For 523 reviews, this critic has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 8.6 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
Average review score: 68
Highest review score: 100 The Wind Rises
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 51 out of 523
523 movie reviews
    • 53 Metascore
    • 42 Steve Persall
    Sinister is basically a collection of bogus snuff films linked by standard haunted house tricks - everything creaking and slamming, with the power conveniently shut off.
    • 53 Metascore
    • 83 Steve Persall
    Frankel's movie is as refreshing as a walk in the woods and surprising as a chance encounter with the best that nature can offer.
    • 53 Metascore
    • 67 Steve Persall
    The sermons are subtle, raising the film's chances of crossing over to secular audiences. Soul Surfer is so clean that it squeaks, but sometimes that's a nice change of pace.
    • 53 Metascore
    • 42 Steve Persall
    A distinct lack of merriment marks each frame of this film, with Scott determined to erase all fond memories of past Robin Hoods.
    • 53 Metascore
    • 100 Steve Persall
    Hands down and body parts floating, the most irresistibly sick movie in years is Piranha 3D, which should be retitled Piranha 3D, Double-D and C for all the topless cuties director Alexandre Aja feeds the fish and audience.
    • 53 Metascore
    • 83 Steve Persall
    There is still Spider-Man's personal turmoil, crises of romance and loyalty, that Webb occasionally holds a few beats too long. Yet the performances ring true, with arresting chemistry where it counts.
    • 53 Metascore
    • 75 Steve Persall
    Hysteria is a one-joke movie, but when a joke is told this well, it doesn't matter.
    • 53 Metascore
    • 67 Steve Persall
    The Voyage of the Dawn Treader ends on a perfectly appropriate note, recapturing a childish sense of wonder and an earnest approach to Lewis' religious allegory.
    • 53 Metascore
    • 75 Steve Persall
    Anyone of any age can get a kick out of watching penguins slide down the spiraled interior of the Guggenheim Museum, or seeing how one of these flightless birds manages to buck nature.
    • 53 Metascore
    • 42 Steve Persall
    If not for a few choice performance moments and a couple of peppy montages, Wanderlust would be cinematic compost, recycled and thoroughly smelly.
    • 53 Metascore
    • 16 Steve Persall
    Niccol fashioned an uninspired and downright dull sci-fi gimmick and doesn't even explain how it happened.
    • 52 Metascore
    • 58 Steve Persall
    White House Down is nearly enough fun to be a bad movie that's a good time. But it always finds some way of being a drag, belching exposition and weak humor when action's all we need, then carrying the action to exhausting lengths.
    • 52 Metascore
    • 42 Steve Persall
    Paul Haggis is positive that withholding information while John makes "A Beautiful Mind" flow charts and deals with bad dudes will keep it interesting. Haggis is wrong.
    • 52 Metascore
    • 75 Steve Persall
    A tidy terror flick, and refreshing with its intention to make viewers gasp rather than gag.
    • 52 Metascore
    • 83 Steve Persall
    It's about time that another Scream flick came along to gouge the new cliches out of their sockets. Scream 4 does it in grandly Guignol style.
    • 52 Metascore
    • 75 Steve Persall
    Reese Witherspoon can do a lot of things as an actor but playing a damaged-goods Depression era dame isn't one of them.
    • 52 Metascore
    • 58 Steve Persall
    Mostly it's hamstrung by an abundance of reverence and dialogue sounding like an art studies syllabus when it isn't rehashing war movie tropes.
    • 52 Metascore
    • 67 Steve Persall
    Movies don't come any brawnier than Safe House, and all that chaotic mayhem eventually beats the plot to a pulp.
    • 52 Metascore
    • 50 Steve Persall
    It's all bathetic enough for Labor Day to be subtitled The Prisons of Madison County.
    • 52 Metascore
    • 83 Steve Persall
    As viscerally exciting as Padilha's RoboCop can be, the movie is elevated by serious considerations of the ethics of using robots as guardians (shades of drones), commercialism, playing God with science, and what being human is about.
    • 52 Metascore
    • 67 Steve Persall
    Even as Touching Home finds those moments, it's easier to appreciate the stars' dedication to a grass roots project than the project itself.
    • 52 Metascore
    • 75 Steve Persall
    Beautiful Creatures gives supernatural teenage romance a good name, or at least a better one than the entire "Twilight Saga" offered.
    • 51 Metascore
    • 67 Steve Persall
    It's a nice pairing of singular personalities deserving better material, or a shorter leash on the improv.
    • 51 Metascore
    • 83 Steve Persall
    Even when The Net goes off-line, Bullock's captivating presence is a screen saver. [28 July 1995, p.6]
    • 51 Metascore
    • 16 Steve Persall
    Most annoying is John Carter's scarcity of action. This much buck should buy more bang.
    • 51 Metascore
    • 25 Steve Persall
    Jack the Giant Slayer is merely cable TV fodder waiting to happen and not worth a hill of beans, magic or otherwise.
    • 51 Metascore
    • 75 Steve Persall
    Romantic charm and racy humor in a neatly arranged package anyone can appreciate.
    • 51 Metascore
    • 83 Steve Persall
    Snitch is grittily streetwise, and until its last 20 minutes fairly credible compared to other movies "inspired by" true stories.
    • 51 Metascore
    • 67 Steve Persall
    The movie is airy, predictable and ultimately inconsequential. Yet, there are moments in She's All That when the filmmakers create something close to artfulness, a rare trait in a teen-dream movie. It's a minor, reassuring cure for those Varsity Blues. [29 Jan 1999]
    • 51 Metascore
    • 50 Steve Persall
    Closed Circuit is a shaggy paranoid thriller in which conversations aren't the shorthand of people who know each other but wordy exposition for those strangers in theater seats.