Ronnie Scheib
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For 512 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 0.8 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 Reunion
Score distribution:
  1. Negative: 36 out of 512
512 movie reviews
    • 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.

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