For 29 reviews, this critic has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Sam Weisberg's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 80 Above and Beyond
Lowest review score: 20 Awakened
Score distribution:
  1. Positive: 11 out of 29
  2. Negative: 7 out of 29
29 movie reviews
    • 70 Metascore
    • 80 Sam Weisberg
    Nothing wrenching happens, just unforgettable moments of piercing isolation and sadness.
    • tbd Metascore
    • 80 Sam Weisberg
    Shirinian has made a swift, moody film, with impeccable art design — Abner's diorama of the car wreck is a kooky marvel — a scarily convincing feel for recurring panic, and a thunderous, heart-rending performance at its center.
    • 78 Metascore
    • 80 Sam Weisberg
    Theo Love's mesmerizing documentary Little Hope Was Arson is as evenhanded as it is unsettling.
    • 58 Metascore
    • 80 Sam Weisberg
    The tension never lets up.
    • 69 Metascore
    • 80 Sam Weisberg
    It will only be criticized — rightfully — for its skirting over the resulting plight of Palestinian refugees, but Grossman is surely capable of making an equally absorbing, entertaining film on that subject.
    • tbd Metascore
    • 70 Sam Weisberg
    [Ramsis] achieves many poignant moments, especially when his subjects express that they have never felt at home anywhere outside Egypt.
    • 22 Metascore
    • 70 Sam Weisberg
    What's fresh is Weinstock's interweaving of flashbacks, slightly altered versions of flashbacks, and flashbacks within flashbacks, so that viewers must work as hard as Lee to determine past from present.
    • 59 Metascore
    • 70 Sam Weisberg
    Equally seductive as it is inert, Terry Miles' Cinemanovels manages to cast an alluring spell, despite not amounting to much. It sticks in the memory, mostly due to the playful lead performance by Lauren Lee Smith.
    • 36 Metascore
    • 70 Sam Weisberg
    Sharon Greytak's Archaeology of a Woman is a decidedly well-made, unnerving film.
    • 66 Metascore
    • 70 Sam Weisberg
    Mortensen is a pro at the slow burn, and he adds genuinely frightening layers of impulsiveness to this tempest-in-a-teapot scenario. The freshest twist is that each man has a notable advantage over the other.
    • 61 Metascore
    • 70 Sam Weisberg
    Scott Cohen's Red Knot exhibits such spot-on, heartbreaking honesty about behaviors that tear many couples apart — passive-aggressiveness, career obsession, seeking validation to soothe one's inadequacies — that it's easy to forgive Cohen his metaphorical excesses.
    • 42 Metascore
    • 60 Sam Weisberg
    Under the Electric Sky manages to be amusing even while it’s annoying you.
    • tbd Metascore
    • 60 Sam Weisberg
    While not as kinky, dark, or schizoid as debuting director/screenwriter Michael Medeiros intends, Tiger Lily Road succeeds on its own small, claustrophobic level.
    • 44 Metascore
    • 50 Sam Weisberg
    Coldwater is almost boastfully grim.
    • 52 Metascore
    • 50 Sam Weisberg
    The result, despite a few stellar moments, is a not-quite-tragic-enough meditation on mourning and self-healing, crossed with a not-quite-gritty-enough portrait of indie rockers trying to break big.
    • tbd Metascore
    • 50 Sam Weisberg
    In the end, Relationship Status is wan when it tries to be scandalous.
    • 50 Metascore
    • 50 Sam Weisberg
    It's an unsolved mystery in Hollywood why so many based-on-true-life polemical films end up so unremarkable.
    • 58 Metascore
    • 50 Sam Weisberg
    Most of this frantic moviemaking is more disorienting than riveting.
    • 50 Metascore
    • 50 Sam Weisberg
    That Bradley King's debut Time Lapse half-succeeds is a small miracle.
    • 34 Metascore
    • 40 Sam Weisberg
    Even at its well-meaning best, Refuge is listless.
    • 25 Metascore
    • 40 Sam Weisberg
    The Man on Her Mind has a terminal case of the cutes.
    • 54 Metascore
    • 40 Sam Weisberg
    The performances often enliven the stale material... But the script's naïveté is galling.
    • 44 Metascore
    • 30 Sam Weisberg
    This film is numbingly dull.
    • 50 Metascore
    • 30 Sam Weisberg
    As it stands, Child of God is brazenly, outstandingly bad, as vague, pretentious, and pointless as its sorry title. But it's certainly memorable, full of inadvertent howlers and destined to create a whole new subgenre of burlesque, audience-torturing cinema.
    • 53 Metascore
    • 30 Sam Weisberg
    Without characters whose fates we care about, nor fully comprehend, even the most visceral shocks are just that: impressive moments with no lingering terror.
    • 28 Metascore
    • 30 Sam Weisberg
    [A] dour, dreary drama.
    • 31 Metascore
    • 30 Sam Weisberg
    This is, of course, a movie about affliction, and it ultimately succumbs to the bland, sentimental uplift we've come to expect from such outings.
    • 3 Metascore
    • 20 Sam Weisberg
    This needlessly incoherent thriller treats its convoluted nonsense with grave seriousness. It's mawkish, maudlin, and tongue-tied — countless scenes end with characters excusing themselves to go to bed, and you may want to join them.
    • tbd Metascore
    • 20 Sam Weisberg
    By the Gun is a gangster film wholly devoid of suspense, atmosphere, or grit.

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