For 240 reviews, this critic has graded:
  • 41% higher than the average critic
  • 8% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 9.7 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 It's Such a Beautiful Day
Lowest review score: 0 Zookeeper
Score distribution:
  1. Positive: 91 out of 240
  2. Negative: 80 out of 240
240 movie reviews
    • 58 Metascore
    • 100 Simon Abrams
    Everything matters in Cronenberg's Cosmopolis, but not everything is necessarily the same as DeLillo's book. And that makes the film, as a series of discussions about inter-related money-minded contradictions, insanely rich and maddeningly complex. We can't wait to rewatch it.
    • 86 Metascore
    • 100 Simon Abrams
    This 43-year-old filmmaker is a major talent. Though he may not be the second coming of Fellini, his films all have a funny, refreshingly complex perspective, and his latest work is a perfect example of why he is the next big Italian thing.
    • 90 Metascore
    • 100 Simon Abrams
    Warped keyhole-size images stack atop one another in a Frankenstein-ian collage that evokes the films of Terrence Malick, David Lynch, Stan Brakhage, and Bruce Conner. Seeing "the years [slip] out of [Bill's] head" in this 71-minute compendium is nothing short of revelatory.
    • 90 Metascore
    • 90 Simon Abrams
    Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.
    • 76 Metascore
    • 90 Simon Abrams
    The makers of Black Souls, a superior Italian gangster movie, deserve praise for executing with atypical sensitivity a generic times-are-changing/nostalgia-for-an-imaginary-chivalrous-yesteryear scenario.
    • 72 Metascore
    • 90 Simon Abrams
    Haunted by death-obsessed men of action, Un Flic (A Cop) is a fitting final act for noir master Jean-Pierre Melville
    • 83 Metascore
    • 88 Simon Abrams
    No, what's most disquieting about It Follows is the way it presents sex as neither abnormal, nor beneficial.
    • 83 Metascore
    • 88 Simon Abrams
    Cave's soulful performance, shot in real-time and in extreme close-up, is that much more impressive once you realize he's playing a song for Forsyth and Pollard before he's performed it in front of a live audience.
    • 74 Metascore
    • 88 Simon Abrams
    So while Cheatin' does have a narrative spine, it's most entertaining when it's hardest to pin down.
    • 49 Metascore
    • 88 Simon Abrams
    Something like a trippy grindhouse homage whose familiar images are refracted through a prism of blacklight posters, Jodorowsky films, and even Rob Zombie's grungy psychotropic sensibility.
    • 52 Metascore
    • 88 Simon Abrams
    Body feels downright old-fashioned: a thriller with tension that doesn't stem from gore, jump scares, or other cheap shock tactics, but rather a creeping dread that grows with each red herring, and slow-burn plot twist.
    • 56 Metascore
    • 88 Simon Abrams
    People are not good or bad in The Cut — they are subject to violent whims, and rarely given fair opportunities to defend themselves. The Cut can therefore be seen as a historical corrective.
    • 82 Metascore
    • 88 Simon Abrams
    Several of To's recent films concern economic upheaval and its effect on personal relationships, but Office is one of his recent best because it makes something as dire as a financial crisis seem like a natural subject for a modern musical.
    • 76 Metascore
    • 88 Simon Abrams
    An irrepressibly charming B-movie that never over-stays its welcome, and is both conceptually clever and admirably well-executed.
    • 86 Metascore
    • 88 Simon Abrams
    The film's flintiness and initially subdued nastiness set it apart from most other action films about the thin line separating cops from crooks.
    • 75 Metascore
    • 88 Simon Abrams
    Japanese poet and cult filmmaker Shion Sono defines himself as an anti-establishment artist partly out of cynicism and partly thanks to his romantic concept of libertarianism.
    • 57 Metascore
    • 83 Simon Abrams
    The Lords of Salem is a product of Zombie’s better creative impulses, so it’s ok that it also features several of his worse indulgences, too.
    • 81 Metascore
    • 80 Simon Abrams
    Like a great amusement park ride, Shaun the Sheep Movie is consistently enjoyable.
    • 64 Metascore
    • 80 Simon Abrams
    Call Me Lucky is a loving but fair portrait of the artist as a heroic hothead.
    • 70 Metascore
    • 80 Simon Abrams
    You may not leave Sunshine Superman wanting to emulate Carl and Jean, but you will feel like you've vicariously bonded with them.
    • 72 Metascore
    • 80 Simon Abrams
    Doomsdays is winsome because it embraces its narcissistic subjects without asking viewers to forget that they've just befriended a couple of selfish dillholes.
    • 77 Metascore
    • 80 Simon Abrams
    Bitterly funny gambling comedy Mississippi Grind transcends its generic lovable-losers-on-a-bender plot by foregrounding exceptionally well-developed skid-row protagonists and weirdly charming dive-bar ambiance.
    • 75 Metascore
    • 80 Simon Abrams
    Sunada's critical distance makes Kingdom of Dreams and Madness the clear-eyed celebration that Ghibli's artists deserve.
    • 83 Metascore
    • 80 Simon Abrams
    An emotionally generous and expansively detailed romantic fantasy.
    • 70 Metascore
    • 75 Simon Abrams
    Faults is a richly-textured movie that concerns the weird space between thinking you know what you're doing, and actually knowing what you're doing.
    • 51 Metascore
    • 75 Simon Abrams
    Love may not always be enjoyable, but it leaves an abiding mark.
    • 60 Metascore
    • 75 Simon Abrams
    This is a film noir that is, despite some jittery, Tony Scott-esque action sequences, so cool, that you will leave it begging for a sequel.
    • 57 Metascore
    • 75 Simon Abrams
    R100 is, consequently, a comedy that tries to alienate you by suggesting that escapism is futile, all things inevitably devolve, and nothing inherently means anything.
    • 48 Metascore
    • 75 Simon Abrams
    This is a comedy that encourages viewers to be impulsive, and pointedly seek love and acceptance outside of "normal" social institutions, especially when it comes to family and romance.
    • 81 Metascore
    • 75 Simon Abrams
    It’s a series of comedic sketches about people who are too self-involved to empathize with each other. It’s also a plaintively blunt wake-up call, and an effective demand for viewers' vigilant sensitivity.

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