Rodrigo Perez
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For 134 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 5.6 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. Positive: 78 out of 134
  2. Negative: 21 out of 134
134 movie reviews
    • 82 Metascore
    • 75 Rodrigo Perez
    The Spectacular Now is wise beyond its years, charismatic, measured and authentic in its depiction of the pains, confusions and insecurities of the teenage experience, and while its deliberate rhythm may prove to be a harder sell among the teen crowd, it’s a valuable and honest film that’s worth the investment.
    • 64 Metascore
    • 75 Rodrigo Perez
    Gibney never quite finds Fela, and the quest isn’t always remarkable either, but such is the spirited brio of the seminal subject that some of his dynamic essence still shines through.
    • 76 Metascore
    • 75 Rodrigo Perez
    An engaging and initially very promising drama about alcoholism, redemption and forgiveness that grows uneven and long-winded as it progresses.
    • 63 Metascore
    • 75 Rodrigo Perez
    Seedy, unsettling and nightmarish, director Gerard Johnson crafts a suspenseful and anxious journey despite the destination pointing to obvious points well known.
    • 84 Metascore
    • 75 Rodrigo Perez
    Mond’s film doesn’t feature traditional structure or many familiar character beats of self-improvement, but as a visceral, in-the-moment portrait of struggle and suffering, it’s a striking first film.
    • 74 Metascore
    • 75 Rodrigo Perez
    Spanning across several continents, and obviously decades, Days Of Future Past feels vast and epic in scope. But as large as the movie is, it never loses sight of character and themes (at least the ones that matter).
    • 81 Metascore
    • 75 Rodrigo Perez
    Digging For Fire is low-lit and pitched in a minor key, a quiet meditation on compromise, individuality, the loss of identity within a marriage, and the aftermath of disorientation that comes with having children and losing touch with your former life.
    • 94 Metascore
    • 75 Rodrigo Perez
    Richard Linklater's Before Midnight isn't the most digestible picture, but its challenging, funny, painful, very present and alive depiction of relationships at 40 is so honest and real that we wouldn't have it any other way.
    • 53 Metascore
    • 75 Rodrigo Perez
    A genuinely sweet, charming and funny tale of identity lost and found.
    • 66 Metascore
    • 67 Rodrigo Perez
    Its craft can be impressive: Zobel’s film possesses a searing, slow burn tone that’s beautifully controlled. The movie is admirably patient and gives breathing room and space for these relationships to bloom believably and organically. But the build to a climax is far too slow and with little emotional payoff.
    • 72 Metascore
    • 67 Rodrigo Perez
    Time Is Illmatic is comprehensive, even wisely holistic, but still feels as though something is missing; it’s as if in trying to cover the history, the music, the ecosystem, the upbringing and the man itself, each cancels out the other out, leaving only a surface exploration.
    • 66 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.
    • 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.
    • 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.
    • 73 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.
    • 53 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.
    • 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.
    • 73 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.
    • 63 Metascore
    • 58 Rodrigo Perez
    Its patchy tone, plot, characters and sympathies make for a film that’s difficult to wholeheartedly endorse.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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