Steve Persall

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For 970 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Steve Persall's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Moonlight
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Negative: 87 out of 970
970 movie reviews
    • 55 Metascore
    • 100 Steve Persall
    Man of Steel is more than just Avengers-sized escapism; it's an artistic introduction to a movie superhero we only thought we knew.
    • 91 Metascore
    • 91 Steve Persall
    Plenty of secrets are uncovered before the fadeout, plus another nugget dropped midway through the end credits that may render nearly everything beforehand to be false. That's the nature of intimacies submerged so long then revealed.
    • 94 Metascore
    • 67 Steve Persall
    The movie at times resembles a screenwriting workshop, with Delpy and Hawke trying to shoehorn every shade of this shifting relationship into a single scene. It doesn't feel genuine; certainly these two would know each other better by now.
    • 67 Metascore
    • 83 Steve Persall
    There are no boundaries in this movie, so deal with it or leave.
    • 42 Metascore
    • 75 Steve Persall
    The humor is an underdog's fantasy, tapping the same vein Murray bled dry with self-important camp counselors and military officers; the less cool they are, the harder they'll fall.
    • 50 Metascore
    • 83 Steve Persall
    This movie has everything up its sleeve and presto chango at its core, ending in defiance to the plot's established logic before viewers realize they've been had.
    • 33 Metascore
    • 33 Steve Persall
    Fans of either Smith will be sorely disappointed. The elder never before appeared this listless on screen, and the younger misplaced his unforced rapport with the camera that made the Karate Kid reboot so impressive. Only Shyamalan delivers what moviegoers expect from him, and that's a shame.
    • 82 Metascore
    • 83 Steve Persall
    Baumbach keeps everything dialed down to medium cool, with occasional flashes of exuberance like Frances dancing down a street to the beat of David Bowie's Modern Love.
    • 61 Metascore
    • 75 Steve Persall
    Efron makes hay with his richest role post-High School Musical, making Dean a rural rake with conflicting charisma.
    • 61 Metascore
    • 75 Steve Persall
    This franchise that won't die began in 2001 as The Fast and the Furious and has pretty much run through every title permutation, so the inevitable next chapter might be called only "The & The 7."
    • 30 Metascore
    • 67 Steve Persall
    The Hangover Part III is more like "Beverly Hills Cop," a generic crime flick improved by comical touches that shouldn't fit the proceedings.
    • 64 Metascore
    • 67 Steve Persall
    Renoir is beautifully filmed and scored, yet with the emotional pull of watching exquisitely textured oil paint dry.
    • 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.
    • 67 Metascore
    • 91 Steve Persall
    A feel-good movie in the most positive meaning of that term, thanks to the Motown music and O'Dowd's cheeky charm.
    • 76 Metascore
    • 83 Steve Persall
    The images captured by cinematographer Adam Arkapaw are more dreamy than nightmarish as if his camera — like the children — doesn't fully understand the dangers.
    • 55 Metascore
    • 83 Steve Persall
    As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible.
    • 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.
    • 45 Metascore
    • 42 Steve Persall
    The movie's best performance — and worst defamation — belongs to Tony Shalhoub, playing the first victim as a conniving, egotistical jerk who deserves to be kidnapped, maimed and ruined financially.
    • 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.
    • 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.
    • 57 Metascore
    • 67 Steve Persall
    I learned a total of two things from watching Evil Dead: No camping kit is complete without duct tape, and sometimes end credits are worth sitting through for a movie's best gag.
    • 81 Metascore
    • 75 Steve Persall
    No
    The movie needs one or two central characters directly affected by the dictatorship, in order to create more tension around a conclusion that's already known.
    • 41 Metascore
    • 25 Steve Persall
    This movie never realizes how ridiculous anything it does truly is, right up to the last-second promise of another sequel.
    • 35 Metascore
    • 42 Steve Persall
    The Host doesn't strive for social allegory, as previous body snatcher flicks have done with the Red Scare, civil rights and Watergate. If anything it's merely a teenage girl's fantasy checklist for prom.
    • 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.
    • 58 Metascore
    • 83 Steve Persall
    Stoker operates in a perpetual state of dread, a sophisticated Southern gothic that starts out confusing and winds up as a perversely humorous coming-of-age yarn.
    • 44 Metascore
    • 67 Steve Persall
    The third act of Scardino's movie is very funny, and its finale featuring the exposure of an impossibly successful illusion is flat-out brilliant. It's just too bad that the movie's opening act is so sleight of humor, damaging the movie's potential. Now you see it. Then you don't.
    • 44 Metascore
    • 67 Steve Persall
    It took brains to create such a sumptuous fantasia with pixels and keyboard swipes. Now, if it only had a heart.
    • 48 Metascore
    • 67 Steve Persall
    Emperor is also one of those movies in which the most intriguing occurrences are revealed by "what-happened-to . . ." title cards at the finale.
    • 34 Metascore
    • 75 Steve Persall
    21 and Over remains enjoyable for what it is and all it cares to be, which is nothing any respectable movie critic should recommend, and I'm down with that.

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