Rodrigo Perez

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For 193 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 4.1 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: 26 out of 193
193 movie reviews
    • 82 Metascore
    • 75 Rodrigo Perez
    Rousing in spirit, surprisingly emotional and visually dynamic, filmmaker Ryan Coogler’s first studio movie, Creed, is a worthy successor to the best of the “Rocky” movies and proves the young director is the real deal.
    • 56 Metascore
    • 75 Rodrigo Perez
    Joy
    Playing like a slightly more reflective B-side to the director's greatest hits, his style in this film isn’t for the more cerebral audiences. But for the viewer who relates to family dysfunction, its maddening contradictions and its mercurial tenor, Joy can be painfully funny, engaging and full of relatable heartache.
    • tbd Metascore
    • 75 Rodrigo Perez
    This soulful and serio-comedic drama is far less interested in race and much more concerned with examining the state of contemporary male friendship.
    • 73 Metascore
    • 75 Rodrigo Perez
    As uneven as the psychodrama can be at times, one thing is clear, Ross is a major talent worth watching. He’s got an eye, a strong p.o.v., and the movie has many perceptive observations about the self-destructive perils of possessiveness, ownership, and holding on too tight.
    • 68 Metascore
    • 75 Rodrigo Perez
    Sometimes silly, outlandish, and sentimental in its fan service-y callbacks, Star Trek Beyond and its sense of entertaining urgency often trumps its insubstantial qualities, as illogical as that may be.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 68 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 67 Rodrigo Perez
    It’s arguably Tarantino’s ugliest and most political film, but not his best by some distance.
    • 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.
    • 58 Metascore
    • 67 Rodrigo Perez
    For all its problems, Bourne is still thrilling and an undoubtedly engrossing action film thanks to its taut construction.
    • 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.
    • 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...
    • 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.
    • 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.
    • 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.

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