Rodrigo Perez

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For 183 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 5 points higher than other critics. (0-100 point scale)

Rodrigo Perez's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Captain Phillips
Lowest review score: 0 Fifty Shades of Grey
Score distribution:
  1. Negative: 25 out of 183
183 movie reviews
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Rodrigo Perez
    An uninspired narrative and disengaged performances ultimately keep persuasive deep feeling and captivation at a far distance.
    • 47 Metascore
    • 50 Rodrigo Perez
    Visual daring is nice, but it means little in the end when the ultimately safe and harmless story never rocks the boat.
    • 66 Metascore
    • 50 Rodrigo Perez
    The Peter Jackson-directed Hobbit sequel might be the more vigorous, action-packed, darker and more (superficially) engaging version of the series thus far, but that doesn’t actually mean it’s a keeper of any sort.
    • 54 Metascore
    • 50 Rodrigo Perez
    Ricki And the Flash is about mistakes, regrets, and of course, redemption, but all of it feels a little too neat, familiar and convenient even if no one’s quite belting out “Kumbaya” by the end.
    • 69 Metascore
    • 50 Rodrigo Perez
    Has its moments, especially any time Streep is on screen, but as it strains on at an overlong two hours, the glitter of fairy tale movie magic diminishes, leaving only a pale shadow.
    • 63 Metascore
    • 50 Rodrigo Perez
    Perhaps due to its rote, by-the-numbers story, all of the original film’s less tangible, hard-to-bottle qualities are absent: its delightfulness, its playfulness, and its natural charisma.
    • 50 Metascore
    • 50 Rodrigo Perez
    Deeply over-reliant on flashbacks, and ones that don’t particularly transition well, Jane Got A Gun is nearly a holding pattern movie.
    • 55 Metascore
    • 50 Rodrigo Perez
    Largely harmless and tame, but also shallow and uninvolving.
    • 55 Metascore
    • 50 Rodrigo Perez
    It's Middle America vs. big bad corporate America, and while the (not so) "bad guy" predictably finds salvation in salt-of-the-earth people, Promised Land often leaves a sour taste in your mouth.
    • 64 Metascore
    • 50 Rodrigo Perez
    Frustratingly uneven, Kelly & Cal is too glib and prosaic to truly be insightful or impacting.
    • 54 Metascore
    • 50 Rodrigo Perez
    Semi-flat with only a few jokes and emotional beats that land, the picture is often dull when it should be poignant.
    • 42 Metascore
    • 50 Rodrigo Perez
    The Internship might be the best worst comedy of the year thus far.
    • 59 Metascore
    • 42 Rodrigo Perez
    There’s a terrific ensemble at the heart of Magic Magic, including its talented director, but this psychological horror is only creepily superficial and has very little of anything insightful to say about people, its characters or its lead.
    • 36 Metascore
    • 42 Rodrigo Perez
    Certainly possesses a lot of energy, but it's never harnessed or focused effectively. As a buddy comedy, all four leads have done better, and you already know what those movies are, and this one doesn't stand among them.
    • 64 Metascore
    • 42 Rodrigo Perez
    If your basic movie needs demand a little bit more -- logical premises; interesting, marginally original characters; dialogue that doesn’t reek of throaty, aspirational monologue after monologue -- Pacific Rim will leave you feeling hollow and wanting.
    • 76 Metascore
    • 42 Rodrigo Perez
    Wild never really earns its hard-fought struggle for redemption and personal reinvention.
    • 54 Metascore
    • 42 Rodrigo Perez
    Part escapist action-adventure, part would-be exhilarating quest of self-discovery, The Secret Life Of Walter Mitty isn’t so much a mess because it wants to be everything at once, but because it employs hackneyed and mawkish methods to achieve a false sense of joyfulness.

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