Ronnie Scheib
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For 520 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 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 Around The World In 50 Concerts
Lowest review score: 10 Fading of the Cries
Score distribution:
  1. Negative: 36 out of 520
520 movie reviews
    • 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
    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.
    • 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.
    • 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.
    • 44 Metascore
    • 60 Ronnie Scheib
    Likable but lightweight slacker comedy.
    • 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
    Moving, engagingly low-key curio.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 60 Ronnie Scheib
    Above and Beyond reps an uneasy combo of two very different kinds of documentary, one of them personalizing the past and the other “objectifying” political advocacy.
    • 47 Metascore
    • 60 Ronnie Scheib
    If Caranfil’s mix of comedy and tragedy seems too scattershot to fully achieve catharsis, it does boast a rather Jewish sense of humor, itself a curious testimonial to the past.
    • 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.

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