For 388 reviews, this critic has graded:
  • 44% higher than the average critic
  • 7% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 10.1 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
  • TV
Average review score: 49
Lowest review score: 0 Detention of the Dead
Score distribution:
388 movie reviews
    • 37 Metascore
    • 30 Robert Abele
    Writer-director Abe Sylvia slathers on the cartoonish characterization and neon-colored '80s pop - Benatar! Joan Jett! The Outfield! - for an easy-bake mood-setting, which is tedious enough. But his attempts at situational humor on the road - including a stripping scene for Dozier as coming-out metaphor - fall embarrassingly flat.
    • 22 Metascore
    • 30 Robert Abele
    Though the title hints at a tale of infatuation, Levy sheds little light on interpersonal conflict or why we're such an addictively self-documenting modern society.
    • 26 Metascore
    • 30 Robert Abele
    If only 11-11-11 had arrived a little closer to Thanksgiving - the turkey connection would have been entirely appropriate.
    • 28 Metascore
    • 30 Robert Abele
    No image or moment is grounded – every shot is augmented with restless animation, smart-ass narration or video game sounds. The artificiality of it all is smothering.
    • 41 Metascore
    • 30 Robert Abele
    Frankly, it's hard to imagine even George Clooney making such ill-used screen minutes interesting. But the movie around those moments is even worse.
    • 29 Metascore
    • 30 Robert Abele
    An undercooked, "Glee"-like hybrid of grating indie pop songs and forest slasher flick.
    • 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.
    • 30 Metascore
    • 30 Robert Abele
    The nonstop adversity lacks any real sense of danger. Or, for that matter, emotional punch. Why these two long-distance runners keep each other alive should be of front-and-center concern. Instead, My Way is mostly an endurance test.
    • 25 Metascore
    • 30 Robert Abele
    Plodding, predictable, amateurishly staged and with wild swings in acting quality - sometimes within the same person (Roberts) - this is the kind of well-meaning, homemade concoction hopelessly enamored of the kind of clichéd potboilers that don't get made anymore. And with good reason.
    • 50 Metascore
    • 30 Robert Abele
    Thin, neatly folded, paper-airplane of a movie threatens to nose dive into tweeville.
    • 31 Metascore
    • 30 Robert Abele
    Weaver's last ditch attempt to upend rom-com convention and rewrite the movie as a skeevy lout's comeuppance hardly makes up for the clichéd slog that comes before.
    • 20 Metascore
    • 30 Robert Abele
    To borrow a hamburger chain's refrain, not lovin' it.
    • 22 Metascore
    • 30 Robert Abele
    The dull, hectoring financial melodrama Supercapitalist has all the spark of a high school assembly skit about not letting friends drive drunk.
    • 31 Metascore
    • 30 Robert Abele
    The trouble is that it's hard to care about poor Wayne when he seems so empty-headed and naïve - civic unrest in Peru on the eve of its first democratic elections in 1980 is the setting - and when the movie itself seems so unfocused.
    • 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.
    • 34 Metascore
    • 30 Robert Abele
    Erased is eminently forgettable.
    • 53 Metascore
    • 30 Robert Abele
    For all the ways Dickerson vigorously dramatizes the stages of solitary confinement — nervous humor, fear, rages, survival ingenuity (including a nifty breathing apparatus) — it's never enough to explain why this particular individual's story is worth telling.
    • 27 Metascore
    • 30 Robert Abele
    Stranded stops at being merely seriously dull and trite, rather than tipping into train-wreck silliness.
    • 41 Metascore
    • 30 Robert Abele
    A true tale of high school football achievement becomes a strained, by-the-numbers grab bag of uplift in the Christian sports drama When the Game Stands Tall.
    • 25 Metascore
    • 30 Robert Abele
    Even without the queasy racial stereotypes, Walk of Shame feels perfunctorily assembled, its obstacles straining even screwball logic.
    • 35 Metascore
    • 30 Robert Abele
    An action fan could be forgiven for the medicinal taste that this slick but dissipating exercise leaves behind.
    • 34 Metascore
    • 30 Robert Abele
    We're more than 45 years out from Roman Polanski's director-controlled masterpiece in gestating terror, and yet no gimmick in Devil's Due — no point-of-view shock cut or shaky-cam "realism" — is as dread-inducing as tracking the grim revelations on Mia Farrow's face.
    • 60 Metascore
    • 30 Robert Abele
    For Sedaris fans, C.O.G. is a regrettably patronizing washout.
    • 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.
    • 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.
    • 41 Metascore
    • 30 Robert Abele
    It's a junky, unscary genre piece with a misleading title, because director and co-writer John Pogue jacks up the decibels so often to manufacture frights that you fear a punctured eardrum more than anything else.
    • 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.

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