For 276 reviews, this critic has graded:
  • 34% higher than the average critic
  • 14% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 16.3 points lower than other critics. (0-100 point scale)

Martin Tsai's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 100 Welcome to Leith
Lowest review score: 0 Anger of the Dead
Score distribution:
  1. Positive: 67 out of 276
  2. Negative: 94 out of 276
276 movie reviews
    • tbd Metascore
    • 90 Martin Tsai
    Easily the most thrilling thriller in recent memory, Crush the Skull seems destined for cult status.
    • tbd Metascore
    • 40 Martin Tsai
    Earnest and well-meaning, The Congressman devolves into predictable schmaltz.
    • tbd Metascore
    • 70 Martin Tsai
    Offering more than a portrait of a woman about town, Rokah gradually exhumes the hardship of surviving the streets of Los Angeles for four decades and the associated stigma and shame that have prevented Haist from reaching out to family.
    • tbd Metascore
    • 40 Martin Tsai
    The temporal puzzle is enough to distract from the artless direction, visibly cheap set designs and tacky special effects. But if the expository scenes are any indication, his writing could benefit from some refinement.
    • tbd Metascore
    • 70 Martin Tsai
    Mastretta does beautifully realize the fluidity and messiness of coupling.
    • 56 Metascore
    • 40 Martin Tsai
    Directors Jonathan Yi and Michael Haertlein put the focus on the standard reality-TV repertoire like "Making the Band." Their repeated disregard for Hioki's pleas to go off the record smacks of opportunism and exploitation rather than revelation.
    • 47 Metascore
    • 50 Martin Tsai
    Pandemic proves serviceably frightening, if sporadically gory, maximizing tension derived from unknown dangers lurking in dark corridors and behind closed doors.
    • 38 Metascore
    • 30 Martin Tsai
    The film persistently misses the mark as a raunchy comedy amid all the side commentaries and Park's earnest tone. Yet it's equally clumsy at making sense of its portrayals of the indignities that Asian Americans routinely endure.
    • tbd Metascore
    • 50 Martin Tsai
    It's little more than an artsy but hollow Lifetime cable movie.
    • 69 Metascore
    • 90 Martin Tsai
    Crass and macabre, yet big-hearted, it makes a wonderfully adult bedtime story.
    • 14 Metascore
    • 20 Martin Tsai
    It doesn't help that what passes for acting here seems more like a table read.
    • 25 Metascore
    • 20 Martin Tsai
    Agron's screenplay and Harvey Lowry's direction seem more concerned with scattering bread crumbs than fashioning credible characters and an engaging story.
    • 28 Metascore
    • 60 Martin Tsai
    "Black” foregoes too much scene-setting, chronology and logic to stand completely on its own. As a piece of cultural criticism, however, it painstakingly eviscerates nearly every scene in “Grey” and skewers latent sexism, classism and ludicrous sexual innuendoes, as well as the original’s numerous plot holes.
    • 73 Metascore
    • 60 Martin Tsai
    Foley's family members, colleagues and prison cell mates vividly recount his 2011 imprisonment in Libya, his difficulty reacclimating to home life in sleepy New England after his release, before leaving again for Syria and enduring imprisonment by ISIS.
    • 42 Metascore
    • 30 Martin Tsai
    If only writer Stacey Menear and director William Brent Bell took the very real horrors of domestic abuse as seriously as they do the virtual horror of paranormal activity.
    • 45 Metascore
    • 70 Martin Tsai
    Despite [Bell's] casual aura, the filmmaker is eloquent and thoughtful. He argues that Big Pharma merely services consumer demand for quick fixes with "magic" pills, bringing his cautionary tale full circle.
    • 38 Metascore
    • 40 Martin Tsai
    Writer-director Ken Kwek means for the proceedings to be farcical, but seldom are they actually funny. A former journalist, he's quite observant of the clashes among the classes and cultures in this diverse society.
    • tbd Metascore
    • 0 Martin Tsai
    Coming off like a hodgepodge of rejected spec scripts for "The Walking Dead," Anger of the Dead reveals particularly misogynistic and misanthropic filmmaking.
    • 53 Metascore
    • 100 Martin Tsai
    Advocacy documentaries simply don't get better or more compelling than this.
    • 70 Metascore
    • 30 Martin Tsai
    Since the rally ultimately proved ineffectual, the film could at the least serve as a sobering postmortem on where it fell short. But filmmaker Amir Amirani instead gives protesters a figurative pat on the back by insinuating that they helped inspire the Egyptian revolution some eight years later.
    • tbd Metascore
    • 30 Martin Tsai
    There's no characterization to the cartel members beyond freeze-frame title cards; they are interchangeable and expendable.
    • tbd Metascore
    • 70 Martin Tsai
    The personality flaws of the characters and the dysfunctions of the household are instantly recognizable from this very capable cast, yet they never come off as cliché.
    • 76 Metascore
    • 70 Martin Tsai
    The slow-motion close-ups alone should convince you these magnificent creatures are well worth the effort.
    • tbd Metascore
    • 30 Martin Tsai
    Writer-director Diane Bell suggests that these women are so steeped in low self-esteem and codependency that they would not be able to leave their men if they didn't have each other.
    • 24 Metascore
    • 0 Martin Tsai
    Who knew a movie seemingly meant to spread holiday cheer could be so off-putting in an almost sadistic way?
    • 36 Metascore
    • 60 Martin Tsai
    Demski and director Chris Kasick wrap up the story neatly — in both senses of that word — by suggesting that we can all feel better at somebody else's expense.
    • 47 Metascore
    • 70 Martin Tsai
    The cast and crew work like a well-oiled machine, delivering the quality drama we've come to expect from British TV imports.
    • 68 Metascore
    • 80 Martin Tsai
    Although the film qualifies as an advocacy documentary, director Fredrik Gertten has put in the time to capture how these cities' unique scenarios unfold to mount a compelling case against the powerful automotive, oil and construction lobbies.
    • 54 Metascore
    • 40 Martin Tsai
    Through a first-person narration, Bialis makes much of the film about herself. Her account certainly turns the daily travails of living in Sderot into something tangible for viewers. But at the same time, her life-experience narrative proves a distraction and a disservice to the promise of the film's title.
    • 60 Metascore
    • 40 Martin Tsai
    With the mixing of the sprawling family tree with geopolitical imbroglios already proving daunting for viewers, the filmmaker exacerbates the confusion by eschewing a linear chronology.

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