For 528 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 12 Years a Slave
Lowest review score: 0 The Watch
Score distribution:
  1. Negative: 51 out of 528
528 movie reviews
    • 64 Metascore
    • 58 Steve Persall
    The Rover fascinates and frustrates in equal measure, with Michod withholding details of plot and character so thoroughly that a nihilistic fog sets in.
    • 64 Metascore
    • 75 Steve Persall
    Mother and Child is depressively interesting, with characters constantly ruining their best chances at happiness.
    • 64 Metascore
    • 100 Steve Persall
    Pacific Rim gives big, dumb and loud an exemplary name and summer audiences something to cheer.
    • 64 Metascore
    • 83 Steve Persall
    Director Charles Martin Smith presents the kind of movie that gives squeaky-clean a good name.
    • 64 Metascore
    • 100 Steve Persall
    The weight of Carlos' world shows on his rugged face, even with rare half-smiles. This is a masterfully understated performance that should be remembered during awards season.
    • 64 Metascore
    • 67 Steve Persall
    Renoir is beautifully filmed and scored, yet with the emotional pull of watching exquisitely textured oil paint dry.
    • 64 Metascore
    • 67 Steve Persall
    Nobody dies softly here; they're mutilated, splattered in blood and vomit, set up by people who'll get theirs soon.
    • 64 Metascore
    • 75 Steve Persall
    The cast is delightful top to bottom, although Arterton's role is chiefly defined by seductive smiles and the rise of her cut-off shorts. Allam and Cooper are standouts, creating hormonally despicable characters getting more of Tamara's attention than they deserve.
    • 64 Metascore
    • 83 Steve Persall
    This summer's funniest movie.
    • 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
    • 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
    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
    • 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
    • 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
    • 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
    • 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.
    • 62 Metascore
    • 83 Steve Persall
    If this was December, Kevin Hart might be in the Oscar mix, he's that good in About Last Night. Explosively good, a comedy nova who won't shut up and never should.
    • 62 Metascore
    • 91 Steve Persall
    Quirky to the brink of exhaustion, the latest from Jean-Pierre Jeunet is a live-action Looney Tune complete with Acme contraptions and wily coyotes.
    • 62 Metascore
    • 75 Steve Persall
    It's a movie of terrific performances and rousing comeuppances, with a side order of corn pone for the soul.
    • 62 Metascore
    • 50 Steve Persall
    At some juncture — much earlier than director Gareth Edwards intends — Godzilla needs to stop being an extra in his own movie.
    • 62 Metascore
    • 83 Steve Persall
    Director John Madden and an ensemble of polished actors in their second primes make this a constant amusement and a nice alternative at the movies.
    • 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.