For 160 reviews, this critic has graded:
  • 35% higher than the average critic
  • 11% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 10.8 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: 56 out of 160
  2. Negative: 58 out of 160
160 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.
    • 74 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.
    • 48 Metascore
    • 75 Simon Abrams
    This is a comedy that encourages viewers to be impulsive, and pointedly seek love and acceptance outside of "normal" social institutions, especially when it comes to family and romance.
    • 61 Metascore
    • 75 Simon Abrams
    The film will only work for you if you expect it not to make sense, and enjoy jokes that go on and on and then suddenly (and repeatedly) jack-knife off a cliff or two.
    • 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.

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