For 24 reviews, this critic has graded:
  • 16% higher than the average critic
  • 4% same as the average critic
  • 80% lower than the average critic
On average, this critic grades 15 points lower than other critics. (0-100 point scale)

Vadim Rizov's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 83 The Fool
Lowest review score: 0 The Word
Score distribution:
  1. Positive: 4 out of 24
  2. Negative: 5 out of 24
24 movie reviews
    • 83 Metascore
    • 83 Vadim Rizov
    Yuri Bykov’s third feature is in the same vein as a slew of recent Russian films sounding a strident alarm.
    • 69 Metascore
    • 75 Vadim Rizov
    Melancholy climactic trajectory aside, Zero Motivation is primarily very funny.
    • 65 Metascore
    • 67 Vadim Rizov
    Constantly just dodging visual cliché, Sutton tries to isolate moments of beauty and frustration within a specific milieu. Sometimes he captures resonant moments in bars and in stray dialogue; other times, his purposelessness seems less like a strategy and more like an evasive feint.
    • 67 Metascore
    • 67 Vadim Rizov
    Its fascinations compromised by its clunkiness, the film is a necessary niche history that serves well enough as a primer, placing it just a cut above coasting on good intentions.
    • 66 Metascore
    • 58 Vadim Rizov
    The technical, workmanlike production is made more irritating than necessary by Michael Hearst’s score, whose grating circus-comes-to-town sprightliness is routinely slathered over mundane footage.
    • 46 Metascore
    • 50 Vadim Rizov
    On the sliding scale of low expectations associated with the “I (may or may not have) slept with a famous person” biopic genre, Robin Hood is more smoothly professional and tolerable than the lowly likes of "My Week With Marilyn" or the JFK-adultery-soap opera "An American Affair."
    • 61 Metascore
    • 50 Vadim Rizov
    Khaou’s avoidance of visual fireworks and his attempt to barrel through his own script in such a workmanlike fashion has the side effect of letting his actors down.
    • 37 Metascore
    • 50 Vadim Rizov
    Once the film hits the desert, a little before the halfway point, Jacq has the energy sucked out of him and so does the film, limping along while he repeatedly throws histrionic fits.
    • 54 Metascore
    • 50 Vadim Rizov
    X-Ray is extremely dull, and unwisely trusting in the power of its talented central duo to carry the film.
    • 57 Metascore
    • 50 Vadim Rizov
    Turns out to be a disappointingly standard-issue addiction melodrama, this one the tearful case study of an adrenaline junkie whose compulsion threatens to push her family and loved ones away.
    • 57 Metascore
    • 50 Vadim Rizov
    The Bachelor Weekend plays as expected: Characters must start close, bond during their trip, have their friendship momentarily threatened, then cathartically make up right on schedule.
    • 72 Metascore
    • 50 Vadim Rizov
    With its autumnal, end-of-days feeling, Gore Vidal: The United States of Amnesia ends up serving as a capably assembled but deeply felt obituary for both its title subject and the late Hitchens.
    • 63 Metascore
    • 50 Vadim Rizov
    If this is, as he claims, indeed his last film (or at least last big narrative feature), he’s retiring with the courage of his convictions intact. If only he was expressing them more vigorously.
    • 40 Metascore
    • 40 Vadim Rizov
    Carano deserves better: She’s a formidable physical performer, and the current state of the MMA film on the DTV circuit is strong enough to shame this wan, drama-clogged effort.
    • 41 Metascore
    • 40 Vadim Rizov
    There’s little sense that these people are friends for any reason besides the script saying so, and the contrasts between the three relationships produce no real insight in this hollow, irritating drama.
    • 40 Metascore
    • 40 Vadim Rizov
    There’s little analysis, in-depth history, anecdotal humor, or even well-selected gameplay clips. Ironically, Video Games: The Movie is almost no fun whatsoever.
    • 51 Metascore
    • 40 Vadim Rizov
    At best, The Liberator is a commendably old-fashioned affair that goes light on CGI backgrounds and heavy on dazzling scenery. At worst, it’s a reminder of all the extras-heavy would-be epics that got tossed on film history’s slag heap.
    • 48 Metascore
    • 40 Vadim Rizov
    For all the good intentions and native hands behind the camera, The World Made Straight never seems particularly credible or convincing as a fresh look at regional history.
    • 41 Metascore
    • 40 Vadim Rizov
    Daniel Espinosa’s unwieldy, sometimes unintentionally funny film adaptation nails the gloomy period production design of a perpetually gray empire, but otherwise, it’s a wash, starting with a Europudding assemblage of performers of all nationalities besides Russian.
    • 28 Metascore
    • 33 Vadim Rizov
    While 90 Minutes In Heaven has a professional sheen miles above the clunky products peddled by PureFlix (God’s Not Dead) and their ilk, that just makes it duller.
    • tbd Metascore
    • 30 Vadim Rizov
    This kind of dully formulaic filmmaking accomplishes little more than congratulating viewers for caring enough about historical atrocities to watch.
    • 26 Metascore
    • 25 Vadim Rizov
    Much of what follows is turgid and, for non-believers, ridiculous.
    • 20 Metascore
    • 16 Vadim Rizov
    It’s obnoxious, to say the least, to use the Vietnam War as an excuse to affirm the importance of telling all and sundry about Jesus at all times (i.e., “testifying”), under all circumstances.
    • 20 Metascore
    • 0 Vadim Rizov
    Director Gregory W. Friedle, his cast, and crew perform their jobs so poorly across the board, it’s an inadvertent negative demonstration of the professionalism separating even the shoddiest Hollywood production from this kind of self-financed amateur-hour attempt.

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