For 138 reviews, this critic has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Jacob Oller's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 91 In the Heights
Lowest review score: 23 Dear Evan Hansen
Score distribution:
  1. Positive: 85 out of 138
  2. Negative: 14 out of 138
138 movie reviews
    • 60 Metascore
    • 75 Jacob Oller
    Lightyear is a beautiful starship with precious genre cargo, functional and direct in its simple mission to carry on.
    • 38 Metascore
    • 35 Jacob Oller
    The Jurassic World franchise may have willingly chosen extinction with this final entry, but Dominion would’ve killed it off anyways.
    • 65 Metascore
    • 80 Jacob Oller
    Digging into the art world’s juicy guts and suturing it up as a compelling, ambitious sci-fi noir, Crimes of the Future thrills, even if it leaves a few stray narrative implements sewn into its scarred cavities.
    • 62 Metascore
    • 79 Jacob Oller
    The Valet parks itself squarely between the lines of established genre tropes, but with such precision and flair that you can’t help but be charmed.
    • 43 Metascore
    • 40 Jacob Oller
    Our Father’s failures aren’t in its lurid source material, but in its leering execution.
    • 90 Metascore
    • 89 Jacob Oller
    The road trip always has to end, but the excellent Hit the Road introduces an exciting filmmaker whose journey is just beginning.
    • 47 Metascore
    • 38 Jacob Oller
    As Rowling continues submerging her magical world into the same hellish and disreputable bog as her personal legacy, I wish she’d kept The Secrets of Dumbledore to herself.
    • 58 Metascore
    • 57 Jacob Oller
    Unfortunately, even though Moonshot aims high, its misfire falls all the way back down to humble terra firma.
    • 83 Metascore
    • 88 Jacob Oller
    An exceptional puberty comedy by way of Sanrio-branded Kafka, Turning Red’s truthful transformations are strikingly charming, surprisingly complex and satisfyingly heartfelt. And yes, so cute you might scream until you’re red in the face.
    • 72 Metascore
    • 68 Jacob Oller
    The Batman is ambitious and dedicated to its vision, but despite some rather obvious clues, it can’t crack how to make the World’s Greatest Detective seem like one at all. Rather, we just have another passable Batman, not different enough to outrun his legacy’s ever-growing shadow.
    • 72 Metascore
    • 75 Jacob Oller
    As wacky as it all sounds (and there are certainly punchlines to appreciate), Escobar’s creation can be shockingly moving.
    • 62 Metascore
    • 71 Jacob Oller
    It’s best when it fully commits to its subtlety. Long passages without dialogue highlight the wavering music and Todd Chandler’s artful, sometimes wry editing.
    • 65 Metascore
    • 59 Jacob Oller
    Like its muddy multi-movie gamble, the ideas are there for Honk for Jesus. Save Your Soul. But like its characters, it’s happy to follow the path of least resistance.
    • 78 Metascore
    • 74 Jacob Oller
    Blessed/cursed with a charmingly unwieldy title (To Wong Foo, Thanks for Everything! Julie Newmar comes to mind), Good Luck to You, Leo Grande can bobble the more dramatic elements of the pair’s professional and personal relationship, but its feel-good story satisfies to completion.
    • 70 Metascore
    • 79 Jacob Oller
    Watcher flourishes as it complicates its premise beyond the unknowable and faceless desires of a shadowy silhouette.
    • 80 Metascore
    • 72 Jacob Oller
    Half mock-doc, half sci-fi two-hander, all bone-dry L.A. satire, Something in the Dirt takes a bemused look at those all too happy to exploit phenomena and each other—with the typical small-scale charm of an Aaron Moorhead and Justin Benson project.
    • 76 Metascore
    • 59 Jacob Oller
    Those looking for bleak, slow horror and who are willing to suspend plenty of disbelief might want to check it out, but it won’t rock the worlds of the rest of us.
    • 81 Metascore
    • 71 Jacob Oller
    While certainly not an epiphany like the original, Nighy makes Living worthwhile through sheer force of will. In the film’s picturesque, composed, nearly stagnant beauty, he finds something honest in repression.
    • 62 Metascore
    • 86 Jacob Oller
    If you’re blessed with matching taste, where you’ll put up with a bunch of over-literal, stiff-backed oddballs dealing with a clone crisis, you’ll find a rewarding and gut-busting film that’s lingering ideas are nearly as strong as its humorous, thoughtful construction.
    • 67 Metascore
    • 60 Jacob Oller
    It’s still a bit of a romp, but sacrificing both its logical plotting and dark humor with shortcuts (and not quite having an ending, just kind of stopping once it’s out of gas), cuts the legs out from under Fresh.
    • 66 Metascore
    • 71 Jacob Oller
    Diallo undoubtedly strikes at potent topics with skill and sets her collaborators up for success...but its storylines and characters don’t convincingly coalesce.
    • 61 Metascore
    • 67 Jacob Oller
    892
    Corbin’s film is brutal and sad, thanks to its brutal and sad origins and the abilities of Boyega, but its wandering eye is just the latest to gloss over Brian Easley.
    • 77 Metascore
    • 87 Jacob Oller
    A Love Song’s a brief and pretty little thing—less than 90 minutes—with the warm melancholy of revisiting a memory or, yes, an old jukebox love song. Walker-Silverman displays a keen eye, a deep heart and a sense of humor just silly enough to sour the saccharine.
    • 73 Metascore
    • 70 Jacob Oller
    Emergency’s ensemble sustains its premise for far longer than it should be able to, maintaining the nuanced balance of commentary-thriller-comedy whenever the script becomes too interested in just one ingredient of its complex cocktail.
    • 64 Metascore
    • 63 Jacob Oller
    Prickly characters and a knack for mortifying situations strain to break free from When You Finish Saving the World’s limited and dispassionate plotting.
    • 82 Metascore
    • 90 Jacob Oller
    Iranian master Asghar Farhadi’s A Hero spirals out a good deed to all its messy conclusions, providing fertile ground for the filmmaker’s command of aesthetic realism and closeknit interpersonal dynamics.
    • 63 Metascore
    • 74 Jacob Oller
    It doesn’t always work, and it’s a little messy in its attempt, but the ambition to manipulate a cash-grab into something evolutionary—something many legacyquels wish for but almost never attempt so brazenly—makes this Matrix the rare resurrection resulting in more than a sad IP zombie.
    • 71 Metascore
    • 68 Jacob Oller
    After so long playing with the legacy and impact of Spider-Man, No Way Home finds its way back.
    • 85 Metascore
    • 91 Jacob Oller
    Shoot it loud and there’s music playing; shoot it soft and it’s almost like praying: Steven Spielberg’s West Side Story pumps the classic for exactly that, classicism, by milking the musical’s dynamics for maximum expressiveness. Its romance? At its most tender. Its dance? At its most invigorating and desperate. Its songs? As if “Maria” or “Tonight” needed another reason to stick in your head, they’re catchier than ever.
    • 78 Metascore
    • 86 Jacob Oller
    The Summit of the Gods’ complex storytelling and convincingly lovely vistas make its philosophical case well: Whether you’re risking it all to get to a peak, to get to the bottom of a mystery, or to create a painstaking piece of animation, you’re lucky enough to have something you love.

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