For 181 reviews, this critic has graded:
  • 37% higher than the average critic
  • 11% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 10.5 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 Doctor Bello
Score distribution:
  1. Positive: 65 out of 181
  2. Negative: 65 out of 181
181 movie reviews
    • 90 Metascore
    • 90 Simon Abrams
    Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.
    • 90 Metascore
    • 100 Simon Abrams
    Warped keyhole-size images stack atop one another in a Frankenstein-ian collage that evokes the films of Terrence Malick, David Lynch, Stan Brakhage, and Bruce Conner. Seeing "the years [slip] out of [Bill's] head" in this 71-minute compendium is nothing short of revelatory.
    • 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.
    • 85 Metascore
    • 63 Simon Abrams
    Visually splendid, but generically flat-footed, Song of the Sea is an animated fantasy that comes close to greatness, but is rarely as clever as it is comforting.
    • 83 Metascore
    • 80 Simon Abrams
    An emotionally generous and expansively detailed romantic fantasy.
    • 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.
    • 81 Metascore
    • 75 Simon Abrams
    It’s a series of comedic sketches about people who are too self-involved to empathize with each other. It’s also a plaintively blunt wake-up call, and an effective demand for viewers' vigilant sensitivity.
    • 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
    • 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.
    • 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.
    • 75 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
    • 88 Simon Abrams
    An irrepressibly charming B-movie that never over-stays its welcome, and is both conceptually clever and admirably well-executed.
    • 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.
    • 74 Metascore
    • 88 Simon Abrams
    So while Cheatin' does have a narrative spine, it's most entertaining when it's hardest to pin down.
    • 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
    • 72 Metascore
    • 80 Simon Abrams
    Doomsdays is winsome because it embraces its narcissistic subjects without asking viewers to forget that they've just befriended a couple of selfish dillholes.
    • 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
    • 80 Simon Abrams
    You may not leave Sunshine Superman wanting to emulate Carl and Jean, but you will feel like you've vicariously bonded with them.
    • 70 Metascore
    • 70 Simon Abrams
    A worthy documentary tribute to the drag queen icon.
    • 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.
    • 69 Metascore
    • 63 Simon Abrams
    The process of discovery that Evan goes through to get closer to Louise is what makes Spring special. But what Evan discovers about Louise feels like an after-thought that frustratingly overwhelms the film once it gets to where it's going.
    • 69 Metascore
    • 70 Simon Abrams
    Instead of over-glorifying their shared past, Ericsson pays loving tribute to what remains of his subjects' relationship.

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