For 273 reviews, this critic has graded:
  • 42% higher than the average critic
  • 8% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 8.7 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 It's Such a Beautiful Day
Lowest review score: 0 Zookeeper
Score distribution:
  1. Negative: 86 out of 273
273 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.
    • 97 Metascore
    • 100 Simon Abrams
    Dragon Inn is a romantic action film, but it still feels modern thanks to Hu's strict focus on action. I don't just mean the film's relentless series of fight scenes. Hu's film is all about movement.
    • 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.
    • 72 Metascore
    • 90 Simon Abrams
    Xu (The Sword Identity) may not be a household name, but The Final Master proves that he's the next big thing in martial-arts cinema.
    • 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.
    • 90 Metascore
    • 90 Simon Abrams
    Yang's anti-nostalgic slice of 1960s Taipei life suggests a Tolstoy-size expansion of the ballads from Bruce Springsteen's Darkness on the Edge of Town.
    • 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
    • 69 Metascore
    • 88 Simon Abrams
    The Mermaid will make you laugh. It doesn't matter if you don't like subtitles. It doesn't matter if you've never heard of the director. It doesn't matter if you've never seen a Chinese movie in your life. It will make you laugh. Guaranteed.
    • 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
    The premise of My Big Night is fine, but the film's execution is what really sells it.
    • 83 Metascore
    • 88 Simon Abrams
    The Witch, a feminist narrative that focuses on an American colonial family as they undergo what seems to be an otherworldly curse, is more like a sermon.
    • 87 Metascore
    • 88 Simon Abrams
    My Golden Days exists simultaneously within and outside of its characters' headspace, a testament to Deplechin's powers of imaginative sensitivity.
    • 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.
    • 49 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.
    • 73 Metascore
    • 88 Simon Abrams
    Don't let the tacky American-friendly title of Kill Zone 2 fool you: the martial arts genre's next big thing is here, and it is way meaner, more technically accomplished, and more exciting than its disappointing marketing strategy implies.
    • 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.
    • 83 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.
    • 71 Metascore
    • 88 Simon Abrams
    Best of all: you don't have to wait until a concluding set piece for To to prove his prowess as a storyteller.
    • 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.

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