For 311 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 One More Time with Feeling
Lowest review score: 0 Zookeeper
Score distribution:
  1. Negative: 97 out of 311
311 movie reviews
    • 58 Metascore
    • 63 Simon Abrams
    Is it worth seeing? Yes, but only if you enjoy being grossed out.
    • 52 Metascore
    • 63 Simon Abrams
    The film's relentlessly quirky style of comedy is consequently very self-conscious. Every joke in Ping Pong Summer is a variation on a theme: 1985 was the most awkward time to be alive.
    • 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.
    • 53 Metascore
    • 63 Simon Abrams
    Chinese blockbuster Monster Hunt is a sappy, crowd-pleasing, tonally wonky fantasy-adventure/comedy that pits dorky-looking monsters against over-acting cornball comedians/monster-hunters.
    • 58 Metascore
    • 63 Simon Abrams
    A prime example of a horror omnibus film: even the weaker segments have something to recommend them.
    • 62 Metascore
    • 63 Simon Abrams
    Had Nicholson taken advantage of Melendez and Suarez's seemingly easy-going nature, Rubble Kings might have been great. As it is, the film is a one-sided, but satisfying tribute to an alternatively terrifying and beguiling city that we can only revisit in movies.
    • 44 Metascore
    • 63 Simon Abrams
    By preferring to keep viewers in suspense until the film's finale, Pastoll makes it harder to recommend a movie that has many good ideas, but no clue what to do with them.
    • 51 Metascore
    • 63 Simon Abrams
    The Neon Demon only works when Refn finds the right middle ground between obliquely hinting at and explicitly spelling out what his movie's about.
    • 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."
    • 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.
    • 69 Metascore
    • 50 Simon Abrams
    You know you're in trouble with a film when you're so bored by it that you wind up asking why things seem so implausible.
    • 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.
    • 46 Metascore
    • 50 Simon Abrams
    Lacks sufficient inspiration and follow-through to be truly exciting.
    • 64 Metascore
    • 50 Simon Abrams
    Arthouse horror flick The Eyes of My Mother actively alienates viewers by presenting episodes in a woman's life from a post-human, God-like perspective. Sometimes. Usually. Probably?
    • 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.

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