For 305 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 Detention of the Dead
Score distribution:
  1. Positive: 88 out of 305
  2. Negative: 84 out of 305
305 movie reviews
    • 37 Metascore
    • 30 Robert Abele
    The scenarios in Ass Backwards, which director Chris Nelson contributed to by filming in focus, feel arbitrary rather than organic, as if the creators' list of humor targets — lesbian bikers, trailer trash, drug-addicted reality TV stars, pageant world denizens — were picked out of a hat.
    • 30 Metascore
    • 30 Robert Abele
    In its stylistically flailing stab at authenticity, CBGB ends up merely a mess of caricatures.
    • 35 Metascore
    • 30 Robert Abele
    If Michael Mann, Luc Besson and Quentin Tarantino all ate the same bad sushi together, the unfortunate end result might just resemble the pre-digested pap that is the French thriller Paris Countdown.
    • 27 Metascore
    • 30 Robert Abele
    The movie's early promise fades, however, as an Apatowian crassness descends upon the comic situations, churlishness gets mistaken for rawness, and sweetness starts to feel manipulative instead of natural.
    • 32 Metascore
    • 30 Robert Abele
    Beware any movie that talks about what it is before being what it is.
    • 23 Metascore
    • 30 Robert Abele
    Fairbrass has a certain rugged sincerity and appealing sense of barely coiled rage, but it's mostly wasted in a screenplay (by director Brian A. Miller) of gaping plot holes, wan excitement and dumb action cliches.
    • 33 Metascore
    • 30 Robert Abele
    Too often, Carter sacrifices characterization for one more flickery effect or carefully composed shot of moody elegance, then overdoes unlighted interiors to an almost absurd degree.
    • 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.
    • 9 Metascore
    • 20 Robert Abele
    The scenario makes for an inept, lazy R-rated movie whose sole purpose is as a glossary of euphemisms for genitalia and sexual acts.
    • 26 Metascore
    • 20 Robert Abele
    It's rare to find a movie protagonist who singularly fails on every count to be a compelling, sympathetic or even understandable figure.
    • 28 Metascore
    • 20 Robert Abele
    6 Souls is regrettably sick with that familiar disease afflicting movies of this ilk: ostentatious, hollow moodiness that spreads like an unwelcome rash.
    • 11 Metascore
    • 20 Robert Abele
    Enthusiasm isn't exactly a replacement for good sense or basic skills, and the film's truest mystery is why no one pulled Metcalf aside and suggested he keep all this to himself.
    • 30 Metascore
    • 20 Robert Abele
    There's certainly no moviegoing reanimation in director Stuart Beattie's adaptation of Kevin Grevioux's graphic novel.
    • 23 Metascore
    • 20 Robert Abele
    Dark Tide, directed with hopelessly flagging energy by John Stockwell, barely musters up enough interest to be thuddingly bad.
    • 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.
    • 11 Metascore
    • 20 Robert Abele
    The patriot-packaged Last Ounce of Courage has been made with the conviction of true zealots, but also the competence of amateurs.
    • 17 Metascore
    • 20 Robert Abele
    Vaguely misogynistic and defiantly paternalistic, the movie fails at nearly everything.
    • 39 Metascore
    • 20 Robert Abele
    Without a human dimension to ground its construct, The Brass Teapot ultimately feels like an interminably stretched-out skit rather than a storybook lesson stained with blood and hurt.
    • 39 Metascore
    • 20 Robert Abele
    A predictable hodgepodge of uninteresting psychological cat-and-mouse, dimly lighted action.
    • 28 Metascore
    • 20 Robert Abele
    This is Nancy Meyers territory, but leaden with passé observations about lovelorn women...and hardly ebullient as either oddball-pair comedy or housewife-revenge fantasy.
    • 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.
    • 39 Metascore
    • 20 Robert Abele
    Lopez is a middling ringmaster of doom at best. But there's so little context to the litany of ugliness — some played for laughs, some meant to shock — that it's hard to discern where the entertainment value lies in any of this.
    • 27 Metascore
    • 20 Robert Abele
    The pretentious, preposterous, dueling-dialect flameout called Killing Season has to stand as one of the biggest missed opportunities in iconic matchups.
    • 25 Metascore
    • 20 Robert Abele
    If ever a movie signaled that the Quentin Tarantino copycat age of empty-headed wink-wink genre rehashing is still with us, Rushlights is that movie.
    • 31 Metascore
    • 20 Robert Abele
    Pulpy dross of surpassing dumbness, Charlie Countryman takes the blender approach to mixing dark adventure, doofus comedy and pie-eyed romance, but forgets to put the lid on when pulsed.
    • 27 Metascore
    • 20 Robert Abele
    Co-writer and director David Aarniokoski's clunky, crude blotch of prurience and bloodletting is too self-satisfied with its wink-wink naughtiness to be either fun-dumb or scary-sexy.
    • 22 Metascore
    • 20 Robert Abele
    It's dispiriting enough that we're still getting movies about the cute side of mental illness, but to turn someone rendered childlike by abusive trauma into desirable girlfriend material — and sporting cast-off stripper attire to boot — is more than a little creepy.
    • 31 Metascore
    • 20 Robert Abele
    The dreary, loud, amateurish horror-comedy A Fantastic Fear of Everything...isn’t terribly interested in logic. Or continuity. Or filmmaking acumen. Or, most glaringly, laughs.
    • 29 Metascore
    • 20 Robert Abele
    An abject filmmaking lesson in the many ways to irk moviegoers: cardboard characters, dippy plotting, sentimental overkill and tortuous logic.
    • 21 Metascore
    • 10 Robert Abele
    What galls is that for all the perspiration in jazzing up an old yarn, there's not a whiff of originality in how Wirkola engages with the perverse pleasures enshrined by the Grimm brothers, two of their era's shrewdest storytellers.