Ronnie Scheib

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For 532 reviews, this critic has graded:
  • 54% higher than the average critic
  • 6% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Ronnie Scheib's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Gregory Crewdson: Brief Encounters
Lowest review score: 10 The Reunion
Score distribution:
  1. Negative: 36 out of 532
532 movie reviews
    • 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."
    • 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.
    • tbd Metascore
    • 60 Ronnie Scheib
    Miller deftly navigates his picture's unusual tonal mix, balancing absurdity, melodrama, comedy of manners and an unblinking ethnographic stare. But the film's nearly three-hour length may consign it to cult status.
    • 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.
    • 48 Metascore
    • 50 Ronnie Scheib
    A bathetic TV-movie-type "learning experience" that provides about as much insight into teenagers as 40s westerns did into Indians--it's all in the costumes and customs.
    • 27 Metascore
    • 50 Ronnie Scheib
    Its straight-ahead rape, humiliation and ingenious revenge competently executed but not aestheticized, the essential grunginess never overly slicked up.
    • 63 Metascore
    • 50 Ronnie Scheib
    Teper buries his material in gimcrack mod trappings that trivialize rather than celebrate Sassoon's accomplishments.
    • 55 Metascore
    • 50 Ronnie Scheib
    With Swaziland providing this mother lode of material, helmer Michael Skolnik extracts only the most pedestrian of films.
    • 45 Metascore
    • 50 Ronnie Scheib
    This far-fetched, deliberately artificial game of musical chairs -- in which mismatched characters encircle, attract and repel each other -- feels forced, often losing itself in excess verbiage.
    • 41 Metascore
    • 50 Ronnie Scheib
    More entertaining than especially revelatory, this timely documentary adds a sprightly note to a somber subject.
    • 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.
    • 41 Metascore
    • 50 Ronnie Scheib
    The script’s autobiographical roots tend to substitute for a well-constructed dramatic throughline, giving the film an open-endedness that feels more dismissive than ambivalent.
    • 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.
    • 51 Metascore
    • 50 Ronnie Scheib
    Live From New York! registers as simultaneously too outsider and too insider — a perfect definition of mainstream media itself.
    • 36 Metascore
    • 50 Ronnie Scheib
    In scope, depth, rhythm and gags, "Pizzas" seems best suited to the small screen.
    • 53 Metascore
    • 50 Ronnie Scheib
    Dave Boyle's picture is fueled by no overriding visual style, relying completely on its actors' chemistry for momentum. Unfortunately, the two strike no sparks.
    • 62 Metascore
    • 50 Ronnie Scheib
    Though it retains the narrative complexity of the Swedish bestseller on which it's based, WWII saga Simon and the Oaks never creates an emotional or intellectual throughline of its own.
    • 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.
    • 34 Metascore
    • 50 Ronnie Scheib
    Amiable but uneven.
    • 62 Metascore
    • 50 Ronnie Scheib
    Racks up damning anecdotal evidence without substantially altering the discussion.
    • 63 Metascore
    • 50 Ronnie Scheib
    Revenge is a disappointment. Admittedly, the picture deploys the same kind of cinematic bells and whistles that made "Killed" so enjoyable. But without true tension, the documentary feels as slickly manufactured as its va-va-voom subject.
    • 49 Metascore
    • 50 Ronnie Scheib
    Since Thomas’ character is incapable of change or variation, and the film’s only engaging supporting players occupy a small fraction of the running time, it falls squarely upon Arquette to carry the film.
    • 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.
    • 41 Metascore
    • 50 Ronnie Scheib
    Stephen Vittoria's documentary about Mumia Abu-Jamal -- unrepentant commie cop-killer to some, political martyr to others -- makes no bones about its allegiance.
    • 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.
    • 42 Metascore
    • 50 Ronnie Scheib
    Ultimately, nothing can save this pic from the warm fuzzies.
    • 86 Metascore
    • 50 Ronnie Scheib
    A killer ending does not a movie make, and ultimately In the Bedroom may be more interesting to talk about than sit through.
    • 37 Metascore
    • 50 Ronnie Scheib
    In the central role, first-time feature helmer Alexander Poe may trigger sheepish identification among the neurotic with the protag's vaguely ridiculous reactions. While his character registers as white-bread bland, strong performances from the two "exes" save this indie from a surfeit of self-deprecating charm.
    • 46 Metascore
    • 50 Ronnie Scheib
    Part personal quest, part testimonial and part fund-raiser, A Journey in My Mother's Footsteps fulfills disparate agendas for helmer Dina Rosenmeier, a mildly resentful daughter wondering why her humanitarian mother prioritized orphaned Indian children over her own offspring.
    • 56 Metascore
    • 50 Ronnie Scheib
    Happily, "Upwards" picks up immeasurably when three legit luminaries (Andrea Martin, Julie White, Peter Friedman) enter the picture as the couple's parents.
    • 39 Metascore
    • 50 Ronnie Scheib
    The leads jell well but the film overcompensates to justify their union, surrounding them with broadly drawn secondary characters presented in an uncertain, inconsistent comic tone.
    • 28 Metascore
    • 50 Ronnie Scheib
    Though the actors don't flesh out or particularly fit their roles, they seem perfectly at ease with them and with each other.
    • 33 Metascore
    • 50 Ronnie Scheib
    Nothing here -- technologically, linguistically or visually -- would not be more at home decades ago, when director Stephen Herek helmed "Bill and Ted's Excellent Adventure" and "The Mighty Ducks."
    • 52 Metascore
    • 50 Ronnie Scheib
    Loveless exerts a low-energy, dread-tinged fascination that intrigues rather than wows.
    • 39 Metascore
    • 50 Ronnie Scheib
    Picture narrowly avoids outright bathos, thanks largely to first-rate perfs by its child thesps and by Ray Liotta. But by self-righteously rejecting facile solutions, then employing them anyway in the tradition of "no ending left behind," the result conforms to parents' old-fashioned notions of kid movies rather than demonstrating true kid appeal.
    • tbd Metascore
    • 50 Ronnie Scheib
    Name cast, occasional deft touches and nifty contrast between the two locales cannot overcome script's terminal awkwardness.
    • 50 Metascore
    • 50 Ronnie Scheib
    The bros are built, and "Hand," with its gorgeous shots of mist-shrouded woods and sun-burnished hay, plus a brief but rapturous foray into gay sex, may attract queer auds.
    • 26 Metascore
    • 50 Ronnie Scheib
    With its striking Arctic scenery, “Ice” is a gorgeous if overexplained armchair adventure.
    • 30 Metascore
    • 50 Ronnie Scheib
    This mildly amusing, resolutely inoffensive outing lacks serious sexual tension -- which might just make it a viable compromise date pick in limited release.
    • tbd Metascore
    • 50 Ronnie Scheib
    Boasts dazzling hockey action, but its off-ice piousness makes for tough sledding for non-Canucks.
    • tbd Metascore
    • 50 Ronnie Scheib
    This low-budget curio feels remarkably authentic but lacks a core story structure.
    • 46 Metascore
    • 50 Ronnie Scheib
    Keeps grimly glued to its one-note premise, relieved by nary a glimmer of humor, surprise or personality.
    • 56 Metascore
    • 50 Ronnie Scheib
    Hearing the majestic iambic pentameter rendered in the sharply rising and falling cadences of colloquial Yiddish proves wackily charming, but the lack of correlation between the two plots makes the result feel unfocused.
    • 59 Metascore
    • 50 Ronnie Scheib
    Marquardt never buries her symbolic subtext very deep, what with a woman who freezes her eggs and a man who ensures that his patients feel nothing.
    • 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.
    • 43 Metascore
    • 50 Ronnie Scheib
    Beyond its cool, reflective surfaces and infinite plays with perspective lies nothing -- character, relationships, motives all seemingly irrelevant. Even Willem Dafoe as a haunted cop cannot ground these artfully grisly optical illusions, unconnected to any comprehensible storyline.
    • 40 Metascore
    • 50 Ronnie Scheib
    It is the presence of Duncan as a Mike Tyson-esque, malaprop-spouting ex-champion that, at least momentarily, lifts the pic out of its mediocrity.
    • 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.
    • 32 Metascore
    • 50 Ronnie Scheib
    Exhibits stray instances of intrigue and wit, and makes nostalgic hay with its enshrinement of old-timers Pippa Scott and H.M. Wynant, but ultimately suggests a too-writerly, over-padded "Twilight Zone" episode.
    • 38 Metascore
    • 50 Ronnie Scheib
    Sarah Jessica Parker's myriad fans will doubtless appreciate her frazzled warmth in a part she energetically inhabits, but the picture at times feels out of step with contemporary reality and humorless in its adaptation of a comic bestseller.
    • 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
    Shiota piles tons of symbolic baggage on his pint-size protagonists, who luckily rise to the challenge.
    • 49 Metascore
    • 50 Ronnie Scheib
    Proves a welcome addition to the growing body of films on Iraq, but ultimately promises more than it delivers.
    • 59 Metascore
    • 50 Ronnie Scheib
    Meandering mindlessly, Wizards comes off as yet another humdrum Pottery artifact.
    • 59 Metascore
    • 50 Ronnie Scheib
    Although Dyer's sophomore feature clearly intends to capture the magical otherness of a child's p.o.v., nothing in her strangely aloof mise-en-scene or her late sister Gretchen's script yields anything more than a group of well-thesped, believable suburban kids upset by their parents' behavior.
    • 43 Metascore
    • 50 Ronnie Scheib
    A startling wake-up call about appalling conditions prevailing in American schools, The War on Kids contradicts popular wisdom.
    • 49 Metascore
    • 50 Ronnie Scheib
    Suliman (“Paradise Now,” “The Attack”) dominates the screen as Khaled, utterly compelling in and out of jail, his magnificent perf tying up cinematic loose ends.
    • 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.
    • 65 Metascore
    • 50 Ronnie Scheib
    Swell never really gathers momentum, remaining a collection of moments, some more privileged than others.
    • 56 Metascore
    • 50 Ronnie Scheib
    Israeli helmer Dror Sahavi's well-meaning but simplistic terrorist melodrama, gingerly counterbalancing religious fanatics on either side of the Israeli-Palestinian divide, utilizes a lyrical "Romeo and Juliet"-type encounter between a reluctant suicide bomber and a Jewish escapee from Orthodox closed-mindedness to plead mutual tolerance.
    • 61 Metascore
    • 50 Ronnie Scheib
    A venerable cast of Broadway vets interminably wanders through the clan's Connecticut mansion with no apparent goal, carrying the remains of never fully explained resentments.
    • 63 Metascore
    • 50 Ronnie Scheib
    Unfortunately, picture's concept doesn't stretch to 74 minutes.
    • 42 Metascore
    • 50 Ronnie Scheib
    The story of a ragtag Native American team rediscovering the tribal roots of the game to defeat preppie champions is rife with tired tropes, and lacking in three-dimensional characters or colorful plot-twists. Happily for this Onandaga-financed production and vet director Steve Rash, gifted Native American lacrosse players lend hard-hitting impact to the game scenes.
    • 60 Metascore
    • 50 Ronnie Scheib
    The filmmakers' metaphor of the housing market as a casino, with hard-working people's homes used as chips, although apt, may lack the visual and visceral excitement.
    • 35 Metascore
    • 50 Ronnie Scheib
    The tale of a pickpocket's redemption through love, plus a vengeance-seeking cop and assorted betrayals, Loosies weakly channels Sam Fuller's "Pickup on South Street" but without the explosive action, iconic thesping and stylistic punch.
    • 62 Metascore
    • 50 Ronnie Scheib
    May shock many viewers, especially political liberals.
    • 52 Metascore
    • 50 Ronnie Scheib
    Though stylistically incoherent at times, picture benefits from the percussionist's plainspokenness.
    • 49 Metascore
    • 50 Ronnie Scheib
    Though the picture is respectful of the heist-film template -- the gathering of the crew, the readying of props, the planned circumvention of all obstacles -- its main imperative consists of placing Kahn in impossible situations and watching him trick or strongarm his way out.
    • 31 Metascore
    • 50 Ronnie Scheib
    That Blitstein pulls off this tiredly self-reflexive conceit with relative panache is due in no small part to the scruffy grace of leads Justin Rice ("Mutual Appreciation") and indie fixture Brendon Sexton III.
    • 16 Metascore
    • 50 Ronnie Scheib
    Kalmbach’s laid-back approach proves more likable than revelatory.
    • 24 Metascore
    • 50 Ronnie Scheib
    Despite its infotainment look, Burzynski ultimately proves convincing.
    • 35 Metascore
    • 50 Ronnie Scheib
    More polished and better acted than many "inspirational" biopics.
    • 47 Metascore
    • 50 Ronnie Scheib
    Dancing Across Borders, Anne Bass' uneven docu debut, traces the fortunes of Cambodian ballet dancer Sokvannara "Sy" Sar from the time Bass first discovered him performing traditional temple dances at Angkor Wat to his conquests on the world stage.
    • 51 Metascore
    • 50 Ronnie Scheib
    Although it avoids overt moralizing or clunky lesson-learning, pic's careful balancing act between tragedy and comedy eventually becomes its sole raison d'etre.
    • 58 Metascore
    • 50 Ronnie Scheib
    Engages but underwhelms.
    • 33 Metascore
    • 50 Ronnie Scheib
    This simplistic story of bucolic redemption has few pretensions to depth, ambiguity or realism, relying on its name cast, sprightly lead and a helluva horse to attract family audiences.
    • 36 Metascore
    • 50 Ronnie Scheib
    A lackluster actioner.
    • 41 Metascore
    • 50 Ronnie Scheib
    Registers like a quaint display of local color.
    • 55 Metascore
    • 50 Ronnie Scheib
    Luckily, the music trumps the indifferently shot concert footage and lends shape to the evocatively lensed recording sessions in iconic locations. Nothing, unfortunately, mitigates Markus' sincere but trite and awkward narration.
    • tbd Metascore
    • 50 Ronnie Scheib
    "Night" trades politics for acrobatics, the film's kinetically edited action sequences filling the void left by sketchy character development.
    • 35 Metascore
    • 50 Ronnie Scheib
    Simultaneously insightful and idiotic.
    • 54 Metascore
    • 50 Ronnie Scheib
    Though conceptually intriguing, the mix of downward drug spiral with uphill struggle for good never really coalesces.
    • tbd Metascore
    • 50 Ronnie Scheib
    Turkel constantly undermines the feel-good with the ridiculous and vice versa, vacillating between infantile insults and professions of affection, a duality that ultimately wears thin.
    • tbd Metascore
    • 50 Ronnie Scheib
    Shady mood-piece profits greatly from enigmatic performance by Emmanuel Xeureb.
    • tbd Metascore
    • 50 Ronnie Scheib
    Directed by the pseudonymous Deagol Brothers, the film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together with its strong compositional sense, killer atmospheric lighting and wall-to-wall music track.
    • 32 Metascore
    • 50 Ronnie Scheib
    Luke Meyer and Andrew Neel's New World Order is less about an international cabal seeking world enslavement than about those who fervently believe such conspiracies exist and who crusade to defeat them.
    • 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.
    • 38 Metascore
    • 50 Ronnie Scheib
    Brit helmer Malcolm Mowbray's film assumes the constrictions of a stagebound farce, taking place on a single set in real time, and swept along in magisterially broad strokes by Jeffrey Tambor's playfully theatrical perf.
    • 40 Metascore
    • 50 Ronnie Scheib
    Wide-ranging educational documentary attaches itself to the rise and fall of a 12-year-old fashion model, and indeed, its sincere, cautionary tone seems best suited to younger auds and small screen exposure.
    • tbd Metascore
    • 50 Ronnie Scheib
    Chalk suffers overall from a lack of subtlety, as problems abruptly get thrust into the foreground with little buildup or internal consistency.
    • 38 Metascore
    • 50 Ronnie Scheib
    Another in the procession of dead children movies that followed Atom Egoyan's magisterial "The Sweet Hereafter," helmer Gaby Dellal's sophomore effort unfolds in a similarly snow-blanketed small town filled with grieving adults, the community divided in apportioning blame. In contrast with Egoyan's labyrinthine structure and complex storylines, Crest cobbles together bits of plot and a motley assortment of half-formed characters.
    • tbd Metascore
    • 50 Ronnie Scheib
    Though initially fascinating, this two-hour travelogue soon becomes repetitive as it forsakes stark desert isolation for icon-festooned churches and overcrowded ceremonies.
    • tbd Metascore
    • 50 Ronnie Scheib
    The two still rely on their run-on, Woody Allen-ish interlocking rhythms to smartly propel the desultory plot forward, but after countless mumblecore and slacker indies, the sense of newness is gone.
    • tbd Metascore
    • 50 Ronnie Scheib
    Inoffensive but mostly undistinguished "Ancient Aliens"-type concoction.
    • tbd Metascore
    • 50 Ronnie Scheib
    This spectacular orchestration of visual elements seems wasted on a threadbare, inanely repetitive plotline.
    • 70 Metascore
    • 50 Ronnie Scheib
    The major draw of Blank City lies in its generous glimpses of rare, virtually lost Super-8 and 16mm films.
    • 59 Metascore
    • 50 Ronnie Scheib
    Beginning promisingly enough, "Handsome" soon turns monotonously angst-ridden, with all humor and personality falling by the wayside.
    • 62 Metascore
    • 50 Ronnie Scheib
    The idea of framing Holocaust atrocities in contemporary genre terms, although intriguing, is not without its perils, and the secret, when revealed, looms too large to fit within the plot’s parameters, creating strange disconnects between form and content.
    • 41 Metascore
    • 50 Ronnie Scheib
    Buday's astrology-themed romantic comedy boasts a promising premise, convincing chemistry between its attractive leads and fine thesping by a defensively edgy Jena Malone. But the uneven script, repetitive tropes and over-indulgence of actorly bits slow the pace, tipping youthful casualness into complacency.

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