Steve Persall
Select another critic »
For 564 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% 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 50/50
Lowest review score: 0 End of Watch
Score distribution:
  1. Negative: 55 out of 564
564 movie reviews
    • 65 Metascore
    • 83 Steve Persall
    Christensen plays him with Lecter-like intensity; the unsettling calmness of someone capable of anything.
    • 65 Metascore
    • 75 Steve Persall
    Movies about cooperating Africans and Americans often take a condescending risk of great white saviors making everything better for poor black folks. The Good Lie isn't that sort of movie, except in its marketing.
    • 65 Metascore
    • 83 Steve Persall
    The Runaways isn't just about rock 'n' roll; it IS rock 'n' roll, as loud, sexy, sometimes sloppy and ultimately exhilarating as the music can be.
    • 65 Metascore
    • 83 Steve Persall
    This is a slight movie, but it's Williams' all the way (possibly to an Oscar nod) while the rest of the cast supports her well.
    • 65 Metascore
    • 50 Steve Persall
    Salt is a movie constantly painting itself into corners then tromping out with arbitrary twists and action distractions.
    • 65 Metascore
    • 100 Steve Persall
    Think "Catch Me If You Can" mashed up with "Brokeback Mountain" if Mel Brooks directed and you'll get the idea.
    • 65 Metascore
    • 75 Steve Persall
    It's a very good performance that isn't for the "Talladega Nights" crowd and indie audiences can appreciate that.
    • 65 Metascore
    • 75 Steve Persall
    The most satisfying portions of Saving Mr. Banks occur when the movie adds pinches of salt to the spoonfuls of sugar making this medicine go down.
    • 65 Metascore
    • 83 Steve Persall
    When she's (Hawkins) on camera, I'd swear the screen bends into a smile.
    • 65 Metascore
    • 75 Steve Persall
    The movie is mostly fun and ultimately disposable, which is a letdown after Pixar's previous greatness.
    • 65 Metascore
    • 75 Steve Persall
    The movie is like an old vinyl LP; the best cuts are on the first side, there's a bangup finish and a lot of filler material in between.
    • 65 Metascore
    • 91 Steve Persall
    Scott briskly blends the high-minded stuff with impressive boo-and-goo sequences, ratcheting tension in tight spots and dark caverns.
    • 65 Metascore
    • 67 Steve Persall
    A fitfully entertaining movie in an awkward position; too arty for the action crowd yet too unsubtle for more refined tastes.
    • 65 Metascore
    • 67 Steve Persall
    Part 1 of Harry Potter's long goodbye is technically impressive as usual, especially an animated shadow play explaining the whole Deathly Hallows myth.
    • 64 Metascore
    • 83 Steve Persall
    They're an entertaining foursome, and Estevez guides them through lovely scenery, clever sight gags and personal confessions with leisurely skill.
    • 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
    • 50 Steve Persall
    Fury reeks of self-importance, a strange arrogance for a fictional World War II drama drenched in more blood than ideas.
    • 64 Metascore
    • 75 Steve Persall
    This is first and foremost Murray's show, and the shortcomings in Melfi's script and direction are strangely appreciated. They give this singular comedian, who doesn't do it often enough these days, the room to let his buffalo heart roam.
    • 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.
    • 64 Metascore
    • 83 Steve Persall
    With Mock 1, the Hunger Games franchise continues to entertain and evolve, not perfectly but smartly, so we can't wait to see what's next. That's what counts when all is said, done and deposited in the bank.
    • 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.

Top Trailers