For 340 reviews, this critic has graded:
  • 43% higher than the average critic
  • 7% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 9.9 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 I Melt with You
Score distribution:
  1. Positive: 99 out of 340
  2. Negative: 96 out of 340
340 movie reviews
    • 51 Metascore
    • 50 Robert Abele
    Biyi Bandele's adaptation of Adichie's novel of loyalty and betrayal set against the turbulence of the 1960s Biafran war, certainly makes for an honorably propulsive wartime soap. It's just not stirring enough as historical drama.
    • 51 Metascore
    • 70 Robert Abele
    Director David Bowers keeps things peppy and brightly lighted, but the movie's swiftest pleasures come from moment-seizing cast members.
    • 50 Metascore
    • 30 Robert Abele
    Thin, neatly folded, paper-airplane of a movie threatens to nose dive into tweeville.
    • 50 Metascore
    • 50 Robert Abele
    Bogliano — who hit it big in indie horror with "Penumbra" and "Room for Tourists" — is a mood man, adept at unease and admirably judicious about shock moments, if not exactly skilled with storytelling or pacing.
    • 50 Metascore
    • 40 Robert Abele
    Where Gunn's last feature "Slither" was an enjoyably icky, funny riff on schlocky horror tropes, the split-personality Super merely repels with half-baked ideas, Wilson's and Page's scorched-earth overacting and atonal bursts of jokey gore.
    • 49 Metascore
    • 60 Robert Abele
    Escape Plan is mostly a gray, thudding metal machine of throwback exploitation, but the goateed, goofy Ah-nold is so happy to be in the thick of an old-school bruiser again that he makes it feel like the dumb-fun flashback party it is.
    • 49 Metascore
    • 70 Robert Abele
    Although no less fawning and indulgent about its self-centered subject, played by Jean-Marc Barr (who also narrates, run-on style), the muted emptiness of the ill-fated sojourn wills its way toward something like existential meaningfulness.
    • 49 Metascore
    • 40 Robert Abele
    The noir-ish contours of writer-director Ana Piterbarg's story yield a frustratingly dissipated movie, one with few storytelling pleasures and an overabundance of forced mood.
    • 49 Metascore
    • 60 Robert Abele
    Writer-director Eran Creevy shows himself to be well versed in the mythic sweep of Christopher Nolan's and Michael Mann's crime sagas, if not their intelligence with storytelling.
    • 49 Metascore
    • 60 Robert Abele
    Though plenty of road-tested war truths about sacrifice, honor, grit and intimacy get trotted out, "Stalingrad" is deep down a spectacle campaign forged in operatic violence and a siege of the senses, and on those terms it has its moments.
    • 49 Metascore
    • 70 Robert Abele
    The darkly funny Australian charmer Griff the Invisible introduces its titular hero to us as nighttime caped crusader first, mild-mannered daytime office drone second.
    • 48 Metascore
    • 40 Robert Abele
    The naughty-yet-nurturing tone is certainly unusual, but in working so hard to be the adult who "gets" kids yet lectures them at the same time, he's ended up with a colorful but superficial mess.
    • 48 Metascore
    • 50 Robert Abele
    For the show's rabid viewership, these testimonials are probably integral to a celebratory experience like the "Glee" live show. To everyone else, it's all gonna be Gleek to you.
    • 48 Metascore
    • 30 Robert Abele
    The only way to describe this movie's trio of party-throwing protagonists is numbingly predictable, as if writers Michael Bacall and Matt Drake had "Superbad" on a loop in the background.
    • 48 Metascore
    • 70 Robert Abele
    Bullet to the Head is an adrenaline shot to your movie memory if the blunt, gleefully dumb, no-nonsense ways of '80s-style action flicks are your nostalgia drug of choice.
    • 48 Metascore
    • 50 Robert Abele
    Though there's no shortage of mustache-quivering energy and wide-collared strutting, Angel of Evil can't separate itself enough from the pack as a character piece to be memorable as anything other than a blood-spattered timeline.
    • 48 Metascore
    • 50 Robert Abele
    What aims for Hitchcockian slyness ends up an inconsequential jumble in the comedy thriller The Perfect Host.
    • 48 Metascore
    • 20 Robert Abele
    The FP so desperately wants to be cultishly admired for its bad-taste rollout of wacko characters, ugly costumes and vulgar slang that it forgets to be genuinely offbeat or funny.
    • 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
    • 30 Robert Abele
    Jaglom is too spiritually and cinematically lazy to do anything but evoke glib, artless solidarity, and let us know he's heard of Twitter and Facebook.
    • 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.