For 532 reviews, this critic has graded:
  • 42% higher than the average critic
  • 7% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 10.1 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Heart of a Dog
Lowest review score: 0 Back in the Day
Score distribution:
532 movie reviews
    • 72 Metascore
    • 40 Robert Abele
    Dope is, in the end, just another unfunny grab bag of stereotypes. Don't believe the hype.
    • 72 Metascore
    • 40 Robert Abele
    Despite the good intentions, structurally it's all over the place with an excess of montages, archival footage, interviews and information practically drowning out any chance to appreciate the richness of the German composer's beloved achievement.
    • 71 Metascore
    • 60 Robert Abele
    The character mechanics... leave the viewer always feeling a step ahead of the story and its too-late-to-excite twists. As a portrait of violence-riven motherhood, however, Riseborough gives Shadow Dancer most of its grave power.
    • 71 Metascore
    • 60 Robert Abele
    The cumulative effect is more that of a handsomely crafted museum piece than a moving, emotional journey.
    • 71 Metascore
    • 60 Robert Abele
    The rest is an adrenaline ride, but one more wearying than eye-opening.
    • 68 Metascore
    • 60 Robert Abele
    Queen & Country — though often charming — has a tendency to wander and strain.
    • 68 Metascore
    • 50 Robert Abele
    Ascher is too content to let repetition of experience take over his film.
    • 67 Metascore
    • 50 Robert Abele
    Magician may not be its own rich experience, but like Workman's many breathlessly compiled odes to the history of movies, it'll certainly spur a meaty living room film festival.
    • 67 Metascore
    • 60 Robert Abele
    Though the film is well made, the all-aftermath approach to Meadowland leaves a lot — an establishing, enlightening character stability, for one thing — to be desired.
    • 67 Metascore
    • 50 Robert Abele
    At a certain point, though, the movie runs out of eccentricity capital and becomes just another contest documentary about determined participants — in this case, mostly obsessive young white men — and the well-worn narrative of defeat or accomplishment.
    • 67 Metascore
    • 60 Robert Abele
    Despite the pedestrian screenplay (by Jimenez and Audrey Diwan), Dujardin and Lellouche are magnetic performers who slip easily into their antagonistic roles.
    • 67 Metascore
    • 60 Robert Abele
    Culkin's performance is never exploitative. His eyes often say everything, appearing simultaneously laser-focused and distant — he can't reconcile his brain with the world.
    • 66 Metascore
    • 60 Robert Abele
    There's no denying Watts' skill at a certain kind of desolate cat and mouse, but it's in the service of what is ultimately a somewhat heartless exercise.
    • 66 Metascore
    • 50 Robert Abele
    Even with three charismatic leads, the talky, convoluted nature of the cat-and-mouse between Zhang and Huang and their respective gangs is impossible to follow or care about, and the mix of identity comedy, cartoonish violence, philosophizing and grief over killed loved ones is hardly smooth.
    • 65 Metascore
    • 60 Robert Abele
    Any caseworking suspense is drowned out by an over-abundance of visual pizazz: disjointed shootouts, arbitrary camera angles and cinematography that draws the eye to lighting patterns, not people.
    • 65 Metascore
    • 50 Robert Abele
    The provocative noir experience that Talaash promises, with its jazzily scored, moodily lighted opening montage of a Mumbai red-light district at night, is nowhere to be found once this meandering mystery begins.
    • 65 Metascore
    • 60 Robert Abele
    Though the plot turns aren't necessarily surprising and characterizations a bit facile, Wladyka manages tense moments.
    • 65 Metascore
    • 60 Robert Abele
    Once We Are Still Here unsticks itself from hommage mode, it finds something cathartically funny inside the fearsome.
    • 64 Metascore
    • 40 Robert Abele
    Goon feels like a movie starring a gimmick, not a person.
    • 64 Metascore
    • 50 Robert Abele
    Although Whiteley's unrestricted there-ness effortlessly yields an avuncular striver... it means little when the viewpoint is so hermetic.
    • 64 Metascore
    • 50 Robert Abele
    It all leaves "Drewe" and its often jarring turns of motivation and tone - feeling haphazard and cartoony, and the whole thing more a vibrant mess than something comically disarming.
    • 64 Metascore
    • 50 Robert Abele
    Light, frenetic and anecdote-rich, it's the kind of back-patting Hollywood toast to the guy behind the guy that's breezy good fun if you don't examine it too hard.
    • 63 Metascore
    • 40 Robert Abele
    An attempt to counter noisy, hyper effects-laden alien invasion flicks with something teasing, indie and good for you. Instead, it's like a pendulum swing too far in the other direction.
    • 63 Metascore
    • 50 Robert Abele
    Flowers is too exquisitely formalist — symmetric framings followed by willfully asymmetric shots — to ever feel flushed with real feeling.
    • 62 Metascore
    • 50 Robert Abele
    The Hawkins brothers have an envelopingly moody visual style that strives for offbeat touches, at times easily conjuring the existential threat in desolate areas. But that can't make up for the story deficiencies and character superficiality in the script.
    • 62 Metascore
    • 50 Robert Abele
    Though the thin mystery at the center becomes a narrative albatross, and Lillard and Gugino seem hamstrung by the schematic nature of their characters, Stewart's melancholic electricity manages to maintain its appeal.
    • 62 Metascore
    • 50 Robert Abele
    Labyrinth of Lies too often feels like machine-stamped issue cinema from a moldy Hollywood playbook.
    • 62 Metascore
    • 60 Robert Abele
    Warriors is a bruising, relentless experience, one more tiring than inspiring.
    • 61 Metascore
    • 40 Robert Abele
    It suffers from a marked lack of narrative energy and a regrettable surfeit of clichéd characterization.
    • 61 Metascore
    • 40 Robert Abele
    With little room to feel for or even understand Anna Maria, Paradise: Faith rarely seems more than high art with low intentions.

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