Matt Zoller Seitz

Select another critic »
For 375 reviews, this critic has graded:
  • 68% higher than the average critic
  • 1% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 7.9 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Meddler
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 28 out of 375
375 movie reviews
    • 74 Metascore
    • 75 Matt Zoller Seitz
    End of Sentence, a road trip film that starts in Alabama and ends in Ireland, is another performance to place in Hawkes' "All Time Best" file, a drawer so stuffed by this point that you can barely get the damned thing closed.
    • 58 Metascore
    • 75 Matt Zoller Seitz
    This is subtly acted by both leads, especially when the characters fall silent and you see shades of doubt and sadness flicker across their faces.
    • 46 Metascore
    • 63 Matt Zoller Seitz
    The star's Capone Voice is really something else, though — right up there with Hardy's Bane in "The Dark Knight Rises" and the title character of "Bronson" and the murderous trapper in "The Revenant" in goofy daring, as well as raw material for celebrity impressions that one might attempt while buzzed at a party. No matter how many times you hear it, it never seems to issue organically from the man on the screen.
    • 73 Metascore
    • 100 Matt Zoller Seitz
    As cinema, it's not trying to reinvent any wheels. But it's an impressive example of basic storytelling techniques refined for maximum impact, each element reinforcing and feeding off every other element, as in the enclosed ecosystem that it depicts.
    • 72 Metascore
    • 88 Matt Zoller Seitz
    This an impressive debut movie, revolving around the sorts of lower middle-class people rarely seen in American cinema anymore, told in a style that's just as much of a throwback. It gives veteran character actors a chance to shine, not just in lead roles but supporting parts and one-scene cameos written so thoughtfully that you can picture the character starring in a movie of their own.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    Adapted by screenwriter Shaun Grant from the novel by Peter Carey, and directed by Justin Kurzel, "True History" is a dream, or nightmare, about Ned, his family, Australia, manhood, womanhood, and how hard it is for poor people to escape the class they were born into.
    • 41 Metascore
    • 38 Matt Zoller Seitz
    The dark comedy Bad Therapy, about a married couple that becomes prey for a disturbed and manipulative therapist, contains so many promising elements that it's a shame that it never figures out how to mold them into a satisfying shape.
    • 39 Metascore
    • 63 Matt Zoller Seitz
    It takes its sweet time getting to the point, and generally speaking, the less interested it is in moving the plot along, the weirder and funnier it becomes.
    • 61 Metascore
    • 50 Matt Zoller Seitz
    The voice-over explains things that we could have understood from looking at the images. It rarely passes up the opportunity to drop in a cliche.
    • 44 Metascore
    • 50 Matt Zoller Seitz
    It has a goofy grin on its face from frame one. But it never quite figures out how to pass its good vibrations to the audience.
    • 51 Metascore
    • 50 Matt Zoller Seitz
    Human Capital is so exquisitely cast, down to the smallest role, that it puts viewers in the unusual position of wishing a film were a TV series or a much longer movie, the better to take advantage of its best assets.
    • 78 Metascore
    • 100 Matt Zoller Seitz
    It’s one of the year’s best and most distinctive movies, though sure to be divisive, even alienating for some viewers, in the manner of nearly all Malick’s films to one degree or another.
    • 45 Metascore
    • 38 Matt Zoller Seitz
    It's the kind of film where you start trying to guess which of the characters will turn out to be a figment of the narrator's imagination. The answer, of course, is all of them.
    • 81 Metascore
    • 100 Matt Zoller Seitz
    This is one of the great contemporary films about the look and feel of a big city after dark, luxuriating in the vastness of almost-empty avenues lit by buzzing streetlamps. It's a real-life answer to fiction movies like "Taxi Driver," "Bringing Out the Dead," "Collateral," "Nightcrawler" and "The Sweet Smell of Success."
    • 89 Metascore
    • 100 Matt Zoller Seitz
    I didn't come out of this one feeling depressed or even particularly sad, more reflective. The sheer breadth and depth of this series creates its own sort of poetry, one that's strangely indistinguishable from journalism.
    • 85 Metascore
    • 75 Matt Zoller Seitz
    Once in a while you encounter a piece that seems like a premeditated farewell — a conscious summing-up of the life and work — whether or not it was intended that way. Varda by Agnès, a combination autobiography and career survey overseen by the filmmaker, is that kind of movie.
    • 73 Metascore
    • 75 Matt Zoller Seitz
    At its most controlled and insinuating, Dark Waters is reminiscent of paranoid thrillers from the 1970s like "The Parallax View" and "Chinatown," where you know going in that you're going to see a story about how profoundly bad things are, thanks to corporate influence over government as well as the economy, but the extent of the corruption is still shocking.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    It's worth seeking out for the way it observes psychologically complex small-town characters struggling to endure present-day hardships and past traumas.
    • 65 Metascore
    • 75 Matt Zoller Seitz
    The goofy and charming Klaus probably plays better if you don't know going in that it's a Santa Claus origin story.
    • 60 Metascore
    • 50 Matt Zoller Seitz
    Lean, sincere, impassioned filmmaking, yet it fails to leave as much of an impression as it clearly wants to.
    • 60 Metascore
    • 75 Matt Zoller Seitz
    The most surprising thing about director/writer/star Edward Norton’s Motherless Brooklyn is how drastically it departs from its source.
    • 43 Metascore
    • 50 Matt Zoller Seitz
    The result is a disappointment that's more crushing than an outright bad movie would be. The original, despite its flaws, had moments of primal power and deep understanding of what drives people, qualities that are mostly lacking here.
    • 72 Metascore
    • 80 Matt Zoller Seitz
    Beyond its brash confidence as a piece of filmmaking and its homages to the Western (including the use of a wider frame than was used on the show), El Camino is fan service executed at a very high level — an attempt to answer the perennial child’s bedtime-story question, “And then what happened?” after the words “The End” have already been pronounced and the parent has reached for the light switch.
    • 70 Metascore
    • 100 Matt Zoller Seitz
    It weaves every detail — whether provided by an on-camera witness, a document, a drawing, a painting or a photograph — around that set of intertwined arguments, which are too complex to explain in this review, but come across powerfully by the time the credits roll.
    • 94 Metascore
    • 88 Matt Zoller Seitz
    Alternately sad, violent, and dryly funny.
    • 70 Metascore
    • 75 Matt Zoller Seitz
    In his mind, Cohn was still the hero of his own story. And we get the impression from this film that, right up to the bitter, agonized end, he was engaged in an internal battle to justify himself to himself, and to the world.
    • 64 Metascore
    • 88 Matt Zoller Seitz
    It works. It really works. It's goodhearted and clever, and it knows when to end.
    • 59 Metascore
    • 88 Matt Zoller Seitz
    It isn’t until deep into “Moonlight Sonata” that you start to realize how many patterns Brodsky has woven into the fabric of this tale.
    • 56 Metascore
    • 63 Matt Zoller Seitz
    This is the kind of film that explains itself too early and then has nowhere to go except into rote, B-picture thrills.
    • 74 Metascore
    • 75 Matt Zoller Seitz
    This documentary does a fine job of capturing what made her special.

Top Trailers