Ronnie Scheib
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For 505 reviews, this critic has graded:
  • 55% higher than the average critic
  • 5% same as the average critic
  • 40% 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: 59
Highest review score: 100 Sweet Land
Lowest review score: 10 The Reunion
Score distribution:
  1. Negative: 35 out of 505
505 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 30 Ronnie Scheib
    Garden of Eden sends sleek, half-nude bodies glumly cavorting through lush Riviera landscapes in a paradigm of unintentional camp.
    • 35 Metascore
    • 30 Ronnie Scheib
    Strictly for fans of free-form, DIY hit-or-miss humor (and those who prefer a miss to a hit), pic complacently parades its alienated amateurism in the mistaken belief that half a gag is better than none.

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