Robert Koehler

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For 509 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 11.1 points lower than other critics. (0-100 point scale)

Robert Koehler's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Man on Wire
Lowest review score: 0 Divorce: The Musical
Score distribution:
509 movie reviews
    • 48 Metascore
    • 50 Robert Koehler
    Respectfully modest effort.
    • 26 Metascore
    • 20 Robert Koehler
    Fails to stir the emotions despite its heavily melodramatic drive.
    • 78 Metascore
    • 70 Robert Koehler
    While the point of view of privileged, Anglo observers on African issues usually raises hackles, such is not the case with The Devil Came on Horseback, a tense account of former Marine Capt. Brian Steidle's witnessing of the genocide in Sudan's western province of Darfur.
    • 13 Metascore
    • 0 Robert Koehler
    One of the most brutally awful comedies ever to emerge from a major studio.
    • 30 Metascore
    • 40 Robert Koehler
    Refreshing strokes of science-fact in the early sections give way to action strictly from the Ridley Scott-James Cameron playbook, but without a powerful helmer behind the camera or a memorable cast in front.
    • tbd Metascore
    • 40 Robert Koehler
    Hobbled by uninspired stabs at cleverness and surreal narrative curlicues, The Big Empty goes nowhere, replete with a question mark of an ending that isn't worth answering.
    • 20 Metascore
    • 30 Robert Koehler
    Voice work is weirdly awful and funny at the same time.
    • 41 Metascore
    • 70 Robert Koehler
    While the loyal male-teen aud core will not be disappointed with the spate of gags just for them, story contains solid date-movie material.
    • 43 Metascore
    • 50 Robert Koehler
    The picture's first 35 minutes sizzle until a Byzantine plot nudges the story toward near-parody in the final act.
    • 55 Metascore
    • 50 Robert Koehler
    Another superficial film about music from Scott Hicks ("Shine"), picture runs a distant second to the superior new film on John Adams and Peter Sellars, "Wonders Are Many," which really captures how a composer works.
    • 56 Metascore
    • 50 Robert Koehler
    It's a wipeout once the pic skids into melodrama and an overly schematic sense of how success tore the group apart.
    • 72 Metascore
    • 80 Robert Koehler
    The deft shading he (Byler) elicits from his thesps is of a piece with his dramatics and his understated, artful approach to compositions and movement.
    • 42 Metascore
    • 30 Robert Koehler
    Sloppy and dull in equal measures.
    • 49 Metascore
    • 50 Robert Koehler
    Frustratingly fritters away what fascination it develops and bows to the basic conventions of a standard detective story mixed with the theme of a physician healing himself.
    • 57 Metascore
    • 40 Robert Koehler
    Arguably the finest athlete in living memory deserves better than Michael Jordan to the Max, an honorific but unmoving portrait of the Chicago Bulls' No. 23.
    • 39 Metascore
    • 20 Robert Koehler
    Haplessly blends live-action and visually repellent computer-animated work.
    • 45 Metascore
    • 60 Robert Koehler
    Smokin' Aces blows some cool smoke rings until it makes the very un-cool mistake of overstaying its welcome.
    • 29 Metascore
    • 30 Robert Koehler
    As generic as its title.
    • 44 Metascore
    • 50 Robert Koehler
    Picture's tendency to lecture on the power of faith and religion and on the demerits of science seems to assume an almost childlike audience that needs to be spoon-fed Pablum.
    • 80 Metascore
    • 80 Robert Koehler
    Tender, sensitive Sunset Story sidesteps a maudlin tone for a wide-ranging account of two fragile but opinionated retirees.
    • 56 Metascore
    • 40 Robert Koehler
    Family drama appears content to present the situation without going for anything remotely close to the emotional jugular. Result is unsatisfying and even dreary, despite some fine work from Zooey Deschanel and a becalmed Will Ferrell.
    • 68 Metascore
    • 40 Robert Koehler
    Although guided by considerable empathy toward its small circle of kinfolk eking out a living in southern Texas, Eska's tale of a woman's unconditional support of her father-in-law is told with a faux-poetic sensibility that never really connects with his characters' lives.
    • 53 Metascore
    • 60 Robert Koehler
    The winner by a knockout is Eddie Jones...Without Jones, pic is a standard drama on the sweet science with the usual tropes and a slight tweak on the usual conflicts.
    • 57 Metascore
    • 50 Robert Koehler
    Not content with a straight psychological police procedural, Alvart mixes in distracting -- and unconvincing --Biblical symbolism in a curious bid for weightiness.
    • 40 Metascore
    • 40 Robert Koehler
    The film toys with audience expectations and perceptions by playing fast and loose with circumstances and clues, while leading to an almost unavoidable and dismayingly obvious conclusion.
    • 58 Metascore
    • 80 Robert Koehler
    With Undisputed, writer-director Walter Hill is back in contention as one of Hollywood's last defenders of the muscular, no-nonsense genre movie.
    • 33 Metascore
    • 50 Robert Koehler
    Michele Maher's Garmento appears more shocked at the fashion industry's cynical side than moviegoers are likely to be, making its drama of corruption a preordained snooze.
    • 52 Metascore
    • 50 Robert Koehler
    Director Mark Pellington hardly lets a moment pass without suggesting some bad vibes creeping onto the edges of the screen, but he's let down by Richard Hatem's script, based on John A. Keel's book, which delivers an ounce when it promised a gallon.
    • 66 Metascore
    • 70 Robert Koehler
    Stylish and substantial enough to prompt even a couch potato to action, Kelly Duane's Monumental: David Brower's Fight for Wild America delivers a stirring and visually dense account of the life and times of Brower.
    • 44 Metascore
    • 50 Robert Koehler
    Plays closer to an after-school special (with HBO-standard dialogue) than a satisfying feature film.

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