For 110 reviews, this critic has graded:
  • 31% higher than the average critic
  • 13% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 12.3 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 100 Cosmopolis
Lowest review score: 0 Zookeeper
Score distribution:
  1. Positive: 35 out of 110
  2. Negative: 41 out of 110
110 movie reviews
    • 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.
    • 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
    • 80 Simon Abrams
    An emotionally generous and expansively detailed romantic fantasy.
    • 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.
    • 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."
    • 76 Metascore
    • 50 Simon Abrams
    Mud
    Mud is as unmoving as it is because it doesn’t aspire to be anything other than a competent anti-fairy tale in which the paint-by-number morals are enforced by equally obvious main protagonists.
    • 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.
    • 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.
    • 74 Metascore
    • 63 Simon Abrams
    It's as visually indistinct and paint-by-numbers-plot-driven as most Marvel Comics-based projects, especially the gaggle of recent Avengers-related films.
    • 73 Metascore
    • 40 Simon Abrams
    Mistaken for Strangers doesn't reveal anything about Tom but his own insecurity.
    • 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.
    • 73 Metascore
    • 50 Simon Abrams
    The film's retro, John Carpenter-esque synthesizer score, composed by Jeff Grace, further pushes viewers away.
    • 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?
    • 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
    • 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.
    • 70 Metascore
    • 70 Simon Abrams
    A worthy documentary tribute to the drag queen icon.
    • 69 Metascore
    • 70 Simon Abrams
    Instead of over-glorifying their shared past, Ericsson pays loving tribute to what remains of his subjects' relationship.
    • 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.
    • 69 Metascore
    • 50 Simon Abrams
    Watching Campbell over her shoulder or in a mirror is frustrating because it consistently limits our view of her character. Porterfield's people can't give anything away beyond their immediate aggression, frustration, and sadness. But it's hard to appreciate an intentionally blurry portrait of a family that's so impressionistic that all you can see of its already-withdrawn characters are their shadows.
    • 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.
    • 67 Metascore
    • 25 Simon Abrams
    Generally speaking, the museum seems like a modest, but vividly-detailed freak show.
    • 66 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.
    • 66 Metascore
    • 50 Simon Abrams
    In spite of its conspicuously crude sense of humor, Delhi Belly is much more family-minded and innocent than it would like its young target audience to believe.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Simon Abrams
    By inexpertly filtering her art through her travails, Wood and Altunaga reimagine Parra's suicide as an explicable conclusion to her turbulent life.
    • 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.
    • 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.
    • 60 Metascore
    • 25 Simon Abrams
    But all the charm in the world wouldn't make Ra.One's sanctimoniousness seem any more genuine.
    • 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.