Ronnie Scheib
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For 507 reviews, this critic has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.9 points lower than other critics. (0-100 point scale)

Ronnie Scheib's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Sweet Land
Lowest review score: 10 The Reunion
Score distribution:
  1. Negative: 36 out of 507
507 movie reviews
    • 73 Metascore
    • 70 Ronnie Scheib
    Competently written and skillfully acted, the film seems to be melodrama-bound, when a shocking discovery and the sudden arrival of friends instead send it careening into comedy.
    • 68 Metascore
    • 70 Ronnie Scheib
    Hentoff presides over a film rich in the sounds and occasional sights of legendary cultural figures, from Lenny Bruce and Malcolm X to Bob Dylan and Coleman Hawkins.
    • 52 Metascore
    • 70 Ronnie Scheib
    Thanks to Saville’s tightly controlled direction and a superlative cast, the mere exchange of glances builds as much suspense as the kinetic action sequence that opens the pic.
    • 65 Metascore
    • 70 Ronnie Scheib
    Altina makes for loose, exasperating but oddly endearing viewing.
    • 57 Metascore
    • 70 Ronnie Scheib
    The movie belongs to thesps Jacobs and Meester. Jacobs fully inhabits her less-than-completely-sympathetic role with warmth and just the right touch of unconscious entitlement, while Meester luminously expands the film’s affective core.
    • 67 Metascore
    • 70 Ronnie Scheib
    Beneath the strings of gags and wisecracks run parallel threads of ruthlessness and hysteria which bring “Motivation” a little closer to “Full Metal Jacket” than “Private Benjamin” as off-screen conflicts invade the closed-in encampment.
    • 78 Metascore
    • 70 Ronnie Scheib
    The amazing invincibility of Hollywood-entrenched pedophiles creates a thematic unity of its own in Berg’s otherwise somewhat shakily constructed film.
    • 71 Metascore
    • 70 Ronnie Scheib
    By the film's underwater finale, director Matteo Garrone has bestowed a tragic stature on the pint-size Othello who loves "not wisely but too well."
    • 57 Metascore
    • 70 Ronnie Scheib
    A magnificent performance by Sarah Polley illuminates every frame of this relatively upbeat melodrama.
    • 56 Metascore
    • 70 Ronnie Scheib
    The excellent cast in Christophe Barratier's loose remake of a 1945 Jean Dreville film ensures that the predictable, nostalgic ride remains enjoyable throughout.
    • 73 Metascore
    • 70 Ronnie Scheib
    Unfortunately, instead of the usual larger-than-life male figures--Marcello Mastroianni, Harvey Keitel, Bruno Ganz--of Angelopoulos's recent films, we get a distractingly vapid couple who tend to drain the emotional resonance of these extraordinary, ever-shifting tableaux.
    • 78 Metascore
    • 70 Ronnie Scheib
    Hadzihalilovic, the wife of cinematic agent provocateur Gaspar Noé and his sometime collaborator, has created a work of limpid beauty and eerie menace that some undoubtedly will dismiss as kiddie porn.
    • 55 Metascore
    • 70 Ronnie Scheib
    Laurien van den Broeck's masterful unblinking performance transcends the uneasy all-English dialogue.
    • 64 Metascore
    • 70 Ronnie Scheib
    Effortlessly interlinking the stories through the jaunty perambulations of a fresh-faced waitress from a local cafe, Thomson's crowd-pleaser makes up in refined schmaltz what it lacks in innovation or profundity.
    • 63 Metascore
    • 70 Ronnie Scheib
    Celebratory, family-friendly fable.
    • 56 Metascore
    • 60 Ronnie Scheib
    Confusing lack of historical set-up considerably dims the potential luster of a great true story: Helmer Alberto Negrin relies instead on competently rendered but cliche-ridden melodrama of nasty Nazis and suffering Jews.
    • 61 Metascore
    • 60 Ronnie Scheib
    Winner of the Golden Starfish fiction competition at the Hamptons fest, pic's gutsy, madly ambiguous unleashing of a mixed bag of religious reactions attests to a genuine sense of regionalism.
    • 58 Metascore
    • 60 Ronnie Scheib
    Despite a comic Yiddishe mama turn by Meryl Streep and a sensitively nuanced performance by Uma Thurman in a convincing changeup from her recent kickass action roles, Prime remains an oddly juiceless older woman-younger man romance, with a Freudian twist.
    • 52 Metascore
    • 60 Ronnie Scheib
    Unlike "Unzipped," with its single focus on the charismatic Mizrahi, Seamless follows three of the 10 finalists, furnishing a quietly fascinating contrast in persona, approach and design.
    • 62 Metascore
    • 60 Ronnie Scheib
    In his intriguing take on the Frankenstein myth, first-time scripter/helmer James Bai establishes an entire alternate universe with consummate mastery only to fail to coax a convincing performance out of his lead actor.
    • 68 Metascore
    • 60 Ronnie Scheib
    In an act of "selfless service," a group of American women, backed by industry giants like Clairol and Vogue, open a beauty school in war-ravaged Afghanistan. The anomalies are manifold: Gun-toting soldiers patrolling the streets are visible through the windows as rookie beauticians busily snip, perm and tweeze.
    • 48 Metascore
    • 60 Ronnie Scheib
    Gay Gotham farce written, directed and starring veteran actor Craig Chester ("Swoon," "Kiss Me Guido") delivers plenty of well-timed slapstick, a brace of oddball zanies and a couple of show-stopper musical numbers. Material is uneven, but rhythm and pacing keep action moving smartly.
    • 57 Metascore
    • 60 Ronnie Scheib
    Burns' always impressive sense of place lends authenticity to the pals' perambulations, and the stellar cast brings a welcome overabundance of personality to regrettably one-note roles.
    • 71 Metascore
    • 60 Ronnie Scheib
    Though no "Love and Diane," this modest film nevertheless reveals the fragility of hope in survivalist mentalities pre-programmed to expect the worst.
    • 36 Metascore
    • 60 Ronnie Scheib
    An ambitious, low-budget neo-noir, Stephen Purvis' El Cortez navigates the genre's tawdry twists and crosses and double-crosses with intermittent flair.
    • 44 Metascore
    • 60 Ronnie Scheib
    Brand has assembled a cast of world class improvisers, yet doesn't take advantage of their own particularized, inflected rhythms, as each ritualistically experiences a jump-cut fragmentary flashback in front of the same bathroom mirror.
    • 57 Metascore
    • 60 Ronnie Scheib
    Greif obviously ascribes to the Blake Edwardian school of comedy, laying out gags with commendable topographical precision. But, unlike Edwards' unique mixture of sophistication and slapstick, Funny Money falls squarely in the tradition of pure farce, itself an anomaly in this age of aggressively abrasive personality comedies.
    • 68 Metascore
    • 60 Ronnie Scheib
    Perhaps the least accessible of Tian's films, this serenely elliptical poser will elude all but the most devoted arthouse auds.
    • 56 Metascore
    • 60 Ronnie Scheib
    A strong cast, formal visual style and cynical voiceover that propels the action help elevate this Seattle-set gay romp from the ranks of the stereotypical.
    • 54 Metascore
    • 60 Ronnie Scheib
    This offbeat charmer succumbs to the same airless artificiality that has claimed many recent efforts in the genre.
    • 68 Metascore
    • 60 Ronnie Scheib
    Documentary seems best suited to cable: Lake's informal, Oprah-like concern invites the intimacy of home viewing. But the chick-chat approach in no way undermines the gravity of the problems the docu addresses.
    • 50 Metascore
    • 60 Ronnie Scheib
    Piles heavy emotional baggage on a slender story frame. Pic looks ravishing, featuring a nocturnal road trip through a cool kaleidoscopic landscape of shifting colors peopled by three commanding thesps of different generations whose interlocking stories form a cohesive whole.
    • 67 Metascore
    • 60 Ronnie Scheib
    Its extremely narrow focus on the death throes of an art form, rather than the art itself, limits its appeal.
    • 57 Metascore
    • 60 Ronnie Scheib
    Safer, more conventional and closer to broad TV sketch humor than Christopher Guest's comedies of manners, The Grand never quite recoups in laughs what it loses in spontaneity.
    • 57 Metascore
    • 60 Ronnie Scheib
    This inordinately likable and consistently funny boxing saga-cum-romantic comedy doesn't so much ridicule the "Rocky"-type inspirational sports fable as gently deflate its heroic overdrive.
    • 46 Metascore
    • 60 Ronnie Scheib
    Culture shock often proves the stuff of comedy, but the sight of a silver-studded, sombrero-topped mariachi band breaking into a rousing rendition of "Hava Nagila" transports diversity into the realm of the surreal.
    • 79 Metascore
    • 60 Ronnie Scheib
    Uniquely Southern documentary has become surprisingly timely this election year.
    • 63 Metascore
    • 60 Ronnie Scheib
    Picture loses its delicate edge when it builds to a prescribed dramatic flashpoint within an overly compressed timeframe
    • 28 Metascore
    • 60 Ronnie Scheib
    Uneven but enjoyably titillating black comedy should elate Rickman fans while pleasing aficionados of extra-flakey caper flicks.
    • 33 Metascore
    • 60 Ronnie Scheib
    Frank Langella's note-perfect, tour-de-force turn as a man elegantly shaping his own demise is nicely counterpointed by a shambling Elliott Gould as a bird-watching private eye.
    • 44 Metascore
    • 60 Ronnie Scheib
    Likable but lightweight slacker comedy.
    • 69 Metascore
    • 60 Ronnie Scheib
    Director-producer Aviva Kempner's well-researched but unchallenging docu, like "The Goldbergs" itself, has cross-cultural appeal for Jews and goyim alike.
    • 47 Metascore
    • 60 Ronnie Scheib
    Evocatively fleshed out with surprisingly iconic homemovies, passionate love letters and well-chosen pop tunes, Kleine's homegrown Jewish "Madame Bovary" escapes the navel-gazing boundaries of the personal-diary docu by the sheer force of its evocation of bygone sensuality.
    • 62 Metascore
    • 60 Ronnie Scheib
    As a character study and revelation of a possible answer to addiction, the docu rocks. But Negroponte's low-res video camera, trivializes the film's already crude approximations of psychedelic experiences and its recordings of shamanistic rituals.
    • 65 Metascore
    • 60 Ronnie Scheib
    Less cohesive and accessible than "The Maid" (which the Chilean duo co-scripted and Silva helmed solo), picture nonetheless contains unforgettable scenes.
    • 57 Metascore
    • 60 Ronnie Scheib
    Covering familiar ground from an unfamiliar angle, Ted Woods' oddball documentary White Wash examines the history of African-American disenfranchisement from a black surfer's viewpoint, in the process countering the racist myth that black people don't swim or surf.
    • 45 Metascore
    • 60 Ronnie Scheib
    Set in cramped apartments and hole-in-the-wall storefronts in the East Village, Michael M. Bilandic's nanobudget comedy Happy Life plays like a poor schlub's "High Fidelity."
    • 63 Metascore
    • 60 Ronnie Scheib
    The indomitable siblings' unusual background, huge size and highly developed intellects, as well as the dramatic ups, downs and rebounds of their interwoven sagas, should result in a fascinating dual biodoc. But the two-hour pic's lack of economy makes for heavy slogging, with no boxing minutiae too small for exhaustive exposition.
    • 48 Metascore
    • 60 Ronnie Scheib
    Once Heifetz becomes a household name, Rosen struggles mightily to milk drama not from his musical genius, but from his relatively unremarkable personal life.
    • 67 Metascore
    • 60 Ronnie Scheib
    Documentarian Jarred Alterman emphasizes oddball lyricism in the one-of-a-kind Convento, in which a 400-year-old Portuguese monastery provides the canvas for a Dutch family's artistic experimentation.
    • 40 Metascore
    • 60 Ronnie Scheib
    Watching a consummate pro like Turner navigate an uneven script, veering from farcical determination, her cheeks puffed like those of a demented chipmunk, to utter devastation, can be immensely entertaining, particularly when she's backed by an able cast, as she is here.
    • 62 Metascore
    • 60 Ronnie Scheib
    Moving, engagingly low-key curio.
    • 65 Metascore
    • 60 Ronnie Scheib
    Though the picture meanders somewhat in the absence of a clear throughline, the focus on Scott's music and electronic experimentation remains strong throughout, thanks to an eclectic roster of musicians and scholars and a generous sampling of his compositions.
    • 57 Metascore
    • 60 Ronnie Scheib
    Collectivist in spirit, this mostly entertaining film lacks an official host or voiceover narration, which first works swimmingly but eventually becomes too diffuse.
    • 67 Metascore
    • 60 Ronnie Scheib
    A Whisper to a Roar traces a too-familiar step-by-step political pattern: the transformation of a liberator into a despot, his subsequent reign of tyranny and the popular uprising against it.
    • 61 Metascore
    • 60 Ronnie Scheib
    Of particular interest to gay-rights activists and their adversaries, this "War Room"-like but extremely civil documentary seems best suited to community venues and the smallscreen.
    • 58 Metascore
    • 60 Ronnie Scheib
    Despite lively commentaries by a pantheon of master musicians and magnificently performed classical pieces, "Exiles" only distantly echoes Huberman's visionary adventure.
    • 56 Metascore
    • 60 Ronnie Scheib
    For Fry, the music's complexity, ambiguity, innovation and humanity far surpass Wagner's personal limitations. He may not convince his viewers of the rightness of his conclusions, but he certainly makes a fervent case for the triumph of art over biography.
    • 83 Metascore
    • 60 Ronnie Scheib
    Certain moments in the film resemble nothing so much as attending a school reunion, being buttonholed by an old acquaintance and shown snapshots of the grandkids. A complacently conservative acceptance sometimes seems to blanket all of 56 Up, as if maturity entails a serene blessing of the status quo.
    • 71 Metascore
    • 60 Ronnie Scheib
    Barsky wisely includes just enough dissenting voices and admissions of grievous error by Koch himself to prevent the picture from seeming like a 100% feel-good puff piece.
    • 44 Metascore
    • 60 Ronnie Scheib
    The latest in a line of documentaries decrying the destruction of viable working-class businesses and residential neighborhoods in Brooklyn, Su Friedrich’s film bypasses sadness and indignation for flat-out anger and well-aimed sarcasm.
    • 76 Metascore
    • 60 Ronnie Scheib
    For Semans’ conceit of an obsessively narrow world to really work, he needed to have established an initially more expansive milieu.
    • 49 Metascore
    • 60 Ronnie Scheib
    Ron Frank and Melvut Akkaya’s docu isn’t exactly groundbreaking, but as a brief history of the Catskill resorts, liberally laced with well-edited archival promos, songs, homemovies and extended excerpts from routines by Jewish comics who performed there, it consistently entertains.
    • 57 Metascore
    • 60 Ronnie Scheib
    Holiff Sr.’s extensive audio diaries and taped phone conversations with Cash give authentic voice to the film’s otherwise stodgy re-creations of this true odd couple’s stormy relationship.
    • 63 Metascore
    • 60 Ronnie Scheib
    Koons Garcia has obviously opted for an upbeat approach: Choruses of scientists and farmers sing the praises of organic farming while John Chater’s camera visually devours the fruits, vegetables and livestock produced by healthy dirt.
    • 50 Metascore
    • 60 Ronnie Scheib
    If Dalsgaard’s advocacy of Gehl’s utopian vision largely ignores the socioeconomic forces arrayed against it, the film should nevertheless enthuse pedestrians, bike riders and public-space proponents everywhere.
    • 74 Metascore
    • 60 Ronnie Scheib
    Maxine Trump’s feature loses focus as it progresses, though its insights into guitar making, forestry harvesting and environmental shortages resonate strongly.
    • 61 Metascore
    • 60 Ronnie Scheib
    The improvisational zeal with which Cusack approaches his role (absent from his miscast villainous turn in “The Paperboy”) is particularly fun to watch.
    • 40 Metascore
    • 60 Ronnie Scheib
    Tracing a journey of self-discovery through six North Indian states without a formal script, Ali’s actors, like his characters, effectively improvise in a meandering present tense, stripped of any viable destination.
    • 62 Metascore
    • 60 Ronnie Scheib
    Schwarz lacks the writing chops to adequately embed the character’s predictable learning curve into a richer narrative fabric, but Dunne’s perf is pitch-perfect.
    • 33 Metascore
    • 50 Ronnie Scheib
    Slicker, funnier and more professional than its predecessor, State Property 2, with Damon Dash at its helm tones down the original.
    • 62 Metascore
    • 50 Ronnie Scheib
    In its reliance on emotionally loaded voiceover and its disconcertingly direct appeals for support, Len Morris' old-fashioned docu seems more designed for fund-raising pitches than theatrical release.
    • 60 Metascore
    • 50 Ronnie Scheib
    In striving simultaneously to cover the transplanted rap scene, sample a wide range of groups, and give an unbiased picture of Cuban society, helmers Anna Boden and Ryan Fleck, who have hitherto worked in short-form, blur the overall shape of their picture.
    • 36 Metascore
    • 50 Ronnie Scheib
    In scope, depth, rhythm and gags, "Pizzas" seems best suited to the small screen.
    • tbd Metascore
    • 50 Ronnie Scheib
    Name cast, occasional deft touches and nifty contrast between the two locales cannot overcome script's terminal awkwardness.
    • 64 Metascore
    • 50 Ronnie Scheib
    As fascinating as it is frustrating.
    • 46 Metascore
    • 50 Ronnie Scheib
    Keeps grimly glued to its one-note premise, relieved by nary a glimmer of humor, surprise or personality.
    • 46 Metascore
    • 50 Ronnie Scheib
    Far from encouraging "Survivor"-style competitiveness, the desert setting serves as a serene Club Med-type backdrop to the all-male bonding.
    • tbd Metascore
    • 50 Ronnie Scheib
    Shady mood-piece profits greatly from enigmatic performance by Emmanuel Xeureb.
    • 49 Metascore
    • 50 Ronnie Scheib
    Inevitable comparisons to Quentin Tarentino's femme-centered carnage extravaganza "Kill Bill" are not unwarranted insofar as both films featurefeature an abstract, self-conscious, and decidedly post-modern approach to a moribund genre.
    • 36 Metascore
    • 50 Ronnie Scheib
    A lackluster actioner.
    • 60 Metascore
    • 50 Ronnie Scheib
    A lightly feminist, good-naturedly comic sketch of a Chinese-American family in crisis. But despite pic's earnestness and obvious good intentions, narrative elements, carefully set forth though they may be, fall back on overfamiliar, underdeveloped tropes.
    • 62 Metascore
    • 50 Ronnie Scheib
    May shock many viewers, especially political liberals.
    • 65 Metascore
    • 50 Ronnie Scheib
    Neither newly revelatory nor formally innovative.
    • 38 Metascore
    • 50 Ronnie Scheib
    Pic contains its share of viable gags and stars generate a certain degree of convincing chemistry. But eventually, the seams in personality design and artificially stitched-together script construction begin to show.
    • 35 Metascore
    • 50 Ronnie Scheib
    More polished and better acted than many "inspirational" biopics.
    • 34 Metascore
    • 50 Ronnie Scheib
    Though the Pangs prove culturally adaptive on a visual level, they seem completely clueless as to the tonal modalities of Mark Wheaton's admittedly undercooked, all-American script.
    • 45 Metascore
    • 50 Ronnie Scheib
    Undeniably topical but the lack of emotional investment in its characters renders it more intelligent than engaging.
    • 31 Metascore
    • 50 Ronnie Scheib
    Scripter/helmer Sue Kramer's awkward freshman outing eventually coasts on the genuine charm of its leads. A strong vehicle for Heather Graham, who has never looked lovelier, "Gray" scores most convincingly in its reinvention of Carole Lombardian sexual screwiness as head-spinning gender confusion.
    • 58 Metascore
    • 50 Ronnie Scheib
    Engages but underwhelms.
    • 60 Metascore
    • 50 Ronnie Scheib
    Never completely takes off, yet somewhat overestimates the surrounding zaniness. Still, any opportunity to witness the improvisatory skills of Sarah Silverman, Bonnie Hunt and Amy Sedaris should not be missed.
    • 58 Metascore
    • 50 Ronnie Scheib
    Thanked and vilified from coast to coast, Carter remains steadfast in his belief that Israel's policies in the Occupied Territories are unjust and counterproductive.
    • 62 Metascore
    • 50 Ronnie Scheib
    Kagan's green-screen filmization, in its over-busy editing, ever-changing angles and constantly shifting backdrops, strips the play of its starkness, leaving disproportionate schmaltz and propaganda.
    • 49 Metascore
    • 50 Ronnie Scheib
    Proves a welcome addition to the growing body of films on Iraq, but ultimately promises more than it delivers.
    • 50 Metascore
    • 50 Ronnie Scheib
    Generates enough mild humor to keep the spoof rolling, but lacks the commitment and scope.
    • tbd Metascore
    • 50 Ronnie Scheib
    Boasts dazzling hockey action, but its off-ice piousness makes for tough sledding for non-Canucks.
    • 62 Metascore
    • 50 Ronnie Scheib
    Aggressively upbeat docu, helmed by two males ill-equipped to bring any distance to the camp's pervasive feel-good feminism, tends to relentlessly reiterate points better served by example.
    • 40 Metascore
    • 50 Ronnie Scheib
    The overly simplistic script by Zac Stanford (“The Chumscrubber”) hits nothing but high notes, making the whole dramatically less than the sum of its parts.
    • 52 Metascore
    • 50 Ronnie Scheib
    A convoluted bilingual thriller about a kidnapping in Colombia, Towards Darkness may be too clever for its own good. Frosh director Antonio Negret intertwines so many disparate characters, each with a flashback-studded backstory, that after a while the exhausted viewer, assaulted by sudden time-jumps, agitated handheld camerawork and tediously protracted suspense, ceases to care.

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