For 125 reviews, this critic has graded:
  • 33% higher than the average critic
  • 12% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 11.9 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 The Great Beauty
Lowest review score: 0 Zookeeper
Score distribution:
  1. Positive: 40 out of 125
  2. Negative: 45 out of 125
125 movie reviews
    • 52 Metascore
    • 38 Simon Abrams
    The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
    • 41 Metascore
    • 38 Simon Abrams
    Khumba is disastrously uninspired. Not even a galaxy of stars, united in their willingness to take a check, can save Khumba from being the boringest plucky outsider of all.
    • 45 Metascore
    • 38 Simon Abrams
    Blood Glacier is too sleepy to do anything with its guano-stirring premise. Yes, there are crazy-go-nutty monsters in the film, but you seldom get to see them as they sadly are not the focus of Blood Glacier.
    • 31 Metascore
    • 38 Simon Abrams
    If nothing else, Teenage Mutant Ninja Turtles reminds us that nostalgia is often used as a mandate for spectacularly lazy filmmaking.
    • 35 Metascore
    • 38 Simon Abrams
    The film makes one damning if unoriginal observation—the "reality" presented on reality TV is manufactured—and then does nothing to expand on it.
    • 36 Metascore
    • 38 Simon Abrams
    By widening the scope of their based-on-a-true story, the makers of Revenge of the Green Dragon make their subjects look like the products of unimaginative cultural assimilation.
    • 66 Metascore
    • 38 Simon Abrams
    Point and Shoot consequently feels like a film made by a storyteller — not a journalist — who doesn't know he can ask follow-up questions.
    • 35 Metascore
    • 30 Simon Abrams
    When the creators of The Last Exorcism Part II swapped pseudo-verité realism for psychological realism, they made it a lot harder to take their franchise seriously.
    • 39 Metascore
    • 30 Simon Abrams
    This sequel is sluggish and rote where its predecessor was aggressively perky and desperate to please...Tai Chi Hero is more Tai Chi Business as Usual.
    • 27 Metascore
    • 30 Simon Abrams
    Ultimately, Devries seems to want to impress viewers with his anger.
    • 29 Metascore
    • 30 Simon Abrams
    Chander Pahar is an unfocused adventure-cum-travelogue.
    • 39 Metascore
    • 30 Simon Abrams
    Stage Fright's lopsided tone wouldn't be so confounding if the horror elements worked or if writer-director Jerome Sable's music, co-composed with Eli Batalion, weren't so forgettable.
    • 49 Metascore
    • 30 Simon Abrams
    Beyond isolated moments of dickish charm — and his climactic four-way fight involving a sword, a crucifix, and two steel pipes — Chapman just comes across like another pseudo-heroic American behaving badly abroad.
    • 54 Metascore
    • 30 Simon Abrams
    Most of the documents that Lapa quotes from are, as presented, unrevealing — even offensive.
    • 67 Metascore
    • 30 Simon Abrams
    The film's rote right-makes-might fantasy wouldn't be so obnoxious if pandering to the lowest common denominator wasn't its default mode.
    • 52 Metascore
    • 30 Simon Abrams
    The three lead actors are limited by their characters' kiddy-pool-shallow behavior.
    • 55 Metascore
    • 30 Simon Abrams
    Plays like a sampler of Dreamworks Animation's worst creative impulses: sugar-rush pacing, pandering meta-gags, and a slick, flavorless animation style.
    • 53 Metascore
    • 25 Simon Abrams
    If you're wondering where the Jim Carrey of "Ace Ventura: Pet Detective" and "Dumb and Dumber" fame went, don't look to Mr. Popper's Penguins for answers.
    • 60 Metascore
    • 25 Simon Abrams
    But all the charm in the world wouldn't make Ra.One's sanctimoniousness seem any more genuine.
    • 42 Metascore
    • 25 Simon Abrams
    This is not the stuff of stirring humanist drama, but rather a bland scenario about boring people that want to mature but have no idea how.
    • 68 Metascore
    • 25 Simon Abrams
    The Conjuring is as toothless as it is because it's two different kinds of boring. The film's plot is explained exhaustively whenever loud noises aren't blaring, and random objects aren't teasingly leaping out at you from the corner of your eye.
    • 33 Metascore
    • 25 Simon Abrams
    These kids have to contrive magical pretexts just to lay hands on each other, and boy, are their excuses rotten.
    • 49 Metascore
    • 25 Simon Abrams
    You could get mad at Seifert for being so bad at being so nakedly manipulative. Or you could just give up all hope, and counter-intuitively root for Monsanto. This is a David-vs.-Goliath movie, but David's aim is so spotty that Goliath has nothing to fear.
    • 28 Metascore
    • 25 Simon Abrams
    In spite of its enjoyable, easy-to-exploit aspects, 47 Ronin is a big budget spectacle hamstrung by its need to be at once flippant and respectful of its honor-driven source material.
    • 56 Metascore
    • 25 Simon Abrams
    Pseudo-sensitive bro-dude rom-com Date and Switch comes out today, and it already feels dated.
    • 67 Metascore
    • 25 Simon Abrams
    Generally speaking, the museum seems like a modest, but vividly-detailed freak show.
    • 44 Metascore
    • 25 Simon Abrams
    Wolf Creek 2 isn't much different than "Wolf Creek," but it is markedly worse.
    • 40 Metascore
    • 25 Simon Abrams
    Little more than an ugly collection of tropes stolen from "The Exorcist" and "Seven."
    • 36 Metascore
    • 20 Simon Abrams
    When Commitment isn't a perfectly forgettable action film, it's either an oil-thin melodrama or a charbroiled treat for meatheads.
    • 21 Metascore
    • 20 Simon Abrams
    Writer/director John Herzfeld (15 Minutes, Two of a Kind) earnestly tries and spectacularly fails to dilute the acrid pretentiousness of Reach Me, a tone-deaf everything-is-connected melodrama, by cutting his characters' pseudo-enlightened philosophizing with goony broad humor.

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