For 277 reviews, this critic has graded:
  • 42% higher than the average critic
  • 7% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Dragon Inn (1967)
Lowest review score: 0 But Always
Score distribution:
  1. Negative: 88 out of 277
277 movie reviews
    • 59 Metascore
    • 60 Simon Abrams
    This Changes Everything isn't a game-changer, but it is jarring enough to be scary.
    • tbd Metascore
    • 60 Simon Abrams
    As a filmmaker, Drasnin should not have relied so singularly on Rittenberg's testimony.
    • 31 Metascore
    • 60 Simon Abrams
    The Curse of Downers Grove coasts on pulpy fumes thanks to its creators' effective emphasis on circumstantial peril over character-driven drama.
    • 39 Metascore
    • 60 Simon Abrams
    Nothing in Moonwalkers matches Perlman's performance, but he frequently elevates desperate-to-please gags to stoner-comedy greatness.
    • 64 Metascore
    • 60 Simon Abrams
    Assassination is a blast whenever the director doesn't take his melodramatic plot too seriously.
    • tbd Metascore
    • 60 Simon Abrams
    Infini doesn't go anywhere that superior science fiction films haven't already, but for a while, it's exciting enough to feel brand-new.
    • 58 Metascore
    • 60 Simon Abrams
    While it doesn't cohere into anything more substantial than a collection of self-loathing anxieties, Japanese teledrama Penance is effectively unnerving on a scene-for-scene basis thanks to writer/director Kiyoshi Kurosawa's preference for ambience over character-driven drama.
    • tbd Metascore
    • 60 Simon Abrams
    Redeemer may not be as good as its star, but it does give Zaror enough room to shine.
    • 69 Metascore
    • 60 Simon Abrams
    [Shirai] indulges his subjects' lack of introspection and focuses on the ephemeral beauty of the brewery's centuries-old sake-making method.
    • 59 Metascore
    • 60 Simon Abrams
    Despite its title, Drew: The Man Behind the Poster is not a documentary about movie poster artist Drew Struzan. Instead, Struzan's poster art is the film's real subject.
    • 69 Metascore
    • 58 Simon Abrams
    Post Tenebras Lux is certainly unique, but Reygadas is often intensely more interested in provoking his audience than actually fleshing out his heady ideas.
    • 53 Metascore
    • 50 Simon Abrams
    How badly do you want to see rabid computer-generated zombie-monkeys die violently? Because there's not much else worth recommending in [Rec] 4: Apocalypse.
    • 72 Metascore
    • 50 Simon Abrams
    James Murphy never says that his music will sound different after LCD Soundsystem disbands, so why fearfully anticipate a change that we don't even know is coming?
    • 47 Metascore
    • 50 Simon Abrams
    Never feels as momentous or as angsty as a good story about moody teenagers should, and that's mostly because the film lacks a menacing parental adversary.
    • 58 Metascore
    • 50 Simon Abrams
    Informative but tedious talking-head doc Our Man in Tehran is for anyone who watched Argo and then wished to hear a ditzy, history-obsessed uncle ramble about the real-life political stakes of the 1979 Iranian hostage crisis.
    • 38 Metascore
    • 50 Simon Abrams
    Wiig really shines in the film, proving that her finely honed comic timing can make a character work even when the film ultimately doesn't.
    • 65 Metascore
    • 50 Simon Abrams
    The brutality of Tyrannosaur isn't so over the top as to make director Paddy Considine's sympathy for his flawed characters look like a sham. But it does frequently bring his film's seesawing exploration of blue-collar existence to the brink of collapse.
    • 61 Metascore
    • 50 Simon Abrams
    Paley's segment proves that The Prophet is more of a missed opportunity than an ambitious folly.
    • 59 Metascore
    • 50 Simon Abrams
    It's for-horror-nuts-only, but if you can see it with a rowdy crowd, Dead Snow 2 will appreciate exponentially.
    • 32 Metascore
    • 50 Simon Abrams
    Sinister 2 may be ambitious, but its best ideas are, as they're expressed, dumb, unmoving, and repetitive.
    • 48 Metascore
    • 50 Simon Abrams
    Kampai! feels like a manic ensemble drama that should have been a tight three-man show.
    • 22 Metascore
    • 50 Simon Abrams
    It's refreshing to see Shark Night 3D director David R. Ellis try to pull off a semi-sincere second-generation "Jaws" rip-off, even if he doesn't quite succeed.
    • 70 Metascore
    • 50 Simon Abrams
    You can fully enjoy Belladonna of Sadness if you either overlook or participate in the objectification of a gorgeous victim.
    • 49 Metascore
    • 50 Simon Abrams
    [Thérèse] is not the nuanced period drama it should be but is rather more like a banal, pseudo-thoughtful and monotonous episode of Masterpiece Theater.
    • 37 Metascore
    • 50 Simon Abrams
    Wolves is consequently too violent to be a "Twilight" knockoff, and too cuddly to be an effectively freaky tale of a boy who, to paraphrase "Werewolf Bar Mitzvah," becomes a man while also becoming a wolf.
    • 55 Metascore
    • 50 Simon Abrams
    Tusk is bearable thanks in no small part to its game cast, particularly character actor Michael Parks's Vincent Price-esque baddy.
    • 59 Metascore
    • 50 Simon Abrams
    The Dead Lands doesn't add up to much, but it is always on the verge of becoming more than just a bed time story for guys that wish "Braveheart" had a biceps-kissing baby with "Ong Bak."
    • 51 Metascore
    • 50 Simon Abrams
    The film's biggest problem is a matter of tone and characterization: the characters constantly talk about how mean they can be, but their actions suggest otherwise.
    • 50 Metascore
    • 50 Simon Abrams
    Not bad enough to dissuade prospective viewers' from their curiosity. In fact, the whole feather-light affair is practically redeemed by a single entry: writer/director Anthony Scott Burns' superbly spooky Father's Day segment.
    • 42 Metascore
    • 50 Simon Abrams
    Flawed but genuinely creepy ghost story The Woman in Black 2: Angel of Death is disappointing, but only because it comes close to greatness.

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