For 113 reviews, this critic has graded:
  • 38% higher than the average critic
  • 1% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 15.5 points lower than other critics. (0-100 point scale)

Steve Simels' Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 Cradle Will Rock
Lowest review score: 20 Cotton Mary
Score distribution:
  1. Positive: 15 out of 113
  2. Negative: 25 out of 113
113 movie reviews
    • 64 Metascore
    • 90 Steve Simels
    Stunningly cinematic and audacious on every level, writer/director Tim Robbins's look at the collision of the Depression-era art world and politics may well be a masterpiece.
    • 75 Metascore
    • 80 Steve Simels
    Musically it's often breathtaking.
    • 58 Metascore
    • 80 Steve Simels
    Visually dazzling, touching and funny.
    • 59 Metascore
    • 80 Steve Simels
    Most of the music is as fine and fierce as you could want.
    • 84 Metascore
    • 80 Steve Simels
    This is one of the most infectiously joyous celebrations of musicmaking ever committed to film. See it and be ennobled.
    • 33 Metascore
    • 70 Steve Simels
    A very sweet, very funny coming-of-age story, featuring Kiss as the Great White Whale of adolescence.
    • 65 Metascore
    • 70 Steve Simels
    A triumph of genre filmmaking.
    • 42 Metascore
    • 70 Steve Simels
    A delightful surprise, a tightly written, savvy slapstick comedy with genuine heart.
    • 52 Metascore
    • 70 Steve Simels
    Stone handles his huge ensemble cast extremely well.
    • 59 Metascore
    • 70 Steve Simels
    An occasionally surreal meditation on coping with loss, and a love story with a dark side the size of Montana.
    • 73 Metascore
    • 70 Steve Simels
    A genuinely heartbreaking, romantic film based on a true story; frankly, if it doesn't make you cry, we don't want to know you.
    • 69 Metascore
    • 70 Steve Simels
    A moving, gorgeously filmed look at one of the Civil War's more obscure chapters, the quasi-official combat that divided friends along the Missouri-Kansas border.
    • 79 Metascore
    • 70 Steve Simels
    One of the sharpest and emotionally resonant romantic comedies in what seems like years.
    • 64 Metascore
    • 70 Steve Simels
    It's especially nice that all the songs on the soundtrack are heard in their entirety, even if the accompanying video footage is sometimes drawn from performances of different vintage.
    • 62 Metascore
    • 70 Steve Simels
    Meanwhile Baldwin (bulked up a la DeNiro and playing totally against type), is a revelation, funny and touching.
    • 33 Metascore
    • 60 Steve Simels
    As a director, La Salle manages to sustain a mood of looming menace almost throughout, and as an actor he gets the film's best joke: When his Satan fills out his hospital admission form, he gives his social security number as 666.
    • 48 Metascore
    • 60 Steve Simels
    Not only one of the most spectacular cartoons ever made, but also a reasonably adult piece of sci-fi.
    • 43 Metascore
    • 60 Steve Simels
    The cast is aces, and Peter Morgan's screenplay is both very sharp on male sexual politics and crammed with enough comic twists and turns to keep you interested.
    • 65 Metascore
    • 60 Steve Simels
    One conclusion is inescapable. You have really seen something you don't see every day.
    • 70 Metascore
    • 60 Steve Simels
    Has an interesting look, several sensational performances (notably from Kyle MacLachlan and Liev Schreiber) and in general works far better than it has any right to.
    • 57 Metascore
    • 60 Steve Simels
    Has a giddy silliness that's thoroughly endearing.
    • 64 Metascore
    • 60 Steve Simels
    Stylish, exciting and an occasionally poignant sci-fi adventure spectacle.
    • 38 Metascore
    • 60 Steve Simels
    A very funny superhero spoof.
    • 62 Metascore
    • 60 Steve Simels
    Cudworth's script gives the characters more depth than is the genre norm, and the ensemble acting is terrific.
    • 61 Metascore
    • 60 Steve Simels
    A charming, technically sensational version of E.B. White's children's classic.
    • 62 Metascore
    • 60 Steve Simels
    But there's a vaguely self-congratulatory tone to the screenplay that's a bit off-putting.
    • 46 Metascore
    • 60 Steve Simels
    A smartly stylized hoot.
    • 63 Metascore
    • 60 Steve Simels
    The acting is similarly accomplished across the board, though it must be noted that Currie nearly walks off with the film: He's the funniest preppie seducer since Tim Matheson in "Animal House" (1978).
    • 63 Metascore
    • 50 Steve Simels
    Glacially slow going.
    • 43 Metascore
    • 50 Steve Simels
    The film delivers some genuine laughs — Diggs and Anderson are a hoot throughout — and real rapper Snoop Dogg all but steals the picture with his brief voice turn as Ronnie Rizzat.
    • 23 Metascore
    • 50 Steve Simels
    Sally Field has actually made a likeable movie.
    • 34 Metascore
    • 50 Steve Simels
    Mildly amusing and as obvious as it is good-natured.
    • 26 Metascore
    • 50 Steve Simels
    While not for every taste, this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the National Lampoon film franchise.
    • 48 Metascore
    • 50 Steve Simels
    You have to have a certain affection for any movie in which a stressed-out Mother Nature announces ominously, "Don't mess with me -- I'm pre-El Niño."
    • 49 Metascore
    • 50 Steve Simels
    Charming, low-key ensemble comedy that recalls the films of both John Cassavetes and Woody Allen, which is to say it's a loosely structured, quasi-improvisational saga about a bunch of New Yorkers obsessing about relationships.
    • tbd Metascore
    • 50 Steve Simels
    It may not be as epochal a piece of work as "Mean Streets," but packs what feels like a real-life punch none the less.
    • 73 Metascore
    • 50 Steve Simels
    If this were a more mainstream film with a shot at a wider audience, we'd probably be talking Oscar nominations for Futterman and Ball.
    • 52 Metascore
    • 50 Steve Simels
    A reasonably entertaining way to kill an hour and a half.
    • 53 Metascore
    • 50 Steve Simels
    Without question the breeziest viewing experience now available at a multiplex near you.
    • 48 Metascore
    • 50 Steve Simels
    This mix of sweat and uplift in the Civil Rights era doesn't quite come off, despite some strong performances and the fact that it's based on a genuinely inspirational true story.
    • 32 Metascore
    • 50 Steve Simels
    Vince and Cesar have been written to evoke equal audience sympathy, so there's no suspense whatsover in the outcome of their climactic match-up, the brutal realism of Shelton's staging notwithstanding.
    • 24 Metascore
    • 50 Steve Simels
    Comic Tommy Davidson, in particular, is hilarious as gangsta rapper Puff Smokey Smoke, who falls for Juwanna and then, in a twist lifted directly from the queen of all drag farces, 1959's "Some Like It Hot," decides he still loves her after she's exposed as Jamal. After all, nobody's perfect.
    • 40 Metascore
    • 50 Steve Simels
    Amy
    Your ability to overlook the film's myriad contrivances will ultimately depend on how you react to little De Roma.
    • 48 Metascore
    • 50 Steve Simels
    Fans of cheesy '70s TV shows will also be pleased by Wonder Woman Lynda Carter's brief cameo appearance as the governor of Vermont.
    • 37 Metascore
    • 50 Steve Simels
    Much better than you'd expect, largely thanks to an extremely game cast.
    • 61 Metascore
    • 50 Steve Simels
    The aroma of hagiography is unavoidable.
    • 75 Metascore
    • 50 Steve Simels
    Hallstrom's leisurely adaptation of John Irving's unconventional coming-of-age novel is so well crafted and intelligent that it feels churlish to point out that it's easier to admire than actually like.
    • 33 Metascore
    • 50 Steve Simels
    The cast is uniformly excellent -- Pryce in simultaneously utterly horrible and a real hoot as the wildly egomaniacal paterfamilias -- but the film itself is merely mildly charming.
    • 52 Metascore
    • 50 Steve Simels
    There's something inherently funny and surreal about Chinese kids speaking Singlish while trying to be goombahs from Brooklyn.
    • 36 Metascore
    • 50 Steve Simels
    This megastar mix of CGI animation and live action is remarkably faithful to the spirit of the original.
    • 73 Metascore
    • 50 Steve Simels
    Entertaining -- if predictable.
    • 49 Metascore
    • 50 Steve Simels
    The film's center will not hold. Either crucial scenes were cut (perhaps for length) or Kapur has a problematic sense of narrative structure; sometimes it's unclear who's doing what to whom.
    • 53 Metascore
    • 50 Steve Simels
    This is a smart and witty romantic farce that mixes sweet and sexy with surprising aplomb.
    • 69 Metascore
    • 50 Steve Simels
    The film is at heart a look at a unique slice of Americana, particularly an opening montage in which we realize that football here is a cradle-to-the-grave proposition -- literally.
    • 69 Metascore
    • 50 Steve Simels
    There's a certain built-in poignance to the end-of-an-era proceedings here, regardless of how frostily they're dramatized.
    • 61 Metascore
    • 50 Steve Simels
    The lead girls are easy on the eyes, and comic Faizon Love, who plays one of Matt's non-surfing, sumo-wrestler-size teammates, nearly steals the show when the girls teach him a few of their better moves.
    • 41 Metascore
    • 50 Steve Simels
    Unfortunately the whole thing is less than the sum of its parts, despite a frequently droll script and a great performance from Shandling.
    • 43 Metascore
    • 50 Steve Simels
    William Shatner's comic timing helps him nearly steal the picture.
    • 30 Metascore
    • 50 Steve Simels
    It's actually a sweet, often very funny story about a schlemiehl redeemed by love.
    • 56 Metascore
    • 50 Steve Simels
    Exciting and well-shot.
    • 25 Metascore
    • 50 Steve Simels
    There's so much going on it's hard to keep track, and after a while you may be tempted to give up.
    • 30 Metascore
    • 40 Steve Simels
    By the film's finale the descent into unintentional parody is all but complete, with a big death scene for Jackson complete with an angelic choir on the soundtrack -- the surprise is that they aren't singing "Dixie."
    • 45 Metascore
    • 40 Steve Simels
    Manipulative but fitfully entertaining "Twilight Zone"-ish comedy of redemption.
    • 42 Metascore
    • 40 Steve Simels
    The picture is nearly stolen, however, by co-star Greg Germann (of TV's Ally McBeal) in the role of Joe's company's resident corporate weasel. Germann's squinty-eyed insincerity is truly a marvel to behold, and it's an astringent corrective to the film's rather too frequent feel-good passages.
    • 51 Metascore
    • 40 Steve Simels
    An often spectacular but ultimately rather tedious musical/adventure/comedy.
    • 29 Metascore
    • 40 Steve Simels
    It's a good thing the two rappers are such utterly natural actors, armed with terrific comic timing.
    • 57 Metascore
    • 40 Steve Simels
    Veers inconsistently between sit-com jokeiness and nostril-flaring melodrama.
    • 44 Metascore
    • 40 Steve Simels
    The plot is Kate-Moss thin. Basically agreeable stuff, but not much more. And that's a shame.
    • 21 Metascore
    • 40 Steve Simels
    A hick-town, screwball comedy version of "Dog Day Afternoon," and surprisingly palatable despite its sitcom soul and star.
    • 13 Metascore
    • 40 Steve Simels
    To be fair, this is hardly the worst gross-out comedy ever made; it's nowhere as misogynistic as, say, "Tomcats," and in the end, it probably won't leave you in a state of utter nihilistic despair.
    • 20 Metascore
    • 40 Steve Simels
    This broad, coarse farce is otherwise as insubstantial a piece of work as you could possibly imagine; in fact, a light breeze could blow it away.
    • 56 Metascore
    • 40 Steve Simels
    An old-fashioned dinosaur opera, in the worst sense of the term. An obviously formulaic effort, designed more as a cash machine than a piece of cinema.
    • 59 Metascore
    • 40 Steve Simels
    Episodic, pretentious, and more than a little silly.
    • 41 Metascore
    • 40 Steve Simels
    A likeable, if somewhat whitebread, farce in the Woody Allen mode about love in the big city.
    • 35 Metascore
    • 40 Steve Simels
    The real problem with the new film, however, is a certain lack of chemistry between the leads; Wilson is game, as always, but his part is seriously underwritten, and while Murphy raises trash talking to the level of a fine art, he seems to be operating in another movie altogether.
    • 30 Metascore
    • 40 Steve Simels
    A genial and instantly forgettable sports comedy.
    • 56 Metascore
    • 40 Steve Simels
    By the film's big finale, the whole thing has begun to feel distinctly ridiculous.
    • 31 Metascore
    • 40 Steve Simels
    Acouple of well-earned laughs but ultimately overstays its welcome.
    • 77 Metascore
    • 40 Steve Simels
    It's too bad screenwriters Gough and Millar didn't have enough faith in their premise to play it straight; if they had, they might have produced a classic rather than a "Blazing Saddles" without the courage of its convictions.
    • 21 Metascore
    • 40 Steve Simels
    If this is even a reasonably accurate account of someone's real life, then we as a culture may be in worse shape than we imagine.
    • 48 Metascore
    • 40 Steve Simels
    Something of a cop-out, lacking the courage of its convictions.
    • 69 Metascore
    • 40 Steve Simels
    Saturday Night Live veteran Chris Kattan more or less steals the film as the racially confused Mr. Feather, a white supremacist bad guy whose speech patterns tend to get down and funky against his will.
    • 33 Metascore
    • 40 Steve Simels
    This is essentially a glib soap opera whose main characters are two-dimensional cliches used as clotheslines on which to hang sitcom-level jokes.
    • 47 Metascore
    • 40 Steve Simels
    A wildly overblown, unpleasantly smirky mess of a film.
    • 43 Metascore
    • 40 Steve Simels
    Added bonuses: A nice selection of oldies on the soundtrack, and an amusing third-act cameo by Rosie Perez as Ray's second wife.
    • 40 Metascore
    • 40 Steve Simels
    A shamelessly derivative, if basically likeable, kid's picture.
    • 52 Metascore
    • 40 Steve Simels
    For every inspired bit -- Templeton playing chauffeur to 40 I Love Lucy-era Lucille Ball impersonators -- there's one that falls spectacularly flat.
    • 65 Metascore
    • 40 Steve Simels
    A kitchen-sink realist coming-of-age story in the venerable British tradition, with all the good and bad that entails.
    • 34 Metascore
    • 30 Steve Simels
    Let's be blunt: Bass can't really act.
    • 23 Metascore
    • 30 Steve Simels
    An extremely loud and simpleminded cross between TV's "WWF Smackdown!" and "Dumb and Dumber."
    • 30 Metascore
    • 30 Steve Simels
    If you accept the film on its own brain-damaged level, there actually are laughs to be had.
    • 58 Metascore
    • 30 Steve Simels
    Even generally sympathetic adults may eventually find their minds wandering, if only because of the characters' continual, annoying hopping; being vegetables, they have no legs, you see.
    • 30 Metascore
    • 30 Steve Simels
    To be fair, this could have been worse.
    • 16 Metascore
    • 30 Steve Simels
    This fish-out-of-water buddy/action comedy is aimed squarely at undiscriminating 10-year-olds, and that demographic may well enjoy it.
    • 52 Metascore
    • 30 Steve Simels
    But by the time the big not-so-surprise ending rolls around -- no, nothing that happened was exactly as it seemed -- most viewers will have long since stopped caring.
    • 77 Metascore
    • 30 Steve Simels
    None of this is any more fun as it sounds -- the cancer ward scenes are truly disturbing -- but to be fair, writer/director Lone Scherfeg (the first woman to make a Dogme 95 film) manages some black-humored laughs.
    • 76 Metascore
    • 30 Steve Simels
    The relentlessly self-congratulatory tone is oppressive.
    • 15 Metascore
    • 30 Steve Simels
    Criticism seems irrelevant at best.
    • 45 Metascore
    • 30 Steve Simels
    To say that the film is unenjoyable would be an overstatement; a good time can be had counting the number of reassuringly stock characters it offers up.
    • 52 Metascore
    • 30 Steve Simels
    The fact that this is somebody's real-life story up on there the screen doesn't necessarily guarantee it's an especially fresh story.

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