For 776 reviews, this critic has graded:
  • 40% higher than the average critic
  • 6% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 9.6 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Level Five
Lowest review score: 0 Back in the Day
Score distribution:
776 movie reviews
    • 74 Metascore
    • 80 Robert Abele
    There’s little that’s not dispiriting about Among the Believers and its measured, direct entrée into a closed world of hopeless boys and girls memorizing the Koran, but forbidden from learning its meanings.
    • 63 Metascore
    • 80 Robert Abele
    Unlocking the Cage, despite its cameras being on hand for a historic animal rights push, shouldn’t be confused for some hot-button doc ready to slap you into sensibility about its fight. Hegedus/Pennebaker are too smart to get ahead of themselves about something they clearly believe in, when simply hewing to a can-do guy provides enough momentum.
    • 60 Metascore
    • 80 Robert Abele
    As it plays out, it’s only a hard road for these swept-up, damaged lovers, whom Klein and his actors treat with blessedly non-exploitative honesty.
    • 76 Metascore
    • 80 Robert Abele
    A documentary that shouldn't have to be made, about a law that needn't exist, explored via a crime that could have been avoided: 3 1/2 Minutes, Ten Bullets is a thought-provoking, mournful experience, perhaps more so in the wake of the killings in Charleston, S.C.
    • 71 Metascore
    • 80 Robert Abele
    This is when the movie earns its hushed exclusivity and kitschy title, when we see an art form bridge generations with a strange mixture of grace, joy and melancholy.
    • 80 Metascore
    • 80 Robert Abele
    it's Nowar's ability to tell his tale so firmly from the viewpoint of his quickly growing-up protagonist, and to elicit so unforced a performance from Eid, that may be the most impressive achievement of this intimate, well-paced film.
    • 80 Metascore
    • 80 Robert Abele
    Peter and the Farm is ultimately a portrait of whatever the opposite of “getting back to nature” is: the cycle of the land as a circle of hell.
    • 77 Metascore
    • 80 Robert Abele
    A striking and maddening delivery system for art house creepinesss.
    • 72 Metascore
    • 80 Robert Abele
    Censored Voices is a soul debriefing of sorts. The soldiers' tales of killing the captured and uprooting entire villages lead them to question whether the war was more about expansion than survival.
    • 70 Metascore
    • 80 Robert Abele
    Informally sketched but deeply felt, Bradley Beesley's documentary Sweethearts of the Prison Rodeo mingles with the spirited cowgirl inmates who compete in Oklahoma's annual state penitentiary rodeo.
    • 82 Metascore
    • 80 Robert Abele
    As a first film, it is incredibly accomplished, its influences (French New Wave, Wong Kar-Wai) apparent but integrated.
    • 74 Metascore
    • 80 Robert Abele
    The movie is practically a textbook about how ravenous corporations and feckless government can strip-mine the souls of workers, and replace them with a political narrative about their problems that keeps reality forever hidden behind a fine, dusty fog.
    • 63 Metascore
    • 80 Robert Abele
    Eden is never less than suspenseful, but rather than sentimentally pander to easy outrage, or indulge in icky women-in-distress titillation, the movie...zeros in on the details of how dignity can be stripped like bark from a tree, and the queasy determination it takes to stay alive in a living hell.
    • 73 Metascore
    • 80 Robert Abele
    Summer Pasture has an earthy intimacy and compassion for its subjects that will have you thinking about their plight long after they've packed up and moved on for winter.
    • 77 Metascore
    • 80 Robert Abele
    Prophet's Prey is a sobering reminder that tyrannical monsters who hide behind religion can be homegrown too.
    • 65 Metascore
    • 80 Robert Abele
    Unlike the thick directness in Maud’s work, the movie about her is almost pointillist in detailing the tiny steps that make up an enduring marriage.
    • 80 Metascore
    • 80 Robert Abele
    The atmospheric heft of Il Futuro is invariably more bracing than oppressive, and in the complexly stoic Martelli and masterfully craggy, haunted Hauer, an alluringly opaque pas de deux of loss and uncertainty is wonderfully realized.
    • tbd Metascore
    • 80 Robert Abele
    A rich, occasionally stirring and ultimately plaintive ode to the craft of velvet gloves, iron fists and how to point with either or both.
    • 76 Metascore
    • 80 Robert Abele
    Its oddball colors and willful wanderings betray a sweet, savory, uncompromising air that showcases Russell's uniquely fused brand of American harmony with rascally ebullience.
    • 59 Metascore
    • 80 Robert Abele
    If you meet the fiendishly deadpan Rubber halfway, its assured mix of cinephile artiness and grindhouse spoof will offer some oddball surprises.
    • 71 Metascore
    • 80 Robert Abele
    Rapt fuses strands of dramatic tension in a shrewd enough way that it even saves its sharpest cuts for the kidnapping's aftermath, when a well-heeled life laid bare must reconcile with a much different form of enforced solitude.
    • 87 Metascore
    • 80 Robert Abele
    One of the biggest takeaways from "My Journey” and Tavernier’s enthusiasm for the confluence of image, performance, writing and sound is something hard to ignore the next time you see a contemporary film: the care of shot selection that previous generations deployed, and that barely exists in today’s sloppy, keep-filming-and-figure-it-out-later ethos.
    • 74 Metascore
    • 80 Robert Abele
    It's a character study about faith in connectedness, with an unforced love for cross-generational companionship that's special indeed.
    • 59 Metascore
    • 80 Robert Abele
    Visual sumptuousness trumps the coldly erotic dastardliness of previous incarnations, but where this version feasts is on close-ups, with exchanges between pairs of eyes - the predatory versus the hesitant, the manipulatively comforting opposite the blindly vulnerable - that recall the silent era.
    • 77 Metascore
    • 80 Robert Abele
    Don’t Call Me Son, although built on conflicts that have fractured many a family, thankfully never veers into melodrama.
    • 73 Metascore
    • 80 Robert Abele
    Considering its subject often enjoys the simple wonder inherent in characters who look into the distance, Richard Linklater: Dream Is Destiny does an extra-fine job of looking back with similarly rich and appreciative curiosity.
    • tbd Metascore
    • 80 Robert Abele
    Often exhibiting the best of DIY cinema sensibilities — a mixture of focus, mood, and lived-in characterizations — Green is Gold augurs good things for the multi-hyphenate Baxter.
    • 56 Metascore
    • 80 Robert Abele
    Kelly, who is credited with Stacey Miller for the screenplay, is shrewd enough to keep the movie from being a dramatized op-ed piece about betrayal, instead making roiling uncertainty, loneliness and melancholy the marquee emotions.
    • 79 Metascore
    • 80 Robert Abele
    The Ross brothers augment the teams’ richly choreographed, competition-tested routines with slow motion, superimpositions, and separately shot material with individual color guard members. But these artful divergences feel naturally expressive, the filmmakers’ way of honoring the expressiveness, and wanting in on the inspiration.
    • 58 Metascore
    • 80 Robert Abele
    For moviegoers who prefer cheeky wit, down-and-dirty mayhem and grown-up suspense in their air-conditioned escapism, The Prey deserves to light up the summer art house.

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