Steve Persall

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For 944 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 A Separation
Lowest review score: 0 The Watch
Score distribution:
  1. Negative: 86 out of 944
944 movie reviews
    • 64 Metascore
    • 67 Steve Persall
    Director Baltasar Kormakur (2 Guns) essentially made a faux documentary with big stars and better lighting.
    • 64 Metascore
    • 83 Steve Persall
    This summer's funniest movie.
    • 64 Metascore
    • 58 Steve Persall
    Buying a ticket to see It Could Happen to You is like purchasing a Lotto ticket with three matching numbers; you get back a little more than you paid for it, but the thrill is quickly replaced by nagging thoughts of what might have been.
    • Tampa Bay Times
    • 64 Metascore
    • 42 Steve Persall
    Vittorio Storaro's cinematography is superb, casting gauzy glows and sensual silhouettes against impressively designed sets. Allen drops a few philo-cynical lines worthy of his reputation but not nearly enough.
    • 64 Metascore
    • 25 Steve Persall
    Carnahan didn't make a movie unfit for mankind but it certainly isn't worth mankind's money.
    • 63 Metascore
    • 75 Steve Persall
    It's the nicest Mother's Day gift available at the movies this weekend.
    • 63 Metascore
    • 83 Steve Persall
    Roger Michell's revival of My Cousin Rachel is a graceful note amid summer's movie din, adapting Daphne du Maurier's black widow mystery with class bordering on defiance.
    • 63 Metascore
    • 67 Steve Persall
    The next step in Matthew McConaughey's inevitable march to network television is The Lincoln Lawyer, a pilot disguised as a feature-length movie, with an entire season's arc crammed into two hours.
    • 63 Metascore
    • 75 Steve Persall
    David Hare's screenplay based on Lipstadt's book is intrinsically stacked toward her eventual triumph, with each familiar step worth watching.
    • 63 Metascore
    • 67 Steve Persall
    It's all more extravagant yet less charming then before.
    • 63 Metascore
    • 50 Steve Persall
    Atomic Blonde is a rare case of a woman toplining an action flick, but it hardly feels revolutionary.
    • 63 Metascore
    • 75 Steve Persall
    It's an audacious mashup that Baz Luhrmann would approve, lending freshness to Tolstoy's too-often-told tale.
    • 63 Metascore
    • 83 Steve Persall
    It works because Timberlake and Kunis are totally in control of their damaged characters without winking at the audience, as if to say: "Aren't we cute, behaving so naughty?" Their sex is amusingly awkward, and their repressed longings more so. It's the kind of chemistry that comes along once in a generation.
    • 63 Metascore
    • 83 Steve Persall
    Tampa Bay wears fringe nihilism well, including wet-fever dreams of trigger-happy angels floating on cannabis clouds and dusted with cocaine like beignets waiting to be licked clean. Or drug gangstas sporting cornrows and gold-grill teeth, living large and thinking three-ways. Film as a fetish tool, that's what Spring Breakers is all about, y'all.
    • 63 Metascore
    • 100 Steve Persall
    Rio
    Bursting with color and rippling with samba rhythms, Rio makes you wonder why animated films haven't spent more time in Brazil.
    • 63 Metascore
    • 58 Steve Persall
    Alexander Payne has a great idea with Downsizing and doesn’t quite know what to do with it.
    • 63 Metascore
    • 91 Steve Persall
    World War Z presents an abundance of relatively plausible action, smart solutions and one useful piece of information: When the zombiepocalypse comes, the undead are flying coach.
    • 63 Metascore
    • 58 Steve Persall
    Field's eager-to-please performance makes [Showalter's] shovelfuls of sugar go down easier.
    • 63 Metascore
    • 67 Steve Persall
    Keanu is raucous enough to satisfy the Hangover crowd, yet when compared to Key and Peele's trenchant tomfoolery on television, it needs focused anger, funnier tension. Or perhaps simply more kitty cat.
    • 63 Metascore
    • 83 Steve Persall
    Megamind's Kryptonite is a common weakness for any comedy so fast out of the blocks: It simply runs out of surprises.
    • 62 Metascore
    • 67 Steve Persall
    Iron Man 3 is missing that old Tony Stark spark. Not from Robert Downey Jr., who is still the best thing about this overblown show.
    • 62 Metascore
    • 100 Steve Persall
    42
    One of the all-time great sports movies — primarily because it's one of the all-time great sports stories.
    • 62 Metascore
    • 75 Steve Persall
    Big Eyes is an entertaining take on a pop culture footnote, short on the bizarre flourishes Burton typically employs.
    • 62 Metascore
    • 75 Steve Persall
    Split is a tidy example of lurid understatement, its themes ripe for nastier treatment than Shyamalan offers, grindhouse stuff served with vegan restraint.
    • 62 Metascore
    • 58 Steve Persall
    Kong: Skull Island strips the beauty from a legendary beast, reducing a classic movie star to soulless monster mechanics. Kong smashes, but not much else. Whoever dies doesn't matter. Whoever lives has a sequel promised by the end credits.
    • 62 Metascore
    • 42 Steve Persall
    Veronica Mars, the movie, plays like a two-parter without commercials. Its uninspired framing and static action suits a TV screen better than a multiplex's.
    • 62 Metascore
    • 67 Steve Persall
    There's enough here for a nice little movie, anyway, even if Al Pacino didn't think so. He was hired to voice the movie's arch villain but dropped out due to "creative differences."
    • 62 Metascore
    • 83 Steve Persall
    Ted
    It's often convulsively funny.
    • 62 Metascore
    • 42 Steve Persall
    Despite its haunted house setting, the movie's most visible cobwebs are found in Jane Goldman's screenplay, adapted from Susan Hill's novel.
    • 62 Metascore
    • 50 Steve Persall
    Apatow hates leaving anything on the cutting room floor. You could excise entire chunks of The Five-Year Engagement - the donut experiments at college, a couple of wise soliloquies, most of the stuff involving Violet's sister (Alison Brie) - and never miss a beat.

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