For 127 reviews, this critic has graded:
  • 55% higher than the average critic
  • 1% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Blake Goble's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 I Am Not Your Negro
Lowest review score: 0 The Babysitter
Score distribution:
  1. Positive: 66 out of 127
  2. Negative: 21 out of 127
127 movie reviews
    • 68 Metascore
    • 75 Blake Goble
    Even if the message is clear, and the vibe can be a little movie-of-the-week, The Way Back does find an interesting set of ways to present itself.
    • 61 Metascore
    • 33 Blake Goble
    When the leads are drawn this terribly thin, and Onward is so hopelessly focused on the dad narrative that it can’t help but ignore its creativity in favor of mawkish afternoon special, the product stinks of a bad Amblin ripoff.
    • 60 Metascore
    • 75 Blake Goble
    This is a comic book movie that feels adapted from a bunch of Bazooka Joe strips rubber-banded together. It’s a big ball of candy, mushed together and flung at the wall, and we’re all invited to happily take a bite out of crime.
    • 26 Metascore
    • 50 Blake Goble
    At 100 minutes, with just enough digital chutzpah to keep everyone reasonably amused and never quite annoyed, Dolittle is tolerably fine.
    • 68 Metascore
    • 67 Blake Goble
    As a political or journalistic statement, Richard Jewell does have the unfortunate tendency to come across like a rant. But that does not greatly detract from the film’s rich biography of Jewell: Here’s a man that was perhaps doomed to be part of an inquisition.
    • 48 Metascore
    • 42 Blake Goble
    In holiday gift terms, it ain’t coal, and it ain’t a new car. It’s holiday socks, with a big ugly candy cane and some wavy text on it. Noelle’s cute for a minute, but you’re not going come back to this thing after January.
    • 52 Metascore
    • 75 Blake Goble
    It’s got twists without being tawdry. Attitude, with sincerity. And Banks offers a reasonable rebuke to past ickiness, playing up the best elements of an old TV show’s original idea. Charlie’s Angels 2019 flies in the face of its tricky franchise past, and makes for a solid evening’s entertainment.
    • 50 Metascore
    • 58 Blake Goble
    Even its ornamental excesses become beside the point, because the core conceit actually works. Boy, those George Michael songs bind the scenes together like Gorilla Glue. Nothing says quaint like Tom Ford storefronts, too. But these things fade into something warmer, grander, and even a bit telling.
    • 38 Metascore
    • 33 Blake Goble
    A tonal miss and technical meh, Gemini Man arrives looking and feeling self-defeated.
    • 42 Metascore
    • 58 Blake Goble
    Mister America aims for the acerbic pitch of a ‘70s alternative political farce like The Candidate, but the parting feeling is that it’s just an overdeveloped ramble. It’s not ha-ha funny, which is fine in the world of a muted humor like this. But like Heidecker’s campaign, it’s not entirely convincing as a satire either.
    • 59 Metascore
    • 75 Blake Goble
    Galifianakis delivers a reminder of just what makes his brand of comedy so unique, special, and even a little daring.
    • 18 Metascore
    • 33 Blake Goble
    Like the Hollywood it tries to lampoon, in its way, The Fanatic comes across as shallow. It is, as they say in the biz, a flop.
    • 35 Metascore
    • 67 Blake Goble
    At its most basic, this is a conventional talkie, rooted in Warner Bros crime history, happy to play with cliché. At its most audacious, The Kitchen is a welcome flip on the generally male-dominated script. And at its most pleasing, this is a popcorn flick, with big moments, great pops, and three stars giving it their all, having one out in the street, making big moves for the people.
    • 77 Metascore
    • 75 Blake Goble
    The Nightingale has a torn – and riveting – conscience.
    • 38 Metascore
    • 42 Blake Goble
    Nominal laughs plus three reliable actresses equals the very mediocre Otherhood.
    • 83 Metascore
    • 91 Blake Goble
    It’s Hollyweird love letter material, but it’s glittered with Tarantino’s signature wise-ass attitude. Here he’s part historian, and part aging, experimental auteur.
    • 37 Metascore
    • 67 Blake Goble
    As a narrative, Point Blank’s like a screenplay slammed to the ground, shot repeatedly, and re-assembled with scotch tape and vending machine stickers (likely White Snake band logo iron-ons). It’s flashy. As far as action flicks go, Point Blank’s cool with its low IQ because it’s having fun throwing ‘bows to loud music. It knows what it is.
    • 69 Metascore
    • 58 Blake Goble
    It’s a sequel full of more that still feels like less.
    • 38 Metascore
    • 25 Blake Goble
    Murder Mystery is a dud, stained with slack humor and a total unwillingness to play within its own chosen genre.
    • 84 Metascore
    • 83 Blake Goble
    You know the formula and frankly, it’s one of the best-working ones Hollywood still has: a fun-for-the-whole-family film. In a current market crowded with franchises and pricey theatrics, Toy Story 4 feels like a warm and welcome aside, spinning an epic yarn from an intimate vantage with all the amenities of Pixar’s supremely talented creators and animators.
    • 58 Metascore
    • 58 Blake Goble
    What Skin lacks in history, context, or behavioral psychology, it compensates for with pure angst, dread, and guilt. It’s the human element, the bare skin as it were, that makes this film stand out. It’s a melodrama with characters that inspire interest, if not fondness.
    • 69 Metascore
    • 75 Blake Goble
    Even if Rocketman is one of those films where you walk in knowing almost exactly what to expect, it still manages to wham, glam, and occasionally elate.
    • 55 Metascore
    • 42 Blake Goble
    Yesterday is too trusting, too confident in its silly dream, and not fun or passionate enough.
    • 35 Metascore
    • 50 Blake Goble
    While the movie’s a letdown in the remake and modernization departments, it’s at least a modest success in terms of ebullient talent and frothy farce.
    • 66 Metascore
    • 50 Blake Goble
    Peterloo is traditional, dryly historical, and all sorts of other Merchant-Ivory slang for stuffy and challenging.
    • 31 Metascore
    • 50 Blake Goble
    Neil Marshall’s Hellboy is a monster mash, loud and proud. Just bring a mop.
    • 71 Metascore
    • 83 Blake Goble
    Running the gamut from grotesque to goofy to genuinely scary, Alison Klayman has assembled a compelling and tight look into the inner workings of modern politics in the Trumpian key.
    • 66 Metascore
    • 75 Blake Goble
    The Inventor: Out for Blood in Silicon Valley offers tidy, compelling, and continued proof of Gibney’s skills in the art of delineation.
    • 68 Metascore
    • 50 Blake Goble
    To commend The Boy Who Harnessed the Wind is reasonably easy. Here’s a film that’s pro-science, and sheds new light on a world that Western audiences don’t normally see. But it’s all so dramatically meager and obvious as well.
    • 82 Metascore
    • 83 Blake Goble
    Transit is a walkabout potobiler that ruminates more often than it feels compelled to run. It’s brutal, stark, dry, compelling, rich, and all the other drastic hyperbole that one can only bestow upon a genre-bending experiment like this one.

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