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 8.2 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 All Is Lost
Lowest review score: 0 Little Fockers
Score distribution:
  1. Negative: 55 out of 564
564 movie reviews
    • 73 Metascore
    • 58 Steve Persall
    The strategy deserves to self-destruct in five seconds.
    • 58 Metascore
    • 58 Steve Persall
    In telling someone else's story Crowe loses track of his own as a cultural definer, not a panderer. Mee bought a zoo; Crowe sells out.
    • 54 Metascore
    • 58 Steve Persall
    There's no disputing Streep's brilliance, which this time feels more calculated than usual, in a movie demanding only an impersonation.
    • 67 Metascore
    • 58 Steve Persall
    Soderbergh doesn't always match his pacing to Mallory's fury.
    • 31 Metascore
    • 58 Steve Persall
    At least This Means War is an equal opportunity misfire, with as much appeal for men as women, compared to a one-sided weeper like "The Vow."
    • 40 Metascore
    • 58 Steve Persall
    Act of Valor will likely earn high praise from combat veterans and their families, the way movies like "Fireproof" and "Seven Days in Utopia" resonate with Christians. Civilians, movie critics and certainly pacifists won't be nearly as impressed.
    • 58 Metascore
    • 58 Steve Persall
    If this movie truly cost $375 million to produce and market (as the L.A. Times reported), the biggest chunk isn't on the screen.
    • 58 Metascore
    • 58 Steve Persall
    Director Robert Lorenz makes a nondescript debut, after assisting Eastwood on several of his directing gigs. The student hasn't learned much from the teacher about economic storytelling or deflecting schmaltz.
    • 35 Metascore
    • 58 Steve Persall
    Identity Thief is a road movie with its creative lanes clogged, and a Mack truck comedian barreling through, anyway.
    • 88 Metascore
    • 58 Steve Persall
    Leigh's characters merely act in a goofy and irritating fashion until their dramatic pay-off scenes. This uneven style cheats fine actors out of the chance to shade their roles rather than rely upon black-and-white emotions. [6 Mar. 1992, p.10]
    • Tampa Bay Times
    • 77 Metascore
    • 58 Steve Persall
    Chungking Express essentially tells two muted love stories set in a bustling locale, without fully involving the audience in either. [3 May 1996, p.5]
    • Tampa Bay Times
    • 66 Metascore
    • 58 Steve Persall
    Coppola's movie has a sense of indie vitality, although the energy feels wasted by running in place.
    • 52 Metascore
    • 58 Steve Persall
    White House Down is nearly enough fun to be a bad movie that's a good time. But it always finds some way of being a drag, belching exposition and weak humor when action's all we need, then carrying the action to exhausting lengths.
    • 37 Metascore
    • 58 Steve Persall
    Depp is the only reason this haphazard take on the Lone Ranger legend exists, at least in this swollen state, begging the question of why Disney didn't name the movie Tonto.
    • 51 Metascore
    • 58 Steve Persall
    The pleasures of Lovelace are in its casting choices, allowing a brio trio like Sarsgaard, Hank Azaria and Bobby Cannavale to sleaze up a pivotal scene, and an unrecognizable Sharon Stone to go full Jessica Lange as Linda's shamed mother.
    • 42 Metascore
    • 58 Steve Persall
    Russell remains one of our most adorable, underused actors, although this role lacks the emotional and comedic breadth of her turn in 2007's "Waitress."
    • 49 Metascore
    • 58 Steve Persall
    Cumberbatch is very good, in a movie that isn't.
    • 61 Metascore
    • 58 Steve Persall
    The actors are so good that you wish Collyer offered them a richer arc to play, rather than just a topic.
    • 49 Metascore
    • 58 Steve Persall
    Spike Lee's remake of 2003's Oldboy is as brutally perplexing as the South Korean original, and needless for both its repetition and tweaks. Nothing is really lost in translation, or gained.
    • 37 Metascore
    • 58 Steve Persall
    Gimme Shelter exists less as a social lesson than as a wobbly showcase for Hudgens' still-developing skills.
    • 52 Metascore
    • 58 Steve Persall
    Mostly it's hamstrung by an abundance of reverence and dialogue sounding like an art studies syllabus when it isn't rehashing war movie tropes.
    • 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.
    • 56 Metascore
    • 58 Steve Persall
    It's a pleasing tribute to Steadman, but there's a sense that Paul would really prefer to focus on Thompson's brand of altered-state brilliance, which has been covered in documentaries before. If you're a gonzo completist, For No Good Reason is a must-see.
    • 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.
    • 54 Metascore
    • 58 Steve Persall
    It feels like a rush job, needing another draft or two for cohesion's sake, or for Allen to decide what sort of story he's telling.
    • 77 Metascore
    • 58 Steve Persall
    Calvary becomes a lurid Agatha Christie yarn with something important to say about the church and Ireland that McDonagh can't fully articulate. Pulp keeps getting in the way.
    • 48 Metascore
    • 58 Steve Persall
    The reason this overstuffed movie remains tolerable is the inspired casting of Robert Duvall and Robert Downey Jr. as a combative father and son, and their determination to out-thespian each other.
    • 74 Metascore
    • 58 Steve Persall
    Thankfully in space, no one can hear you yawn.
    • 36 Metascore
    • 58 Steve Persall
    The Farrellys whip up a miss-or-hit affair, the best jokes coming without much set-up, just non sequiturs and malapropisms.
    • 68 Metascore
    • 58 Steve Persall
    The Homesman isn't as confident with balancing madness and dark humor as Jones' only previous directing job, 2005's border odyssey The Three Burials of Melquiades Estrada. This movie's switchback plotting ambles from crisis to comical, threatening to maintain a tone but not for long.

Top Trailers