Rodrigo Perez

Select another critic »
For 223 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Rodrigo Perez's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Frank
Lowest review score: 0 Fifty Shades of Grey
Score distribution:
  1. Negative: 31 out of 223
223 movie reviews
    • 30 Metascore
    • 42 Rodrigo Perez
    It would be unfair and an exaggeration to say 'Part III' ends with a whimper, as there are a few moments to savor, but there's hardly a climatic bang and, sadly, absolutely nothing epic and explosive about this rather tepid and forgettable trilogy closer.
    • 81 Metascore
    • 42 Rodrigo Perez
    It's not particularly funny or moving and it's terribly self-indulgent. Flamboyance and cartoonishness rule, there's hardly a moment of genuine emotion, and most overtures in that direction are superficial. As a picture ostensibly about love, revenge and the ugliness of slavery, Django Unchained has almost zero subtext and is a largely soulless bloodbath, in which the history of pain and retribution is coupled carelessly with a cool soundtrack and some verbose dialogue. Though it might just entertain the sh.t out of the less discerning.
    • 40 Metascore
    • 42 Rodrigo Perez
    Suicide Squad isn’t a terrible movie per se and judged against its forbearer, ‘Batman v Superman,’ it resembles a shining beacon of coherence. But Suicide Squad isn’t a very good movie either, a mediocre effort with commonplace ideas of rebelliousness and salvation.
    • 47 Metascore
    • 42 Rodrigo Perez
    Jack Reacher: Never Go Back isn’t a throwaway, and mainstream action/thriller fans should come out more than satisfied at the visceral nature of the film. But anyone hoping for more than a superficial on-the-run chase movie will probably wish Reacher had stayed home, instead of going back.
    • 34 Metascore
    • 42 Rodrigo Perez
    Zoolander 2 is no disaster, but it’s almost worse; a tedious jag that barely works as a disposable and mild, if-its-on-cable-TV, diversion.
    • 40 Metascore
    • 42 Rodrigo Perez
    Aloha is bittersweet overkill. Familiar and unwieldy, the dramedy is one long, sustained and ultimately overwrought note of happy/sad wistfulness that loops itself into an echo of strained feedback.
    • tbd Metascore
    • 42 Rodrigo Perez
    For some audiences, Bleeding Heart may deliver some much needed catharsis, but it’s ultimately a hollow film that isn’t concerned with consequences or the echoing cycle of violence, just vanquishing the bad guy, reclaiming a dime store sense of “freedom,” and not much more.
    • 39 Metascore
    • 42 Rodrigo Perez
    Its insistence on trying to balance wannabe sincerity and earnest actions with laughs is a tonally misconceived idea. Ultimately more forgettable then deplorable, Baywatch isn’t so much a disastrous spill in the ocean as it is disposable garbage making a mess.
    • 69 Metascore
    • 42 Rodrigo Perez
    An uninspired movie, The Drop would be utterly forgettable if it weren't for the fact that you’re left wondering how all this talent created something so unexceptional.
    • 60 Metascore
    • 42 Rodrigo Perez
    Decker is good at articulating sinister moods and unstable psyches, but anything resembling a cogent narrative is challenged.
    • 60 Metascore
    • 42 Rodrigo Perez
    The Wolverine wants to have it both ways: a dark character story and an action-packed superhero film. But it never reconciles the two notes, and thus becomes more and more atonal as it wobbles towards its symphonically jarring ending.
    • 20 Metascore
    • 42 Rodrigo Perez
    Accidental Love is mostly a mess, a curiosity for fans, and a mangled misfire you'd understand anyone hoping to omit from their CV.
    • 57 Metascore
    • 33 Rodrigo Perez
    While stylishly capturing the verve, exotica, and free-spirited mojo of swinging '60s London, uber-prolific English director Michael Winterbottom's portrait of legendary U.K. smut impresario Paul Raymond is otherwise a shallow misfire.
    • 25 Metascore
    • 33 Rodrigo Perez
    The film is curiously schizophrenic. Brill’s screenplay mixes traditional rom-com generics with sporadically funny R-rated vulgarity and ludicrously dumb gags.
    • 45 Metascore
    • 33 Rodrigo Perez
    Pain & Gain fails at being an entertaining and ridiculously fun Michael Bay movie and curdles into something much more tone deaf and obnoxious.
    • 49 Metascore
    • 33 Rodrigo Perez
    The McConaissance finds no purchase here. Mining for something adventurous and coming up empty handed, ultimately the dramatically-challenged Gold digs for something fiery and collects zero treasure along the way.
    • 31 Metascore
    • 33 Rodrigo Perez
    Charlie Countryman opens up with an interesting first section, but only backslides deeper and deeper in its overwrought and incoherent second and third acts.
    • 62 Metascore
    • 33 Rodrigo Perez
    Campy and cartoonish, Burton’s Big Eyes is not the return to form many were hoping for. It is another phony and hollow piece of sugary kitschploitation masquerading under the guise of an “important true story” that places a nearly grotesque premium on style over any traces over substance.
    • 38 Metascore
    • 33 Rodrigo Perez
    There’s some interesting ideas floating around about identity, manhood, and what it means to connect with someone in an over-connected world, but A Case Of You (named for a Joni Mitchell song that’s not actually in the film) never actively explores them. Instead, it delves into generic rom-com and ropey cliché to little comic effect.
    • 50 Metascore
    • 33 Rodrigo Perez
    A would-be but not-actually-inspiring movie about a landmark LGBT rights case that loses sight of the flesh and blood people at its heart, gets bogged down in tedious municipal politics and fails to find a way to compellingly dramatize an important story.
    • 40 Metascore
    • 33 Rodrigo Perez
    The film is not unlike a classic rock supergroup reuniting to play all the greatest hits, with the payday at the end as the only true motivation, rather than returning with something new to say about their work.
    • 58 Metascore
    • 33 Rodrigo Perez
    The film plays nary a note of reprieve and the dank aesthetic does nothing to help the mood. “Low Down” is unequivocally a downer.
    • 49 Metascore
    • 33 Rodrigo Perez
    Labelling Live By Night a disaster is a little uncharitable; the baggy drama is perhaps more painfully mediocre than full-blown folly, but it’s close.
    • 58 Metascore
    • 33 Rodrigo Perez
    A major gaffe, God Help The Girl finds a great artist taking on a huge challenge and stumbling painfully on its ambition almost every step of the way.
    • 52 Metascore
    • 33 Rodrigo Perez
    Da Sweet Blood Of Jesus is, without question, bold, distinct, and idiosyncratic filmmaking with its own voice. Unfortunately, that doesn’t necessarily mean it’s good or in any kind of reasoned key.
    • 48 Metascore
    • 33 Rodrigo Perez
    Forgettable and only mildly entertaining, 300: Rise of An Empire seals its own fate at the initial story level by being so deeply invested in its own mythmaking and playing super safe.
    • 37 Metascore
    • 33 Rodrigo Perez
    Largely inert and undramatic, what you're left with is a tedious sentiment: “by the grace of god” this horrible crisis ended without violence, explosives, or spark. Congratulations?
    • 28 Metascore
    • 33 Rodrigo Perez
    A Good Day To Die Hard isn’t dead on arrival because that would suggest it has a pulse.
    • 48 Metascore
    • 33 Rodrigo Perez
    Acerbic and purposefully vile, LaBute’s story is clearly self-aware of its various cruel manipulations of character and audience, but the formula itself -- taken from his early modus operandi -- is simply becoming more and more rote.
    • 76 Metascore
    • 33 Rodrigo Perez
    Ill-defined, overlong and wandering with unlikable leads (even Alan is too feeble and useless to sympathize with), The Mend would be a disaster if it weren't for the fact that the lack of vision is marginally absorbing in a kind train wreck, “will this movie ever reveal what the hell it’s about?”-like manner.

Top Trailers