For 429 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 10.2 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Wetlands
Lowest review score: 0 I Melt with You
Score distribution:
429 movie reviews
    • 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.
    • 52 Metascore
    • 50 Robert Abele
    DamNation is certainly a picturesque splash of doc advocacy, as long as you don't dwell on the cracks.
    • 55 Metascore
    • 50 Robert Abele
    The overall sense is of a rushed, simplistic installment in a well-worn biography franchise.
    • 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.
    • 38 Metascore
    • 50 Robert Abele
    The busy star (Cage) acquits himself well enough in this otherwise rudimentary thriller from deliriously unsubtle director Roger Donaldson.
    • 52 Metascore
    • 50 Robert Abele
    Janie Jones is ultimately its own uneven tune, a mixture of discordant notes and way-too-familiar chords.
    • 50 Metascore
    • 50 Robert Abele
    It's the movie's slow drift toward happiness, though, when Bruce meets a widow (Diane Farr) with a sweetly razzing sense of humor that spurs a more refreshing less patently abrasive comedy from Carolla.
    • 39 Metascore
    • 50 Robert Abele
    The regrettably titled From Prada to Nada has more in common with a slapped-together TV movie than a timeless comedy of manners.
    • 52 Metascore
    • 50 Robert Abele
    Citizen Koch is pure advocacy doc: brisk and clear-eyed, to be sure, but not likely to surprise headline-savvy moviegoers or angered progressives.
    • tbd Metascore
    • 50 Robert Abele
    For the most part, this is the kind of immersive fanboy experience that doesn't suffer wandering attention spans.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Robert Abele
    It's all slight stuff with a typically oversold Bollywood score, but there are pleasures here and there.
    • 52 Metascore
    • 50 Robert Abele
    Often more distracting than diverting with its everything-goes aesthetic - there are strains of steampunk, manga and silent film comedy, with video-game touches.
    • 51 Metascore
    • 50 Robert Abele
    Arie Posin regrettably sticks to the tastefully designed, artless tear-jerker. The lost opportunity is that he's got the masterful Bening and Harris to play with, great enough actors to turn any interaction — however tritely written — into an intimate, emotionally honest dance of the scarred and delicate.
    • 54 Metascore
    • 50 Robert Abele
    Fans, go be with your people. Others, approach cautiously.
    • 57 Metascore
    • 50 Robert Abele
    A new biopic of eccentric British rock legend Ian Dury, Andy Serkis uncoils a performance of spit, grit and wit so ferocious it only serves to starkly clarify how unremarkable and formulaic the rest of the movie is.
    • 53 Metascore
    • 50 Robert Abele
    Had the movie itself been more focused as a story of messy loss — and not played tonal Twister with its high concept — it might have better served its freshly oddball lead.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Robert Abele
    The whole effort is undermined by an abundance of mob-movie cliches.
    • 48 Metascore
    • 50 Robert Abele
    You can't blame Hunt for perhaps taking on too much — at least she wrote herself a complicated role in this sorry age for front-and-center movie women — but it doesn't always make for a smooth Ride.
    • 53 Metascore
    • 50 Robert Abele
    You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
    • 32 Metascore
    • 40 Robert Abele
    It's a testament to the stars that they manage to sell the third act sentimentality after wading through so much screenplay triteness and unimaginative direction.
    • 32 Metascore
    • 40 Robert Abele
    Cassadaga tries to scoop up enough tropes to satisfy a wide range of potential fright fans but lacks the cohesion to ever truly be effective.
    • 47 Metascore
    • 40 Robert Abele
    Because it's all shot to look like a South Korean noir, with umpteen slo-mo shots and stylistic noodlings to affect a kind of grimy urban anti-hero chic, Christensen effectively leeches the emotion from the central story.
    • 37 Metascore
    • 40 Robert Abele
    The movie's few pleasures, though, do belong to Gere, who makes the most of his preening caginess as a spook thrust back into the cold. Grace, though, comes off more whiny than tantalizingly adversarial.
    • 31 Metascore
    • 40 Robert Abele
    An investment in theatrical self-indulgence with diminishing returns.

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