For 156 reviews, this critic has graded:
  • 34% higher than the average critic
  • 11% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 11 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 The Great Beauty
Lowest review score: 0 Zookeeper
Score distribution:
  1. Positive: 54 out of 156
  2. Negative: 57 out of 156
156 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.
    • 91 Metascore
    • 90 Simon Abrams
    Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.
    • 75 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.
    • 73 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.
    • 75 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 38 Metascore
    • 75 Simon Abrams
    It's an anti-romantic biography about a great artist, one whose central themes are basic, but whose energy and execution is irresistible.
    • 33 Metascore
    • 75 Simon Abrams
    Watching Douglas behave like a narcissistic scumbag is an absolute pleasure, one in which viewers of action-adventure Beyond the Reach can happily indulge.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 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.

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