Steve Persall
Select another critic »
For 559 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 8.1 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The King's Speech
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 54 out of 559
559 movie reviews
    • 71 Metascore
    • 75 Steve Persall
    In any language with anyone at the helm, Lisbeth is still a killer.
    • 71 Metascore
    • 75 Steve Persall
    Taylor's movie is overly episodic, but a number of those episodes are marvelous.
    • 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.
    • 71 Metascore
    • 100 Steve Persall
    I've watched Sleepwalk With Me twice now, each time impressed with Birbiglia's confidence in revealing so much about his craft and himself, and the freely associated style with which he does it.
    • 70 Metascore
    • 75 Steve Persall
    It's a heady blend, at times requiring more speechifying than throwaway pop deserves. But it keeps one guessing between ill-staged and frenetically edited fight scenes. Directors Anthony and Joe Russo handle vehicular mayhem better.
    • 70 Metascore
    • 58 Steve Persall
    Almodóvar dives into perversity, practically daring the audience not to follow. The Skin I Live In is a mediocre addition to his resume, yet for fans, even bad Almodóvar is better than none at all.
    • 70 Metascore
    • 83 Steve Persall
    This movie embraces its inner yokel.
    • 69 Metascore
    • 50 Steve Persall
    Imagine a stuffy Merchant Ivory production blended with muted Michael Crichton sci-fi and you have Never Let Me Go, at least as it plays on screen.
    • 69 Metascore
    • 50 Steve Persall
    Unstoppable isn't unwatchable, but it is a letdown after "Speed" and some of the Speed-on-a-(fill in the blank with a vehicle) flicks that followed. Forget missing Hopper; even Keanu Reeves might make this movie more entertaining.
    • 69 Metascore
    • 75 Steve Persall
    The stories might work better separately as uninterrupted short films. Combined, they lack cohesion but suggest that Coppola has a fine framing eye and ability to guide actors to good work.
    • 69 Metascore
    • 83 Steve Persall
    The Avengers is as brawny and lamebrainy as any comic book movie deserves to be, capped by a 40-minute assault pummeling senses as few action sequences ever have.
    • 69 Metascore
    • 83 Steve Persall
    Chronicle is so clever about the absurd, and so much fun to watch, that I'm almost disappointed the ending doesn't leave room for a sequel.
    • 69 Metascore
    • 58 Steve Persall
    I expected, even wanted to cry at The Fault in Our Stars, or at least choke up a little. Yet the transparent eagerness of this movie to break hearts, through means not entirely justifying that end, always pulled me back.
    • 69 Metascore
    • 83 Steve Persall
    This movie embraces everything that should make it lousy, calling out itself for aping the source's bad ideas then flipping the script with meta precision.
    • 69 Metascore
    • 75 Steve Persall
    Liman handles the spy stuff with Bourne-again flair, especially the opener when Valerie proves her mettle during an assignment to secure a snitch.
    • 69 Metascore
    • 50 Steve Persall
    Wright is an insanely funny filmmaker (Shaun of the Dead, Hot Fuzz) yet only the front half of that description carries over to Scott Pilgrim vs. the World.
    • 68 Metascore
    • 50 Steve Persall
    The problem isn't entirely Lehane's script... It's the way Belgian director Michael R. Roskam, making his English language debut, is so visually uninspired by all this meanness.
    • 68 Metascore
    • 67 Steve Persall
    There are laughs that stick in your throat, when they aren't broad strokes shattering a forlorn mood that occasionally makes the movie feel like a companion piece to "Magnolia," or any film depicting downbeat people realizing they have more sorrow in common than expected.
    • 68 Metascore
    • 0 Steve Persall
    End of Watch is a repellent movie, first for its shaky-cam conceit rendering much of the action incomprehensible, and finally for seeking to entertain viewers through the thuggish execution of a police officer.
    • 68 Metascore
    • 91 Steve Persall
    The plot is a piffle but Ozon's presentation is gloriously romantic.
    • 68 Metascore
    • 100 Steve Persall
    In a movie year of more than two dozen animated films, this and "Rango" tower over all others. Welcome to America, Tintin. It's great getting to know you.
    • 68 Metascore
    • 75 Steve Persall
    The Conjuring is a throwback to old-school spine tingling, although this movie is less Halloween theme ride and more 1970s post-"Exorcist" terror.
    • 68 Metascore
    • 67 Steve Persall
    Next to Swinton's excellent portrayal of a woman on the edge of a nervous breakdown, the movie belongs to the two Kevins, young actors with matching arched eyebrows and sullen expressions.
    • 68 Metascore
    • 91 Steve Persall
    The East is a crackling thriller and a political statement tough to peg.
    • 68 Metascore
    • 100 Steve Persall
    The jokes are often double-edged, the performances always spot-on. The Way, Way Back doesn't re-invent the teenage turning point genre, but Faxon and Rash offer a breezy new spin. You'll see more inventive movies this year but few more endearing.
    • 68 Metascore
    • 58 Steve Persall
    Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.
    • 68 Metascore
    • 91 Steve Persall
    It's a story languorously told in three chapters, the first two in the late 1980s and the third 15 years later. Each could be a movie unto themselves. Together they prove Cianfrance to be an effectively unobtrusive storyteller, crafting without artifice what book critics would call a page turner.
    • 68 Metascore
    • 83 Steve Persall
    There's a subtle wisdom to this screenplay that complements its exceedingly bad taste, small lessons among the laughs.
    • 68 Metascore
    • 91 Steve Persall
    Despite wild deviations in spiritual themes and execution, nothing in Noah approaches sacrilege or surrender, making this an acutely sensible biblical epic. It may simply be too strange for the masses to notice.
    • 67 Metascore
    • 91 Steve Persall
    Robot & Frank occasionally strains for emotion and stretches credulity, even for such fantasy circumstances. But it has two hearts - one human, one not - in the right place, and intelligence that is anything but artificial.

Top Trailers