For 411 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 10.3 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:
411 movie reviews
    • 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.
    • 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.
    • 41 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.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Robert Abele
    Mr. Jones has the bones of something freaky but succumbs to a penchant for alienating chaos over sustained, abiding creep.
    • 51 Metascore
    • 40 Robert Abele
    It's a strong story of lonely, even futile righteousness, which makes the plodding execution by director Arnaud des Pallierès somewhat mystifying.
    • 40 Metascore
    • 40 Robert Abele
    It's a lovefest in which critics' voices and debate are simply absent, and the only talking space is wonder, nostalgia and excitement for the future.
    • 38 Metascore
    • 40 Robert Abele
    The somnambulant slickness of the direction when a truly grown-up tale of late-in-life love is nipping at the edges suggests Reiner is more stubbornly set in his stay-cute approach than his leads, who at least find the occasional pocket of human messiness in this tension-free exercise.
    • 29 Metascore
    • 40 Robert Abele
    Unfortunately director Anthony Fabian prefers to dole out emotion in short bursts of superficial montage rather than fully dramatic scene work in which characters deepen through extended interaction. That leaves Louder Than Words feeling diffuse, choppy and cold rather than illuminative about how broken families heal after terrible loss.
    • 45 Metascore
    • 40 Robert Abele
    The movie stalls in a limbo of half-realized characters and superficial weightiness.
    • 30 Metascore
    • 40 Robert Abele
    The movie relies too much on the same comic tension in each scene: Johnson is the gung-ho one, Wayans says no (a lot).
    • 43 Metascore
    • 40 Robert Abele
    This one's for the conspiracy-minded only.
    • 47 Metascore
    • 40 Robert Abele
    Paltrow's kitchen-sink visual sense may keep your eyes engaged, but it sucks dry any inherent drama, leaving you with a bunch of characters who feel pegged by a conjurer rather than nurtured from a wretched new Earth.
    • 45 Metascore
    • 40 Robert Abele
    Once tragedy strikes, the clichés in Bram and Toni Hoover's screenplay win out, and Baker never stirs up enough energy to make it feel any different from a thousand other tales of underdog triumph.
    • 37 Metascore
    • 40 Robert Abele
    Writer-directors Dallas Hallam and Patrick Horvath, picking up the baton from first film creator Nicholas McCarthy, do a serviceable job aping the original's clean, mostly lo-fi atmospherics and nervy framing... The story's a wash, though.
    • 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.
    • 31 Metascore
    • 40 Robert Abele
    Cage's loop-di-loop performance, the movie's surviving asset, at least hints at the themes of institutional illness and mortal decline that must have fascinated Schrader.
    • 36 Metascore
    • 40 Robert Abele
    Although Reynolds rises above the rest as a father consumed by sadness and anger, The Captive quickly devolves into scenes that feel like stilted dramatic re-creations demanding a noirish voice-over by "Cold Case Files" host Bill Kurtis.
    • 36 Metascore
    • 40 Robert Abele
    The basic story's narrative and psychological simplicity — characters stating their beliefs over and over again — becomes an increasing burden.
    • 35 Metascore
    • 40 Robert Abele
    As a sizzle reel, Manny feeds off the hype but leaves this man with fascinatingly renaissance tastes and ambitions still naggingly unexplored by the end.
    • 58 Metascore
    • 40 Robert Abele
    The big question here is why any of The Voices, as crisply made and stylish as it is, should matter or entertain. The cold truth is that it doesn't.
    • 33 Metascore
    • 40 Robert Abele
    Despite its true-events pedigree, Kidnapping Mr. Heineken is woefully captive to B-movie crime saga tropes.
    • 22 Metascore
    • 30 Robert Abele
    Consider Twelve its own memory-retarding narcotic.
    • 25 Metascore
    • 30 Robert Abele
    One can't help experiencing the same dread about the exhausting flood of lackluster horror films that swamp our screens and, as Case 39 unfolds, realizing we're enduring one more.
    • 28 Metascore
    • 30 Robert Abele
    This hollow downer about deep wells of male anger, wallowing regret and mental disintegration is ultimately a thematic cop-out.
    • 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.
    • 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.
    • 38 Metascore
    • 30 Robert Abele
    Gone is the scrappy, brutal wit of the original - nothing more than an unfettered showcase for Jaa's talents - and in its place is more of the overwrought myth making that sunk "Ong Bak 2: The Beginning."
    • 20 Metascore
    • 30 Robert Abele
    Hansel and Gretel are this movie's breakout stars, but it's not enough to make Hoodwinked Too feel like anything but a storybook hurled straight at your head.

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