IGN
For 81 reviews, this critic has graded:
  • 74% higher than the average critic
  • 7% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Matt Fowler's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 90 Derek DelGaudio’s In & Of Itself
Lowest review score: 20 Cosmic Sin
Score distribution:
  1. Positive: 38 out of 81
  2. Negative: 2 out of 81
81 movie reviews
    • 66 Metascore
    • 70 Matt Fowler
    Werewolves Within easily separates itself from the pack by delivering a quirky monster mystery filled with gentle laughs and massive maulings. Not every joke lands, and not every character fits, but overall it's an entertaining alternative to the season's more ghoulish and grim offerings.
    • 41 Metascore
    • 60 Matt Fowler
    The Woman in the Window has both flash and fizzle. Amy Adams is great in the lead role, presenting us with a shattered recluse who wages war on lucidity daily, but the rest of the cast, while noteworthy, are sort of relegated to being plot pawns. Still, if you're looking for a higher class of claustrophobic Noir, and don't care too much about the resolution, there's a playfulness on display here that might scratch an airport novel itch.
    • 81 Metascore
    • 70 Matt Fowler
    A pleasant surprise that both undermines and elevates typical revenge sagas, Riders of Justice is a unique blend that charms and captivates.
    • 57 Metascore
    • 60 Matt Fowler
    Wrath of Man has plenty of anger and action, and it's at its intriguing best when the entire story gets sorted out and all the players are on the board, but it stumbles at being a time-release mystery.
    • 81 Metascore
    • 80 Matt Fowler
    The Mitchells vs. The Machines is a ridiculous, riotous, and relevant adventure fill with great humor and winning sentiment.
    • 64 Metascore
    • 70 Matt Fowler
    Synchronic isn't a home run, but a decent time travel triple is always welcome.
    • 65 Metascore
    • 80 Matt Fowler
    The Courier is a tense, well-executed spy drama that wisely focuses on character and performance more than thrills, knowing that if we actually care about these men it will drastically heighten every narrowed glance, near miss, and frightful chase. It's not always the freshest adventure, but that's when the acting carries the piece and breathes life into these unlikely heroes.
    • 44 Metascore
    • 60 Matt Fowler
    While sci-fi is generally rife with allegories, a steadier hand was needed here in Voyagers. The messaging, though noble and necessary, feels obvious to the point that it takes you out of the film. The cast is talented and the premise is promising, but the story plays out in a predictable fashion, which also works, in a way, to undercut the meaning.
    • 9 Metascore
    • 20 Matt Fowler
    Cosmic Sin is an excruciating watch, top to bottom, featuring an absolute mess of camera work, scenes where actors don't interact with one another, and bottom barrel sci-fi leftovers.
    • 66 Metascore
    • 80 Matt Fowler
    This contest of wicked wills is a vibrant, penetrating Pandora's Box of predicaments and likeable yet evil central characters, played with satirical skill by Rosamund Pike and Peter Dinklage.
    • 32 Metascore
    • 60 Matt Fowler
    Tom and Jerry hit the big screen for a hybrid live-action romp that too often feels like it's not even their movie.
    • 44 Metascore
    • 50 Matt Fowler
    Cherry is big on style and features a bouncy, pricey soundtrack but its examination of the grim reality behind the veteran/addiction cycle feels rather routine. Holland breaks down many barriers here, performance-wise, and delivers the goods as a fantastic surrogate for societal ills, but the movie is plodding and, overall, an underwhelming patchwork of previous projects.
    • 44 Metascore
    • 60 Matt Fowler
    Willy's Wonderland is a no-frills splatterfest that, while straining to fill its runtime, finds mid-level chills and thrills thanks to Nic Cage bashing the hell out of weaponized pizza parlor characters. It's a shoestring slasher that gets the job done while also not fully rounding a few of the corners it teases.
    • 82 Metascore
    • 90 Matt Fowler
    Derek DelGaudio's In and Of Itself is a beautiful, powerful performance that employs art, illusion, storytelling, and its own audience to explore aspects of identity, isolation, and our own desperate drive to figure out who we are as individuals. There's nothing quite like it, which, as goes the uniqueness of humanity, is the point.
    • 46 Metascore
    • 60 Matt Fowler
    Wrong Turn delivers a handful of timely twists and coats the franchise with a new, and vastly more interesting, sheen. It stumbles at times to balance all the themes it's trying to handle with regards to societal ills, individual value, and self-determinism but the end result is still a warped ride that could set up more thrills to come.
    • 44 Metascore
    • 50 Matt Fowler
    The Marksman is perfectly watchable old man reckoning cinema, held together by good performances by Liam Neeson and young Jacob Perez, but it's ultimately not much more than an assembly line of non-surprises.
    • 45 Metascore
    • 50 Matt Fowler
    Outside the Wire is too long, too impenetrable, and not fun enough to warrant its lofty man vs. machine gimmick. It's fun to watch Anthony Mackie assume the role of a smart, cordial killbot, but the film's occasionally exciting bits of action aren't enough to breathe life into this muddled mess of a story.
    • 58 Metascore
    • 60 Matt Fowler
    George Clooney's The Midnight Sky is a gorgeous, glossy doomsday odyssey that feels like too big a winter coat on a small, fragile frame.
    • 27 Metascore
    • 40 Matt Fowler
    Grimy, "topical" pandemic adventure Songbird is pretty much D.O.A. It struggles to find life in its secluded settings while also, overall, just leaving a bad taste in your mouth. The love story never catches hold, the ensemble never gels, and the contrivances pile up beyond all repair.
    • 38 Metascore
    • 50 Matt Fowler
    Glenn Close and Amy Adams shine in Ron Howard's new, rather unfocused film about abuse, poverty, and addiction.
    • 51 Metascore
    • 70 Matt Fowler
    The Christmas Chronicles: Part Two, directed and co-written by Chris Columbus, once again takes full advantage of Kurt Russell's exuberance as Santa -- and the full addition of Goldie Hawn's Mrs. Claus -- for a rewarding romp about young Kate Pierce's need to rediscover the holiday spirit.
    • 56 Metascore
    • 60 Matt Fowler
    The Croods: A New Age is a mightily medium follow-up to the 2013 original. The voice cast is great and the jokes are the perfect type of clever, where both kids and adults can get a good laugh. The story and emotional stakes are a touch thinner this time but that's to be expected, for the most part, from this type of animated sequel.
    • 69 Metascore
    • 80 Matt Fowler
    Jingle Jangle: A Christmas Journey already feels like a timeless treat. Though it's a little longer than it needs to be, Jingle Jangle is still filled with enticing visuals, holiday heart, and seasonal cheer. It instantly feels like a snug, fabled world ready to be explored.
    • 68 Metascore
    • 90 Matt Fowler
    Borat Subsequent Moviefilm may not contain all of the shock and awe of the original, since exposing racists has sadly sort of become commonplace, but it still contains an avalanche of awkward, anxiety-cranking moments that'll have you laughing while watching through your fingers like you would a horror movie.
    • 71 Metascore
    • 80 Matt Fowler
    The Outpost is a cleverly, and respectfully, crafted war film that uses a segmented, episodic approach to help you invest in the characters while building up to a very impressive battle sequence.
    • 53 Metascore
    • 50 Matt Fowler
    Hubie Halloween is aggressively stupid, sure, but it's also occasionally endearing (with a guilty chuckle or two).
    • 51 Metascore
    • 70 Matt Fowler
    Peninsula feels fairly derivative when compared to the tighter and more terrifying Train to Busan, but on its own, as an expansion of this universe, it's a rollicking ride through a hollowed-out hellscape. It's almost a complete genre shift, but not an unrewarding one.
    • 62 Metascore
    • 80 Matt Fowler
    The Rental boats a strong cast, an intriguing set up, and a compelling mystery. It's a fun and feisty web of lies and deception with the added bonus of having a shadowy, stalking presence surrounding everything and everyone like a God-hand. It's a small film, but it's tense, dense, and delivers a harrowing final act.
    • 83 Metascore
    • 80 Matt Fowler
    It plays into the dystopian fantasy of being able to reinvent yourself in a lawless world, delivering a clever tale about what it takes for someone who's not a part of existence to want to reengage with life.

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