For 91 reviews, this critic has graded:
  • 53% higher than the average critic
  • 1% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Blake Goble's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 I, Daniel Blake
Lowest review score: 0 The Babysitter
Score distribution:
  1. Positive: 48 out of 91
  2. Negative: 16 out of 91
91 movie reviews
    • 40 Metascore
    • 50 Blake Goble
    Marwen is too much, not enough, and yet still deeply watchable. It’s admirable for the wildly different approaches it takes. Only a stylist like Zemeckis could try something like this. Take a real man’s witty, real-life therapy-based photography and attempt to spin it into a mo-cap circus with every genre tool he can think of.
    • 58 Metascore
    • 58 Blake Goble
    The Mule is a functional take on capitalism, work-life balance, and the creeping, overlong process that is aging. The tense moments click.
    • 51 Metascore
    • 50 Blake Goble
    Mowgli is not entirely recommendable, but it’s not a total bust either.
    • 70 Metascore
    • 58 Blake Goble
    Green Book means so well, and admittedly, it just gets by on its leads and its good humor.
    • 59 Metascore
    • 50 Blake Goble
    Outlaw King is like watching prog versus metal. When it’s prog rock – folksy and wooden ­– it’s at its worst. Muted, draggy, earnest, with wee traces of carefully placed humor or commentary on a bygone era? It’s Moody Blues, and even a little Jethro Tull? Hardly worth putting on, unless you like your history slim and bone-dry. But at its best, it’s heavy metal, with swinging axes and church slayings and all sorts of grim goodies.
    • 77 Metascore
    • 75 Blake Goble
    When Neville chronicles the failed work of Orson Welles, They’ll Love Me When I’m Dead comes alive with newsreel tabloid verve.
    • 49 Metascore
    • 25 Blake Goble
    Bohemian Rhapsody is another lame music biopic, and its failures ultimately lie in the poor creative choices, the gutless approaches to potentially explosive events in the life of this band. We’re not buying this new album. There’s no new material to be found in Bohemian Rhapsody.
    • 81 Metascore
    • 83 Blake Goble
    While it deals in the traditional melodramatics, straight from the ‘ol Hollywood emotion factory, Tillman Jr.’s aim seems true. The Hate U Give feels so Right Damn Now that you could leave the theater and see its stories on the nightly news.
    • 43 Metascore
    • 42 Blake Goble
    The movie’s merely the latest A-list comedy of this sort, is happy to live in the middle, and yet it frustratingly outwears its welcome because of a lack of creativity and sloppy structure.
    • 83 Metascore
    • 100 Blake Goble
    BlacKkKlansman is a well-formed and compelling work of pulp escapism.
    • 60 Metascore
    • 50 Blake Goble
    The pleasure of good company is Robin’s occasionally winning quality.
    • 32 Metascore
    • 16 Blake Goble
    This film is all easy beats, predictive familiarities, and absolutely zero heart, soul, or silliness anywhere to be found.
    • 61 Metascore
    • 75 Blake Goble
    The heart is ultimately stirred, and the eyes often pleased, by this new White Fang.
    • 81 Metascore
    • 67 Blake Goble
    Wardle allows the details to roll out with impact, and even some insight. Curiosity for the grand genetic schemes is a great sell, but the human element, the lament for lost time, truth, and family? That sticks at the end.
    • 85 Metascore
    • 75 Blake Goble
    It’s fine. It’s nice, pleasing, and capable of mustering amazement from time to time at what Rogers did. This callback to one of television’s greatest pioneers shows why he meant so much to so many, and what we could still learn from him today.
    • 46 Metascore
    • 42 Blake Goble
    Life of the Party exists in one of those unfortunate places where it’s easy to criticize, but McCarthy still makes you smile, and even laugh.
    • 54 Metascore
    • 75 Blake Goble
    While the film’s final thesis is a Facebook post with typos at best (delete your accounts, and so on), Niccol is still terrific when he’s breaking down rules, questioning protocol, and testing new ideas.
    • 41 Metascore
    • 75 Blake Goble
    The Week Of is the wedding you forgot you were invited to, weren’t all that stoked to attend, then wound up loving anyway because you had such a surprisingly good time.
    • 30 Metascore
    • 33 Blake Goble
    It’s clichéd, distant, afraid to truly immerse itself in anything but long looks, but at least it looks good. And that’s that.
    • 88 Metascore
    • 100 Blake Goble
    The script feels like a great writers-room comedy, where only the leanest and meanest bits stay, and the most startling and intriguing ideas persist. It functions comedically and historically — the jokes have something to say about power.
    • 86 Metascore
    • 100 Blake Goble
    It’s a harrowing moral fable, a political fable, and above all, a deft lament.
    • 45 Metascore
    • 33 Blake Goble
    The 15:17 to Paris is too unfocused, too hard to take seriously, and too short to really get invested in it. It’s an Eastwood misfire.
    • 88 Metascore
    • 91 Blake Goble
    It’s beyond playful. Wonderful and whimsical, for that matter. Fun to look at and completely immersive. It’s hilarious, heartfelt, and humane, as well. It’s even a tad sagely in its universally appealing lessons of manners, sympathy, and open-mindedness.
    • 83 Metascore
    • 67 Blake Goble
    It’s the kind of film that ultimately makes you count your blessings, root for the good guys, and maybe even shed a tear or two at the sight of the press kicking ass.
    • 77 Metascore
    • 67 Blake Goble
    It’s fascinating when Smith chronicles Carrey’s stunt in tandem with gags he tested on late night shows.
    • 52 Metascore
    • 75 Blake Goble
    Handsomely staged, exceptionally well-cast, and reasonably faithful, Branagh has revived Murder on the Orient Express in a highly pleasing fashion. Sure, some of its modern amenities may leave something to be desired, but this train is quite sturdy and Branagh respects the ride.
    • 73 Metascore
    • 100 Blake Goble
    Navigating the nexus of hype, commerce, ego, and bullshit that drives the modern art scene, The Square is almost too perfect in its cunning simplicity. The art world’s always been easy to drag, what with its interiority, weirdos, and frustrating games of pin-the-tail-on-the-thesis. But rarely are these ideas lampooned so beautifully.
    • 23 Metascore
    • 33 Blake Goble
    The end result is a finished product which smacks of Universal optioning a hot Scandi novel, losing enthusiasm for it during development and production, and leaving audiences with the remaining carrots and coal.
    • tbd Metascore
    • 0 Blake Goble
    It’s insulting. Unfunny. Blunt. It’ll leave a hell of a bitter taste in the mouths of general audiences and horror nuts alike.
    • 72 Metascore
    • 83 Blake Goble
    Out of an act of war, Jolie has created a film of real compassion.

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