Ronnie Scheib

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For 531 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 1.9 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 531
531 movie reviews
    • 65 Metascore
    • 50 Ronnie Scheib
    Swell never really gathers momentum, remaining a collection of moments, some more privileged than others.
    • 52 Metascore
    • 50 Ronnie Scheib
    Though stylistically incoherent at times, picture benefits from the percussionist's plainspokenness.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Ronnie Scheib
    Registers like a quaint display of local color.
    • 43 Metascore
    • 50 Ronnie Scheib
    What starts as an impassioned exploration of the medical establishment's court-proven conspiracy to "contain and eliminate" the chiropractic profession soon turns into a scattershot expose of the entire health care field in Doctored.
    • 50 Metascore
    • 50 Ronnie Scheib
    A vibrant catalogue of his outdoor pieces presented in context with an exhaustive portrait of Borba as a boundlessly energetic, iconoclastic creator, the documentary ties itself too tightly to its subject, mimicking forms and rhythms it never fully makes its own.
    • 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.
    • 48 Metascore
    • 50 Ronnie Scheib
    Few could dispute the obvious physical and mental benefits derived from the practice of this ancient discipline. One could, however, wish that this endless encomium played less like a PowerPoint sales pitch, illustrated with clip-art imagery, scored with generic music and narrated in mellifluous tones by Annette Bening.
    • 35 Metascore
    • 50 Ronnie Scheib
    Colburn's focus is so single-mindedly laudatory that the whole collaborative process is reduced to people either helping or hindering the visiting genius.
    • 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.
    • 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.
    • 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.
    • 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.
    • 26 Metascore
    • 50 Ronnie Scheib
    With its striking Arctic scenery, “Ice” is a gorgeous if overexplained armchair adventure.
    • 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
    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
    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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Ronnie Scheib
    Live From New York! registers as simultaneously too outsider and too insider — a perfect definition of mainstream media itself.
    • 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.
    • 69 Metascore
    • 50 Ronnie Scheib
    The ease with which the perky, big-eyed heroine ingeniously succeeds in improving the lot of everyone around her and the painterly manner in which reality in every inch of the frame is "improved" constitute both the "quirky" charm and the pure fishiness of the film.
    • 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.
    • 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.
    • 82 Metascore
    • 50 Ronnie Scheib
    Gentle, muted film of limited aesthetic ambition.
    • 61 Metascore
    • 40 Ronnie Scheib
    This black comedy on the making of a documentary about mail-order wives finally breaks down under the weight of its twists and turns, but mostly maintains a creepy fascination with its scuzzy characters.
    • 69 Metascore
    • 40 Ronnie Scheib
    Despite Almereyda's strong following in arthouse circles, William Eggleston in the Real World --which requires patient if not repeat viewing -- will probably not venture far into it.
    • 41 Metascore
    • 40 Ronnie Scheib
    Comes off as lame and unfocused as its draggy dramatis personae.
    • 33 Metascore
    • 40 Ronnie Scheib
    Even Sandler diehards may pass on this mostly derivative paean to compulsive computer geekdom and male sexual dysfunction.
    • 36 Metascore
    • 40 Ronnie Scheib
    Lack of perspective and shaky comic tone plague Tollbooth -- sinking it in a morass of whiny cliches.
    • 40 Metascore
    • 40 Ronnie Scheib
    Even a magnificently inspired Maria Bello proves insufficiently daring to save Richard Alfieri and Arthur Allan Seidelman's Chekhov-based chamber piece Sisters from pretentious psychodrama.
    • 38 Metascore
    • 40 Ronnie Scheib
    Pic relies on nerdy world-weary irony to carry the day, but doesn't convincingly draw its characters.
    • 39 Metascore
    • 40 Ronnie Scheib
    Trite, sententious and generally unfunny.
    • 41 Metascore
    • 40 Ronnie Scheib
    A bland, perverse round-robin of teen angst.
    • 37 Metascore
    • 40 Ronnie Scheib
    Featuring a strong central perf by Bill Sage, a raincoated detective turn by Roy Scheider and the upscale autumnal serenity of the Hamptons, If I Didn't Care remains a stylistic exercise in elegant gratuitousness.
    • 56 Metascore
    • 40 Ronnie Scheib
    Partly produced by Lifetime, the pic attempts to elevate the disease-of-the-week movie into a moral dialectic between conformity and imagination.
    • 52 Metascore
    • 40 Ronnie Scheib
    A humorless, relentlessly ethnocentric docu about Jews in basketball.
    • 28 Metascore
    • 40 Ronnie Scheib
    The result is a rough-edged, head-scratching mix of tones. Fortunately, musicvideo vet Rhein's competent helming skills counterbalance her off-putting dialogue and flat acting style so that the picture doesn't come off strictly amateur.
    • 21 Metascore
    • 40 Ronnie Scheib
    Competent but unimaginative horror entry.
    • 47 Metascore
    • 40 Ronnie Scheib
    Sentimental and a bit too cute in evoking a child's-eye view, the picture, nevertheless will please its target Jewish auds.
    • 49 Metascore
    • 40 Ronnie Scheib
    Comes off as a painfully old-fashioned, flatly directed exercise in passionless historical reenactment.
    • 34 Metascore
    • 40 Ronnie Scheib
    Though the low-budget picture is not without interest, its uneven thesping, sound quality and special effects might prove more welcome on the fest fringe.
    • 50 Metascore
    • 40 Ronnie Scheib
    Jose Rivera and Tim Sullivan's script relentlessly piles on goopy conversation-stoppers like "Do you believe in destiny?" and "I didn't know that true love had an expiration date."
    • 35 Metascore
    • 40 Ronnie Scheib
    Timothy Hutton's fine, loose-limbed perf as a man adrift lifts Multiple Sarcasms, frosh scribe-helmer Brooks Branch's male menopause apologia, out of cliche-ridden territory -- at least temporarily.
    • tbd Metascore
    • 40 Ronnie Scheib
    This cinematic anomaly falls flat as a stand-alone.
    • 30 Metascore
    • 40 Ronnie Scheib
    Though it follows the reductive paradigms of men-on-the-make laffers, the low-budget, flatly shot picture rarely turns nastily shrill or swaggeringly stupid in tone; redemption and/or sanity is usually waiting in the wings.
    • 39 Metascore
    • 40 Ronnie Scheib
    Icelandic helmer Baltasar Kormakur ("101 Reykjavik," "Jar City") injects notes of hysteria into the script's frenetic pileup of gratuitous cliches, as Dermot Mulroney pushes his square-jawed, desperate hero to near-masochistic extremes.
    • 42 Metascore
    • 40 Ronnie Scheib
    But atmospherics notwithstanding, the narrative unfolds unconvincingly in jerky fits and starts.
    • 21 Metascore
    • 40 Ronnie Scheib
    Offering a smorgasbord of violence with liberal sprinklings of sex, Russian import Alien Girl delivers wearisome brutality but little finesse.
    • 35 Metascore
    • 40 Ronnie Scheib
    Winters deserves better.
    • 39 Metascore
    • 40 Ronnie Scheib
    Tracks the race-to-the-deadline scramble of a personable young designer preparing an underfunded fashion show, but offers few threads that were not already more solidly and stylishly woven into "Unzipped," "Seamless" or "11 Hours."
    • 24 Metascore
    • 40 Ronnie Scheib
    Without fully fleshed-out generic or social contexts, left-wing documentarian Philippe Diaz's preachy mix of graphic free love and polemical diatribe fails to mesh as fiction, though it does make for superior porn.
    • 42 Metascore
    • 40 Ronnie Scheib
    Lacks focus, stumbling from one emotionally fraught stopping place to another but arousing less and less curiosity along the way.
    • 45 Metascore
    • 40 Ronnie Scheib
    With Cross jump-starting others on a liquid road to health, this glorified infomercial could saturate latenight TV after its April 1 bow.
    • 43 Metascore
    • 40 Ronnie Scheib
    The edge achieved by director-editor-producer-scribe Garth Donovan is jeopardized by overreaching for topical relevance.
    • 64 Metascore
    • 40 Ronnie Scheib
    An unremarkable documentary about Harper Lee and her single literary masterwork, Hey, Boo features what the French call a "structuring absence," that of Lee herself.
    • 52 Metascore
    • 40 Ronnie Scheib
    This ongoing improvisation, along with the completed passes and resulting chest-bumping celebrations or recriminations, serves to define these otherwise "ordinary" ciphers and lend shape and momentum to an otherwise plotless movie.
    • 57 Metascore
    • 40 Ronnie Scheib
    The result is Sam (Mark Duplass, "The Puffy Chair" and "Humpday"), a 34-year-old unemployed rocker whose mediocre musicianship is matched only by his abysmal people skills; he's like Jack Black without any energy or confidence.
    • 40 Metascore
    • 40 Ronnie Scheib
    Thesping is more engaging than accomplished, as Anderson's constant smile cracks around the edges and Northover's dourness is a bit overdone.
    • 31 Metascore
    • 40 Ronnie Scheib
    Unfortunately, the unconvincing fictional storyline Rosenbaum weaves around this solid musical base hits every meller cliche in the "self-destructive rock star" playbook.
    • tbd Metascore
    • 40 Ronnie Scheib
    While its questions of affirmative action and charter schools could theoretically resonate with American audiences, the picture's corny theatrics, talky, preachy approach and taxing 164-minute running time will not translate.
    • 38 Metascore
    • 40 Ronnie Scheib
    Clunky allegorical elements, however, remain unsatisfyingly ambiguous throughout the picture.
    • 31 Metascore
    • 40 Ronnie Scheib
    Poorly conceived 60-minute picture might have fared better as a more straightforward documentary.
    • 42 Metascore
    • 40 Ronnie Scheib
    Unable to establish a consistent tone, picture goes derivatively screwball one minute and stickily sentimental the next.
    • 47 Metascore
    • 40 Ronnie Scheib
    Its provocative subject matter, though seriously treated, qualifies it as a dark-horse candidate for latenight cable.
    • 27 Metascore
    • 40 Ronnie Scheib
    Despite much verbal huffing and puffing, rifle waving and scimitar rattling, Cherkess proceeds with an astounding lack of action.
    • 50 Metascore
    • 40 Ronnie Scheib
    Though conceived in whimsy, Minoes generally lacks imagination; once the premise is established, familiar plot conventions reign.
    • 35 Metascore
    • 40 Ronnie Scheib
    Watching TV feels fundamentally old-fashioned in its storytelling. Thesping is solid, particularly by O'Nan, Nam and Jacobs. But the conversations feel artificial, overly concerned with re-creating period detail or interjecting relevant philosophical life concepts.
    • 19 Metascore
    • 40 Ronnie Scheib
    Uncomfortably confessional or wildly melodramatic plot twists work interestingly in the moment, but wobble in retrospect. Pic's overarching structure is further weakened by Schaeffer's half-hearted attempt to tie together loose ends.
    • 39 Metascore
    • 40 Ronnie Scheib
    Unfortunately, the documentary's impact is mitigated the benefactor's constant presence and paternalistic, infomercial-like exposition.
    • 35 Metascore
    • 40 Ronnie Scheib
    Some six or seven men (women conspicuously absent), including a mayor, an immigration lawyer, a congressman and a "coyote," offer views on immigration. Unfortunately, they all say the same thing -- and it's nothing new, affecting or articulate.
    • 61 Metascore
    • 40 Ronnie Scheib
    Documentary's insistent inflation of buried gold jewelry and watches into symbols of heroic defiance and transcendental tragedy rings hollow in the wake of weightier Holocaust testimonials.
    • 52 Metascore
    • 40 Ronnie Scheib
    Scripter Lund, himself an ex-teacher, delivers a story that lacks nuance, and mixes badly with Kaye's impatient edits, Dutch angles and extreme close-ups.
    • 20 Metascore
    • 40 Ronnie Scheib
    The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.
    • 37 Metascore
    • 40 Ronnie Scheib
    The Sweet Inspirations ranked as one of the most important backup singing groups in record-industry history, having performed with Aretha Franklin, Van Morrison, Dionne Warwick, Jimi Hendrix, Nina Simone, the Drifters, Wilson Pickett, Dusty Springfield and Elvis Presley. Yet, aside from an occasional still photograph, not a single frame of archival footage from their illustrious careers shows up in This Time.
    • 20 Metascore
    • 40 Ronnie Scheib
    This messy amalgam of mysticism, romance, satire, social criticism and cartoonish f/x seems destined for discount DVD bins.
    • 36 Metascore
    • 40 Ronnie Scheib
    A behind-the-scenes comedy about the making of a reality TV show, My Uncle Rafael looks suspiciously like an outright sitcom itself, with the same careful dosage of sententiousness and one-liners.
    • 40 Metascore
    • 40 Ronnie Scheib
    Standout perfs by Bernadette Peters as an aging diva and Rachel Brosnahan as her solicitous 15-year-old daughter are the only reasons to see Lisa Albright's Coming Up Roses, a tired '80s-set meller hobbled by lackluster helming and an unconvincing script.
    • 34 Metascore
    • 40 Ronnie Scheib
    Complex story twists unfold to confusing effect, while characters angrily toss cliches at one another and revelations multiply rather than resolve murky plot developments.
    • 24 Metascore
    • 40 Ronnie Scheib
    Valerie Harper essays a Catholic twist on her yakkety yenta "Rhoda" persona, while Giancarlo Esposito, as the wise, hip priest heading the retreat, is called upon to bring believability to a film low in that commodity.
    • 35 Metascore
    • 40 Ronnie Scheib
    The picture's assorted characters, though credible, feel wearisomely one-dimensional, while the pumped-up action, unfolding in a single day, basically consists of an extended game of hide-and-seek.
    • 49 Metascore
    • 40 Ronnie Scheib
    Both subscribes to and somewhat departs from the bare-bones improvisational formula established by the mumblecore movement, sometimes sacrificing ambiguity for the sake of broader, telegraphed, one-note laughs.
    • 55 Metascore
    • 40 Ronnie Scheib
    This scattershot documentary — an undiluted advertisement for this temple of high-end consumerism — jumps skittishly from subject to subject, disjointed and repetitive for all but dyed-in-the-wool fashionistas.
    • 45 Metascore
    • 40 Ronnie Scheib
    Shetty’s need to maintain his characters’ romantic heroism constantly grates against his depictions of their ridiculousness.
    • tbd Metascore
    • 40 Ronnie Scheib
    Kashyap relies completely on star Ranbir Kapoor to put over this relentless reiteration of cliches and, admittedly, the actor invests his aggressively tasteless, crotch-grabbing antics with enough energy and humor to make it palatable, but only just.
    • 32 Metascore
    • 40 Ronnie Scheib
    The storyline develops so erratically that it lacks any internal momentum, with some scenes unfolding in exhaustive detail and others seemingly missing, as if whole chunks had been shot and later edited out.
    • 54 Metascore
    • 40 Ronnie Scheib
    Once Mulholland has established that both men hark back to a bygone, Teddy Roosevelt-fostered image of laconic masculinity, his peculiar vantage point generates little insight into the psychology and accomplishments of either man, as “The True Gen” abandons biographical logic in favor of a catalogue of arbitrary differences and similarities.
    • tbd Metascore
    • 40 Ronnie Scheib
    More scenes of Richner’s admirable efforts in the hospital and fewer expressions of admiration by the doctors and nurses he trains would also have helped to anchor the film’s sincere but repetitive hosannas.
    • 37 Metascore
    • 40 Ronnie Scheib
    The film is hamstrung by its fidelity to real-life inspirational models.
    • 44 Metascore
    • 40 Ronnie Scheib
    The film’s emotional center rings coldly hollow, its star-crossed lovers coming off more like projected figures than flesh-and-blood players.
    • 22 Metascore
    • 40 Ronnie Scheib
    The film continually resists coherence or synthesis, with puzzles left unresolved amid multiplying possibilities and highly repetitive flashbacks, yielding a mystery that wearies rather than intrigues.
    • 39 Metascore
    • 40 Ronnie Scheib
    After a seductively moody intro, Michael Walker's domestic thriller devolves into a cartoonish attack on the filthy rich.
    • tbd Metascore
    • 40 Ronnie Scheib
    I
    Star Chiyaan Vikram delivers a knockout three-pronged performance, but this cinematic bravura is offset by underdeveloped scripting, flatly one-dimensional villains and overdone lone-hero-vs.-swarms-of-murderous-attackers setpieces.
    • tbd Metascore
    • 40 Ronnie Scheib
    In its avoidance of all ambiguity, this giant-screen opus ultimately boils down to a rhapsodic endorsement of the tourism and shopping industries.
    • 73 Metascore
    • 40 Ronnie Scheib
    It's all so overdetermined -- each encounter of the present-day lovers mirrors some moment from the long-ago day when they parted -- that it reduces their whole affair to a matter of last-minute revisionism.
    • 17 Metascore
    • 30 Ronnie Scheib
    If imitation is the sincerest form of flattery, big studio Hollywood hitmakers should consider themselves lauded to the max in Jason Friedberg and Aaron Selzer's Epic Movie, the latest (and epically unfunny) entry in the movie parody franchise.
    • 37 Metascore
    • 30 Ronnie Scheib
    Stellar thesps gamely strive to elevate the one-note material, but gravity ultimately defeats them in this relentless downer.
    • 19 Metascore
    • 30 Ronnie Scheib
    For every engrossing rank-and-file story, there are endless self-congratulatory explanations and podium highlights.
    • 35 Metascore
    • 30 Ronnie Scheib
    Despite the presence of Glen Matlock, Steve Dior and a handful of other punk rockers, plus a slew of oblique eyewitness who lurked around before and after the fact, the documentary soon bogs down in tiresome minutiae.

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