off the thespian equivalent of running a marathon, the hyperventilating Olsen works awfully hard in the service of a film that, in the end, does little or nothing to preserve her character's integrity.

Top Trailers