Steve Persall

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For 641 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 7.8 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The Lunchbox
Lowest review score: 0 The Change-Up
Score distribution:
  1. Negative: 62 out of 641
641 movie reviews
    • 74 Metascore
    • 75 Steve Persall
    White-knuckle fun.
    • 73 Metascore
    • 83 Steve Persall
    Corbijn keeps the intrigue uncluttered, guided by Andrew Bovell's economical adapted screenplay.
    • 73 Metascore
    • 83 Steve Persall
    Arbitrage is a classy soap opera with a charismatic louse at its center, without "Margin Call" didactics, or the misplaced empathy of "The Company Men."
    • 73 Metascore
    • 91 Steve Persall
    Cumberbatch radiates such intelligence — with Sherlock and this, egghead Benedict is his speciality — that gaps are easily excused. From sets and costumes to Alexandre Desplat's musical score, The Imitation Game is everything classy that Hollywood wishes it could be.
    • 73 Metascore
    • 83 Steve Persall
    Remember that ultra-violent scene in "Old Boy" when the dude plowed through a subway platform of bad guys and was the only one left standing? Multiply it by four or five and that's The Raid: Redemption.
    • 73 Metascore
    • 75 Steve Persall
    The movie's memorable moments involve a silently expressive dodo bird and "man-panzee," stealing the show from human caricatures acting silly.
    • 73 Metascore
    • 58 Steve Persall
    The strategy deserves to self-destruct in five seconds.
    • 72 Metascore
    • 91 Steve Persall
    Unlike many post 9/11 war movies, American Sniper goes easier on the gung ho, with a third act leavened by Chris' depressed denial, his "hurt locker" of stored regret. Eastwood is less concerned with action heroism than the consequences of deadly action, how it chips away at the living.
    • 72 Metascore
    • 83 Steve Persall
    Even when Magic Mike is skimpier than a g-string it soars on daring, as if Soderbergh asked himself who could possibly make a good movie from such offbeat material, answered "I can," and did.
    • 72 Metascore
    • 100 Steve Persall
    The Cabin in the Woods isn't merely another "Scream" exercise in self-awareness, or a "Scary Movie" spoof of the same. It's a wickedly smart hybrid mutation, biting the severed hand feeding the genre.
    • 72 Metascore
    • 75 Steve Persall
    The movie's erratic pleasures are like its ghosts; now you see them, now you don't.
    • 72 Metascore
    • 100 Steve Persall
    Yes, this one is even better: funnier, brawnier and ingeniously constructed for appeal to both devoted fans and reluctant converts.
    • 72 Metascore
    • 83 Steve Persall
    Whatever definition of "dope" you prefer, it applies to Rick Famuyiwa's movie of the same name.
    • 72 Metascore
    • 100 Steve Persall
    It's irreverent about cancer and that could be inspirational. And it's surely one of the most enjoyable movies I've seen all year.
    • 72 Metascore
    • 100 Steve Persall
    A movie of here-and-now thrills, goosed by judicious CGI effects that never overpower the humanity of the situation.
    • 72 Metascore
    • 83 Steve Persall
    War Horse takes time reaching its full emotional gallop with a late sequence combining man, beast and barbed wire. Yet it remains a technically magnificent ride throughout, and a checklist of visual influences from "All Quiet on the Western Front" to "Gone with the Wind."
    • 72 Metascore
    • 75 Steve Persall
    Screenwriter Bert V. Royal takes the oldest adolescence hook in the book - losing one's virginity- and turns it inside out.
    • 72 Metascore
    • 83 Steve Persall
    The movie's first half is its funniest, as Moore sets up this alternate low-resolution universe.
    • 72 Metascore
    • 50 Steve Persall
    Shame smears the lines between daring and taunting, and art versus indulgence. When it ends there's the urge to take a shower, and not a cold one.
    • 72 Metascore
    • 67 Steve Persall
    Well-acted and lovingly designed, Marsh's movie falls far short of the genius it attempts to celebrate.
    • 72 Metascore
    • 91 Steve Persall
    For all of its movie-of-the-week mechanics, this is a deeply moving dramatization of what Alzheimer's does to mind and spirit, anchored by the finest performance, male or female, from any 2014 movie release.
    • 72 Metascore
    • 75 Steve Persall
    Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise.
    • 72 Metascore
    • 83 Steve Persall
    Like the genre's top filmmakers - the Coens, Polanski, Hitchcock - Capotondi builds dread with wicked winks at the audience, dropping subtle surprises along the way.
    • 71 Metascore
    • 75 Steve Persall
    It's a familiar, straightforward story, carried from start to finish by Winstead, who makes Kate an interesting study in contradictions.
    • 71 Metascore
    • 75 Steve Persall
    22 Jump Street is a mixed bag of clever spoofery and miscalculated outrageousness. The unveiled homoeroticism of practically all interaction between Jenko and Schmidt is amusing to the point when it isn't.
    • 71 Metascore
    • 91 Steve Persall
    Tangled would be a satisfying adventure on plot and 3D sensations alone.
    • 71 Metascore
    • 75 Steve Persall
    Edge of Tomorrow may be the best video game movie ever made. Which is strange since it isn't actually based on a video game.
    • 71 Metascore
    • 100 Steve Persall
    It's the most unsettling nice surprise of 2011.
    • 71 Metascore
    • 75 Steve Persall
    In any language with anyone at the helm, Lisbeth is still a killer.
    • 71 Metascore
    • 91 Steve Persall
    Warrior is a surprising gut punch, a modern-day "Rocky" saga with two mixed martial arts pugs trying to beat, choke and kick the system.

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