For 307 reviews, this critic has graded:
  • 45% higher than the average critic
  • 8% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 9.7 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
Average review score: 49
Highest review score: 100 Neighboring Sounds
Lowest review score: 0 Back in the Day
Score distribution:
  1. Positive: 89 out of 307
  2. Negative: 85 out of 307
307 movie reviews
    • 48 Metascore
    • 40 Robert Abele
    So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
    • 48 Metascore
    • 60 Robert Abele
    With actors this good, however, there's rarely a pinched expression, heartfelt speech or laugh line that isn't at least partly sold, even if the stunted-male psychologizing at the expense of the under-written women grows tiresome.
    • 47 Metascore
    • 40 Robert Abele
    Berry's florid physicality has a certain silent-melodrama pull. The film around her, however, is lamentably by-the-numbers.
    • 47 Metascore
    • 20 Robert Abele
    The self-serious POV visual style has none of Brian DePalma's cheeky, unnerving and self-implicating virtuosity — it just reinforces how sick and dumb this whole feel-bad exercise in misogyny and dimestore pathology is.
    • 47 Metascore
    • 50 Robert Abele
    Ultimately suffers from a late-inning collapse into thematic obviousness and multiple endings.
    • 47 Metascore
    • 30 Robert Abele
    Suffers from the tired POV gimmickry, the weak characterizations, the numbing sameness of stuck-in-the-woods-with-dolts narratives.
    • 47 Metascore
    • 40 Robert Abele
    Though an admirable shake-up of the typically overbearing, munch-intensive undead yarn, The Returned is still a far cry from the smarts-and-shocks zombie allegories George Romero mastered.
    • 46 Metascore
    • 60 Robert Abele
    All that matters with efforts like this is whether the cookie-cutter plotting serves up enough situations for Atkinson to contort himself into and out of jams. After all, are the narratives what you remember from the "Pink Panther" movies? Or the silly things, like that Clouseau could so easily get his finger caught in a spinning globe?
    • 46 Metascore
    • 50 Robert Abele
    Though there's plenty of movement and enthusiasm, director Susan Seidelman is content with a metronomic approach to manipulating our feelings - buoyant Latin music never felt so routinely scene-setting - and seems afraid to let anyone on-screen depart from established caricature.
    • 46 Metascore
    • 60 Robert Abele
    For the most part "Matru" is neatly energetic, a mix of screwball whimsy and softball seriousness.
    • 46 Metascore
    • 50 Robert Abele
    Killing Bono whips up a frenzied mix of musical jealousy, wishful stardom and farcical lucklessness into a movie too slippery to hold onto.
    • 45 Metascore
    • 70 Robert Abele
    The effect is both visceral and thoughtful, demonstrating a knack for cinematic dread rarely shown by today's manipulative horror meisters.
    • 45 Metascore
    • 40 Robert Abele
    Exhausting before its first few minutes of whip-pans, smash cuts, coarsely self-referential jokes and on-screen text visuals is over, the teen horror-spoof Detention is a patience-trying exercise first, energetic genre-jumble comedy second.
    • 45 Metascore
    • 60 Robert Abele
    Hsia has an appealingly slick visual style for the fast-paced if predictable turns in Sam's story, shooting the gleaming, bustling Shanghai as if it had finally earned its big-Hollywood-romantic-comedy stripes as a setting for the usual fish-out-of-water jokes, broad humor, meet-cutes, silly coincidences and happy endings.
    • 45 Metascore
    • 50 Robert Abele
    Director Spencer Susser, who wrote the film with David Michod, has a kinetic filmmaking style and an impish, crash-and-burn sense of humor that keeps sentiment at bay long enough to let us appreciate the loose, uncomplicated performances from a cast that includes suddenly ubiquitous Oscar winner Natalie Portman.
    • 45 Metascore
    • 40 Robert Abele
    The Rooftop is a bullet train to bananasville, its tonal eccentricities sure to wear out even the most dedicated connoisseur of silly cinema.
    • 45 Metascore
    • 30 Robert Abele
    South Korean filmmaker Sngmoo Lee's debut feature is less a genre-spanning romp than a tiresome lab experiment in computer-generated tropes and green-screen oppressiveness.
    • 44 Metascore
    • 50 Robert Abele
    Even with a gripping subject like blues-singing convicts, the documentary Music from the Big House has a disconcerting emotional distance.
    • 44 Metascore
    • 40 Robert Abele
    Everything ultimately gives way to the stately, simplistic, inevitable pace of by-the-numbers biopics, from some woefully tinny, hit-and-run screenwriting to the usual difficulties surrounding the dramatization of an author's craft.
    • 44 Metascore
    • 50 Robert Abele
    By the time the patented Shyamalan Extra-Strength Third Act Twist is revealed, being asked to care about fate, redemption and forgiveness when a satan-in-an-elevator gimmick hasn't delivered is like getting medicinal aftertaste from what should have been a box of delectably fiery Red Hots.
    • 44 Metascore
    • 30 Robert Abele
    This film from writer Kenny Golde and director Mark Schmidt slaps a clichéd war-movie dressing over everything so that what should have felt heart-poundingly incredible comes off as heavy-handed, ludicrous and unintentionally queasy.
    • 43 Metascore
    • 30 Robert Abele
    A structural, chronological mess of information and emotion, so chaotically shot and edited to move from stat to image to sound bite that it suffers from its own concentration issues.
    • 42 Metascore
    • 60 Robert Abele
    Even when bits go thud, there's a brittle, unsentimental wit about kin's inexplicable tug that's hard to ignore, and the leads — game for some surprisingly sublime bits of physical comedy — eventually wear one's anti-charm defenses down.
    • 42 Metascore
    • 40 Robert Abele
    Though the hambone acting quotient is high (and not necessarily unenjoyable), the loud, closely photographed limb-hacking becomes as monotonous as the movie's unrelentingly gray palette.
    • 42 Metascore
    • 30 Robert Abele
    As a misfit-centric slap at religious conformity, the story's premise couldn't be more primed for trenchant social comedy, but screenwriter Knight and director Eyad Zahra opt for maintaining a thin veneer of tiresome obnoxiousness over exploring the contours of an emotionally complicated subculture.
    • 42 Metascore
    • 40 Robert Abele
    Artificially jacked up to feel like mean but serious fun, Sabotage mostly flings blood, vengeance, testosterone and clichés to the wall to see what sticks.
    • 42 Metascore
    • 30 Robert Abele
    If you've seen most any rom-com you know where this one's headed. Unfortunately, under director Sheree Folkson's unsteady hand, getting there is more frustrating than fun.
    • 41 Metascore
    • 30 Robert Abele
    A routine home invasion movie more interested in B-horror tropes and bloodletting than a thought-provoking look at "Hunger Games"-ish class warfare.
    • 41 Metascore
    • 50 Robert Abele
    If only the falling-in-love machinations and character details weren't so wispy, Tonight You're Mine might have had more resonance. That said, the film has its moments.
    • 41 Metascore
    • 70 Robert Abele
    The movie achieves its own nervy sensitivity about youthful urban despair.