Ronnie Scheib
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For 527 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 1.1 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 Fading of the Cries
Score distribution:
  1. Negative: 36 out of 527
527 movie reviews
    • 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.
    • tbd Metascore
    • 60 Ronnie Scheib
    Though generally engrossing, Ikland's multiscreen displays and cross-cultural theatrical experiments prove more distracting than effective.
    • 62 Metascore
    • 60 Ronnie Scheib
    Moving, engagingly low-key curio.
    • 65 Metascore
    • 60 Ronnie Scheib
    Though the picture meanders somewhat in the absence of a clear throughline, the focus on Scott's music and electronic experimentation remains strong throughout, thanks to an eclectic roster of musicians and scholars and a generous sampling of his compositions.
    • 57 Metascore
    • 60 Ronnie Scheib
    Collectivist in spirit, this mostly entertaining film lacks an official host or voiceover narration, which first works swimmingly but eventually becomes too diffuse.
    • tbd Metascore
    • 60 Ronnie Scheib
    Luft grounds the film with an insistently believable performance, while other thesps float in and out of cliche.
    • 67 Metascore
    • 60 Ronnie Scheib
    A Whisper to a Roar traces a too-familiar step-by-step political pattern: the transformation of a liberator into a despot, his subsequent reign of tyranny and the popular uprising against it.
    • 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.
    • 58 Metascore
    • 60 Ronnie Scheib
    Despite lively commentaries by a pantheon of master musicians and magnificently performed classical pieces, "Exiles" only distantly echoes Huberman's visionary adventure.
    • 56 Metascore
    • 60 Ronnie Scheib
    For Fry, the music's complexity, ambiguity, innovation and humanity far surpass Wagner's personal limitations. He may not convince his viewers of the rightness of his conclusions, but he certainly makes a fervent case for the triumph of art over biography.
    • 83 Metascore
    • 60 Ronnie Scheib
    Certain moments in the film resemble nothing so much as attending a school reunion, being buttonholed by an old acquaintance and shown snapshots of the grandkids. A complacently conservative acceptance sometimes seems to blanket all of 56 Up, as if maturity entails a serene blessing of the status quo.
    • 71 Metascore
    • 60 Ronnie Scheib
    Barsky wisely includes just enough dissenting voices and admissions of grievous error by Koch himself to prevent the picture from seeming like a 100% feel-good puff piece.
    • 44 Metascore
    • 60 Ronnie Scheib
    The latest in a line of documentaries decrying the destruction of viable working-class businesses and residential neighborhoods in Brooklyn, Su Friedrich’s film bypasses sadness and indignation for flat-out anger and well-aimed sarcasm.
    • 76 Metascore
    • 60 Ronnie Scheib
    For Semans’ conceit of an obsessively narrow world to really work, he needed to have established an initially more expansive milieu.
    • 49 Metascore
    • 60 Ronnie Scheib
    Ron Frank and Melvut Akkaya’s docu isn’t exactly groundbreaking, but as a brief history of the Catskill resorts, liberally laced with well-edited archival promos, songs, homemovies and extended excerpts from routines by Jewish comics who performed there, it consistently entertains.
    • 57 Metascore
    • 60 Ronnie Scheib
    Holiff Sr.’s extensive audio diaries and taped phone conversations with Cash give authentic voice to the film’s otherwise stodgy re-creations of this true odd couple’s stormy relationship.
    • 63 Metascore
    • 60 Ronnie Scheib
    Koons Garcia has obviously opted for an upbeat approach: Choruses of scientists and farmers sing the praises of organic farming while John Chater’s camera visually devours the fruits, vegetables and livestock produced by healthy dirt.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Ronnie Scheib
    Schwarz lacks the writing chops to adequately embed the character’s predictable learning curve into a richer narrative fabric, but Dunne’s perf is pitch-perfect.
    • 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.
    • 56 Metascore
    • 60 Ronnie Scheib
    The pleasures of well-observed characters and small epiphanies are undeniable, and Alex of Venice, actor Chris Messina’s directing debut, is amply supplied with both, thanks to Mary Elizabeth Winstead’s extraordinary performance: Registering profound shocks with slight ripples rather than big emotions, she quietly commands attention.
    • 75 Metascore
    • 60 Ronnie Scheib
    Unlike more generally philosophical, life-affirming autobiographical docus about dying, “One Cut, One Life” rehashes old problems and tries to resolve multiple unresolved issues already exposed in previous films, proving as exasperating as it is weirdly compelling.
    • 72 Metascore
    • 60 Ronnie Scheib
    As endless processions of friends and colleagues attest to Spinney’s genius, and the filmmakers wallow in never-before-seen behind-the-scenes imagery, they fail to fully capture the actual art of puppeteering, with woefully few substantial excerpts from the show itself.
    • 67 Metascore
    • 60 Ronnie Scheib
    An admirable if downbeat character study, Gabriel still sinks into a psychological quagmire.
    • 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.
    • 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.

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