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 Cosmopolis
Lowest review score: 0 Zookeeper
Score distribution:
  1. Positive: 40 out of 125
  2. Negative: 45 out of 125
125 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 80 Simon Abrams
    An emotionally generous and expansively detailed romantic fantasy.
    • 81 Metascore
    • 80 Simon Abrams
    Sunada's critical distance makes Kingdom of Dreams and Madness the clear-eyed celebration that Ghibli's artists deserve.
    • 75 Metascore
    • 75 Simon Abrams
    Hark's new film is a consummately bizarre crowd-pleaser that throws everything at the viewer from makeshift plastic surgery by acupuncture to death by spontaneous combustion.
    • 66 Metascore
    • 75 Simon Abrams
    Let the Bullets Fly is an intentionally overheated and very funny comedy about how the best-laid plans tend to fall apart in spectacular fashion.
    • 62 Metascore
    • 75 Simon Abrams
    Rarely goes so far over the top that it loses you completely. It is, to put it mildly, not subtle. But if you watch it expecting to see a dumb idea executed with appreciable skill, you'll have a blast.
    • 62 Metascore
    • 75 Simon Abrams
    More about ambience than narrative progress, so if you don't like these kinds of characters (ie: hippy-dippy aesthetes), the film will drive you up a wall.
    • 53 Metascore
    • 75 Simon Abrams
    It's uneven, and more than a little mystifying, but Rigor Mortis is also a bittersweet coda to a deliriously silly series of films.
    • 73 Metascore
    • 75 Simon Abrams
    Witching and Bitching is accordingly overlong, and conceptually thin. But like most of de la Iglesia's films, it's also freakishly energetic, and often hysterical.
    • 71 Metascore
    • 75 Simon Abrams
    As It Is in Heaven ultimately doesn't go anywhere unexpected, but it does foster a potent, unexpected bond between its subjects and its audience.
    • 49 Metascore
    • 75 Simon Abrams
    A sleepy, but pleasantly surprising action-adventure, Ragnarok is the rare Spielberg clone that feels like it was made by people that not only know what they like about Spielberg's films, but are capable of evoking them.
    • 53 Metascore
    • 75 Simon Abrams
    It's a confrontational fever dream film told from constantly shifting perspectives, and a chilly, dizzying trip into a genre defined by violently conflicting emotions.
    • 47 Metascore
    • 75 Simon Abrams
    The movie is so consistently moody, and so focused on driving you towards a gut-punch finale, that even valid complaints seem negligible in retrospect.
    • 70 Metascore
    • 75 Simon Abrams
    It is also the post-punk writer/director Sion Sono's most accessible film: a middle-aged filmmaker's tribute to the kind of epic-sized gangster-romance he used to fantasize about making.
    • 49 Metascore
    • 75 Simon Abrams
    As gory as it is corrosively cynical, a supernatural mood piece that's equally influenced by the arthouse horror movies of David Lynch and Roman Polanski, and the grindhouse-ready Satanic Panic films of the '70s, like "To the Devil a Daughter," and "The Devil Rides out."
    • 70 Metascore
    • 70 Simon Abrams
    A worthy documentary tribute to the drag queen icon.
    • 42 Metascore
    • 70 Simon Abrams
    Boss is that rare Bollywood action film whose stars are worthy of the pedestal they're put on.
    • 50 Metascore
    • 70 Simon Abrams
    Come for Ku's joyful choreography, stay for Yen's most memorable post-comeback performance.
    • 69 Metascore
    • 70 Simon Abrams
    Instead of over-glorifying their shared past, Ericsson pays loving tribute to what remains of his subjects' relationship.
    • 55 Metascore
    • 70 Simon Abrams
    Piers McGrail's nuanced, moody cinematography brings out the best in writer-director Ivan Kavanagh's over-mannered but effectively creepy ghost story.
    • 38 Metascore
    • 70 Simon Abrams
    First-time director Stiles White's effective use of long takes and director of photography David Emmerichs's wide-angle digital cinematography make an otherwise generic teen ghost story unexpectedly atmospheric.
    • 76 Metascore
    • 63 Simon Abrams
    Fassbinder's sumptuous 205-minute epic is intriguing as a prototype for later and more palatably cynical sci-fi standards like "Blade Runner" or even "Total Recall."
    • 40 Metascore
    • 63 Simon Abrams
    Ultimately, Beneath is better than your average Roger Corman clone because it is more serious than trivial.

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