Rodrigo Perez

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For 239 reviews, this critic has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Rodrigo Perez's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Kicks
Lowest review score: 0 Fifty Shades of Grey
Score distribution:
  1. Negative: 34 out of 239
239 movie reviews
    • 65 Metascore
    • 67 Rodrigo Perez
    Sure to baffle some, it’s a weird movie that isn’t actively weird, but what’s striking about the picture is Sobel’s point of view and confidence. While the movie is amorphous and porous, it’s clear this is exactly what the filmmaker is going for, and that’s certainly bold for a first timer.
    • 74 Metascore
    • 67 Rodrigo Perez
    While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.
    • 67 Metascore
    • 67 Rodrigo Perez
    Atmosphere and feelings can only do so much when story, and its credible beats, seem to have fallen by the wayside.
    • 54 Metascore
    • 67 Rodrigo Perez
    Anyone who finds this conclusion a humanistic or socially reprehensible dealbreaker can hardly be faulted. Before these questionable issues come to a head and then falter in the finale, there is a lot of value in The Girl.
    • 75 Metascore
    • 67 Rodrigo Perez
    Dark Horse is crowd-pleasing and rousing, but its biggest problem is that no successive part of the documentary can sustain the power of its opening prologue.
    • 64 Metascore
    • 67 Rodrigo Perez
    Miles Ahead is well-intentioned and ambitious, but ultimately uneven, as it cannot redefine the structures its so desperately wants to break down.
    • 46 Metascore
    • 67 Rodrigo Perez
    Every Secret Thing is not built to satisfy, and so its sour ending doesn’t help its uneven experience. Every Secret Thing is not unlike last autumn's abduction drama "Prisoners." Both demonstrate an excellent level of craft and are handsomely shot and composed, but both suffer from narrative issues.
    • 56 Metascore
    • 67 Rodrigo Perez
    Well-intentioned and intimate, Alex Of Venice has its heart in the right place; its pains and struggles might be small stakes and personal, but they’re very genuine, relatable and universal. There’s a lot to admire, which is why the movie’s uneven grasp of narrative fundamentals is so frustrating.
    • 58 Metascore
    • 67 Rodrigo Perez
    For all its problems, Bourne is still thrilling and an undoubtedly engrossing action film thanks to its taut construction.
    • 67 Metascore
    • 67 Rodrigo Perez
    An admirable and touching picture, Last Days In The Desert can be deeply moving in moments, but as restrained and elegant as it is, the picture never quite transcends.
    • 66 Metascore
    • 67 Rodrigo Perez
    For all its bluster, end-of-doom stakes, gravitas and super-seriousness, what Whedon’s movie does best is communicate its concern for the all the human beings touched by this story: the broken, nearly shattered heroes, their extended families and even the civilians caught in the crosshairs.
    • 55 Metascore
    • 67 Rodrigo Perez
    There's a great movie somewhere inside Touchy Feely desperately trying to swim to the surface, but its obscurity also comes with an inarticulateness that robs it of its potential.
    • 80 Metascore
    • 67 Rodrigo Perez
    Finders Keepers tries to find the humanity in the absurd, and while it surely has its share of moving moments, the conciliation of the sensational and profound is hard to reconcile.
    • 61 Metascore
    • 67 Rodrigo Perez
    Unflinchingly honest and grim, Sunlight Jr. is a valuable piece of work from a filmmaker who has a distinctive voice and concerns.
    • 72 Metascore
    • 67 Rodrigo Perez
    Straight Outta Compton, while often entertaining and dynamic, ultimately feels as if its meant to act as a kind of cinematic trophy to rest on a pedestal that celebrates not only N.W.A., but the successful and trailblazing members who helped define hip hop outside of the group.
    • 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.
    • 55 Metascore
    • 58 Rodrigo Perez
    Ninjago is mildly entertaining, and kids should find it pleasurable enough, but it’s missing that special spark, the kind of joyful flicker that compels children to ask for the movie on DVD at Christmas
    • 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.
    • 64 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.

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