Rodrigo Perez

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For 210 reviews, this critic has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Rodrigo Perez's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 (T)error
Lowest review score: 0 Fifty Shades of Grey
Score distribution:
  1. Negative: 28 out of 210
210 movie reviews
    • 53 Metascore
    • 58 Rodrigo Perez
    Billy Lynn has its moments, but its critical and unexpected folly is that the cutting-edge technology diminishes the picture emotionally, its ungainly look trivializes the drama and indulges it with an undesirable air of superficiality.
    • 77 Metascore
    • 58 Rodrigo Perez
    Fleck and Boden certainly have strong filmmaking smarts. They understand restraint, have terrific observational eyes, and know how to coax honest performances out of actors. So it’s perhaps a shame that Mississippi Grind is ultimately too underwhelming to stake with any confidence.
    • 48 Metascore
    • 58 Rodrigo Perez
    Song One is well intentioned, well-shot and has its musical heart in the right place, but it often feels incredibly familiar, and the more contrived, credulity-straining moments don’t help.
    • 62 Metascore
    • 58 Rodrigo Perez
    Godzilla asks you to care about its characters, achieves that aspiration, earns your trust, and then not only pivots towards a far less interesting character, but abandons most of its absorbing emotional legwork for a fairly rote and straightforward rock ‘em, sock ‘em monster movie.
    • 69 Metascore
    • 58 Rodrigo Perez
    A moving movie that tries too hard to please and thus never truly satisfies.
    • 63 Metascore
    • 58 Rodrigo Perez
    Its patchy tone, plot, characters and sympathies make for a film that’s difficult to wholeheartedly endorse.
    • 77 Metascore
    • 58 Rodrigo Perez
    While its ambition does show a director still aspiring for great heights, its patchy execution only partly restores the faith.
    • 68 Metascore
    • 58 Rodrigo Perez
    Gently involving, but never quite engrossing, there’s a first draft shape to the picture that feels slight and makes for a minor work.
    • 68 Metascore
    • 58 Rodrigo Perez
    The Nightmare can be deeply distressing and blood-curdling, and it can be a little silly, too.
    • 61 Metascore
    • 58 Rodrigo Perez
    While it’s hard to indict the movie for wanting to admire and honor this extraordinary girl, the movie loses its own inherent potency with a haphazard structure that jumps around far too much in time and a monotonous narrative about Malala overcoming oppressors to bravely speak out and inspire the world.
    • 65 Metascore
    • 58 Rodrigo Perez
    Well shot and well made, Kill Your Darlings is a very competently constructed effort on a whole, but there’s an emptiness and familiarity at its core that it cannot transcend.
    • 65 Metascore
    • 58 Rodrigo Perez
    Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.
    • 52 Metascore
    • 58 Rodrigo Perez
    Crown Heights works best when the political and the personal merge with the insidious nature of corruption and systemic cultural, societal and economic oppression.
    • 41 Metascore
    • 58 Rodrigo Perez
    A weird, uneven mixed bag, there’s much about Mojave that’s paradoxically maddening and doesn’t really add up. As the movie plot becomes less interesting and more straight-forward — like a slasher movie with the evil antagonist character slowly closing in on the hero — it becomes funnier and more purely enjoyable.
    • 66 Metascore
    • 58 Rodrigo Perez
    Alluring and captivating, Thou Wast Mild and Lovely can’t ultimately overcome its undeveloped arty tendencies, but its hazy exploration of dread and desire is still unique enough to make an impression.
    • 64 Metascore
    • 58 Rodrigo Perez
    Size may not matter in this diminutive story, but the film's slight, disposable quality hardly qualifies it as an essential tale to astonish.
    • 60 Metascore
    • 58 Rodrigo Perez
    A lovely, but uneven moral tale of love, forgiveness and heartrending misdeeds, Derek Cianfrance’s The Light Between Oceans is conceptually sound, and at times, beautifully gut-wrenching. But the plaintive picture often becomes engrossed in conveying at all times just how precious life and love is.
    • 55 Metascore
    • 58 Rodrigo Perez
    With the sound off, Baz Luhrmann’s The Great Gatsby surely looks as radiant and extraordinary as some of the most dazzling movies ever committed to celluloid, but with the sound up and the experience on full volume, the movie is mostly a cacophony of style, excess and noise that makes you want to turn it all down a notch...or three...
    • 57 Metascore
    • 50 Rodrigo Perez
    Not particularly sophisticated, the searing intensity of revenge in The Equalizer is still occasionally arresting (and even entertaining) in its stylish hard-R violence.
    • 60 Metascore
    • 50 Rodrigo Perez
    Steeped in a nostalgia that often feels borrowed and canned—the space-age era impulses of progress and possibility from the 1950s and ‘60s—Tomorrowland asks that you never give up or lose hope, literally and figuratively, over and over again, to the point that the movie has little else to say.
    • 38 Metascore
    • 50 Rodrigo Perez
    The fifth installment of the Terminator series cannot overcome the weight of its convoluted time travel leaps, its strained attempts at injecting twists everywhere, a clunky opening, and a painfully clumsy finish.
    • 49 Metascore
    • 50 Rodrigo Perez
    Low on ideas and high on atmosphere, Dixieland is a promising debut, but it likely won’t find you overwhelmingly writing back home about it.
    • 47 Metascore
    • 50 Rodrigo Perez
    The filmmaker clearly has great skills and a knack for pulling strong performances out of actors. But the tone-deaf misjudgment of the film’s second half is catastrophic.
    • 44 Metascore
    • 50 Rodrigo Perez
    Unremarkable but occasionally enjoyable, Levy’s dramedy is pleasant enough, but it grows tired, losing focus by the end.
    • 60 Metascore
    • 50 Rodrigo Perez
    Kill The Messenger hopes to solemnly lionize and exonerate Webb, but rarely does it reflect anything back to its audience other than reminding us how corrupt and unprincipled our system is.
    • 59 Metascore
    • 50 Rodrigo Perez
    Respectfully presented, Unbroken is competently made and even has a sequence or two that’s impressive, but it’s ultimately very familiar and eventually draining.
    • 63 Metascore
    • 50 Rodrigo Perez
    While 'Les Mis' ends terrifically, it cannot make up for the largely uneven experience that comes before it. There is no doubt an abundance of passion and commitment in Les Miserables but when the musical isn't connecting emotionally -- which is at least half the time -- it's a lot of blustering sound and fury that could either use a dialogue break or an edit.
    • 79 Metascore
    • 50 Rodrigo Perez
    There’s nothing lost in the translation of Fences, but its high fidelity means there’s little, if any, inspiration to be found within.
    • 55 Metascore
    • 50 Rodrigo Perez
    Admittedly heartbreaking and moving in its final moments, Hellion just can’t quite convince or coalesce its ideas of struggle, pain and fury in a meaningful or new way.
    • 57 Metascore
    • 50 Rodrigo Perez
    A very routine twelve rounds of tragedy, resilience and redemption, the boxing film Southpaw is a conventionally told dramaturgy high on intensity, but low on human insight or novel ways to tell a familiar story.

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