For 89 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 1.6 points lower than other critics. (0-100 point scale)

Rob Nelson's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Inside Job
Lowest review score: 10 Killers
Score distribution:
  1. Positive: 39 out of 89
  2. Negative: 12 out of 89
89 movie reviews
    • 66 Metascore
    • 80 Rob Nelson
    First-time writer-director Aurora Guerrero beautifully captures the fluctuating dynamics of friendship between 15-year-old girls in Mosquita y Mari.
    • 65 Metascore
    • 80 Rob Nelson
    In purely cinematic terms, Buried, set in late 2006, is an ingenious exercise in sustained tension that would make Alfred Hitchcock turn over in his grave.
    • 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.
    • tbd Metascore
    • 70 Rob Nelson
    Those wearing black finger-polish are bound to appreciate it, but first-time feature director Alexandre Franchi deserves mainstream cred for his own cheeky role-play.
    • 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.
    • 60 Metascore
    • 80 Rob Nelson
    Director Jesse James Miller’s bio of ‘80s-era World Boxing Council lightweight champ Ray “Boom Boom” Mancini connects on emotional levels in the telling of an up-from-nothing brawler whose colorful career climaxed in tragedy.
    • 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.
    • 59 Metascore
    • 50 Rob Nelson
    The narratively jumbled film...features too many scenes that amount to mere stargazing.
    • 58 Metascore
    • 70 Rob Nelson
    The brisk, brief feature appears more atmospheric than terrifying, but its bare-bones tale gets under the skin.
    • 58 Metascore
    • 60 Rob Nelson
    Paramount's Footloose reboot never quite cuts loose enough to distinguish itself from the original.
    • 58 Metascore
    • 50 Rob Nelson
    We Bought a Zoo is an odd bird, warm-blooded but largely lifeless.
    • 58 Metascore
    • 70 Rob Nelson
    Escape From Tomorrow is a sneakily subversive exercise in low-budget surrealism and anti-corporate satire.
    • 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.
    • 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
    • 60 Rob Nelson
    Overly melodramatic but fairly engrossing.
    • 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.
    • 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.
    • 55 Metascore
    • 70 Rob Nelson
    Camp X-Ray is most commendable for believably depicting the U.S. military from a female’s point of view.
    • 55 Metascore
    • 60 Rob Nelson
    Payback is a rarefied conceptual documentary that will appeal to a limited but highly appreciative audience.
    • 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.
    • 54 Metascore
    • 70 Rob Nelson
    Slight but winning and often funny, the scrappy Amerindie Wah Do Dem is a fish-out-of-water comedy driven by Sean "Bones" Sullivan's offbeat performance.
    • 53 Metascore
    • 70 Rob Nelson
    Distinguished by splashy cinematography, engaging performances from Dennis Quaid and Helen Hunt as the girl's go-get-'em parents.
    • 53 Metascore
    • 80 Rob Nelson
    Give or take the titular disclosure, John Dies at the End is a thoroughly unpredictable horror-comedy -- and an immensely entertaining one, too.
    • 52 Metascore
    • 80 Rob Nelson
    A highly satisfying Western-cum-noir in the old tradition, Deadfall is alive in ways that are all too rare among American movies.
    • 52 Metascore
    • 70 Rob Nelson
    A possession thriller less terrifying than fun.
    • 51 Metascore
    • 70 Rob Nelson
    A bona fide high-wire act, Cirque du Soleil: Worlds Away delivers towering thrills through its candy-colored 3D ode to the titular outfit's astounding acrobatics.
    • 51 Metascore
    • 30 Rob Nelson
    Reducing an immensely disturbing, politically byzantine tale to a series of cartoonish vignettes, this celeb-studded biopic squanders a gutsy performance by Amanda Seyfried.
    • 50 Metascore
    • 70 Rob Nelson
    An aptly gorgeous-looking Manhattan meller whose quartet of sexy actors proves no less attractive than the well-mounted picture as a whole.
    • 50 Metascore
    • 50 Rob Nelson
    Waiting for Super to deliver the funny is an experience as long as the film itself.
    • 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.