Matt Zoller Seitz

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For 501 reviews, this critic has graded:
  • 69% higher than the average critic
  • 1% same as the average critic
  • 30% 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: 73
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 37 out of 501
501 movie reviews
    • 84 Metascore
    • 100 Matt Zoller Seitz
    You think [Spielberg's] giving you everything and that it's all right there on the surface, but the movie lingers in the mind, and the longer it stays there, and the more times you re-watch it, the more you realize it's giving you something different from, and better than, what you saw the first time.
    • 82 Metascore
    • 75 Matt Zoller Seitz
    EO
    It's as much an anthropological pseudo-documentary as it is a drama, one that sometimes evokes the Terrence Malick philosophy of "The Thin Red Line," which began by insisting that humans are a part of nature and that when humans war with other humans, it is nature warring with itself.
    • 73 Metascore
    • 75 Matt Zoller Seitz
    Some experiences are so profound (and/or scarring) that they elude explication. The Inspection is about that sort of experience, which translates far beyond boot camp and resonates through our lives, until the final trumpet fades.
    • 74 Metascore
    • 88 Matt Zoller Seitz
    There’s only one character here, but the institution is still illuminated by verbal storytelling, as well as our observations about how the speaker comports herself as she describes her situation.
    • 65 Metascore
    • 75 Matt Zoller Seitz
    Good Night Oppy may be especially resonant for younger viewers who are interested in science but might not yet realize that there's more to it than crunching numbers and drawing charts.
    • 80 Metascore
    • 75 Matt Zoller Seitz
    If Black & Blues returns to the same melody a few too many times, it doesn't diminish the overall achievement, which feels free in a way that these sorts of films rarely do.
    • 41 Metascore
    • 88 Matt Zoller Seitz
    Directed by Jaume Collet-Serra, and featuring a remarkable lead performance by Dwayne Johnson, the spiky and majestic Black Adam is one of the best DC superhero films to date.
    • 64 Metascore
    • 88 Matt Zoller Seitz
    The movie adaptation is typically described in articles and on streaming platforms as an "erotic thriller" or simply "a thriller." But as is so often the case with Denis' films, that's a misleading way to characterize, or even think about, what's actually onscreen, which is more of a vibe than a story, and all the more fascinating because of that choice.
    • 85 Metascore
    • 88 Matt Zoller Seitz
    Morris' direction offers other filmmakers a template for how to make a small movie that feels big, just by making definitive choices and sticking to them.
    • 72 Metascore
    • 100 Matt Zoller Seitz
    It's filled with images of ordinary objects and situations that have been filmed in such surprising and revealing ways by Davenport that when you encounter them again in your own life, you will see them differently, and think of Davenport's work.
    • 61 Metascore
    • 63 Matt Zoller Seitz
    This is a compelling story about persistent problems that affect the majority of Americans, even though you don't hear about them very often in mainstream media. The blunt title says it all.
    • 66 Metascore
    • 75 Matt Zoller Seitz
    The characters are constructs who are so aware of themselves as constructs (and the plot, too) that there's really no reason why we should feel for them, but we do, thanks to the lead performances, the direction, and the kidding/not kidding vibe of the entire production.
    • 62 Metascore
    • 75 Matt Zoller Seitz
    François Ozon's "Peter von Kant" is an odd, chilly film, even by this director's standards.
    • 90 Metascore
    • 100 Matt Zoller Seitz
    Bianca Stigter's documentary Three Minutes: A Lengthening is a great film about filmmaking and a quietly devastating memorial for lives long gone.
    • 51 Metascore
    • 63 Matt Zoller Seitz
    Everyone in this cast does their best to strike the right balance between seeming in on the joke and acting like all of this bloody absurdity is normal.
    • 49 Metascore
    • 63 Matt Zoller Seitz
    Bullet Train is at its best when it's a comedy about self-styled badasses who think they're free agents but are really all just passengers on a train rocketing from one station to another, oblivious to the desires of any individual riding on it. The abstractness and "it's all a lark" humor ultimately undo any aspect that might otherwise sink its roots into the viewer's mind.
    • 65 Metascore
    • 63 Matt Zoller Seitz
    A jumbled, fitfully amusing, occasionally fascinating effort, but one that shows promise even when it's stumbling over its ambition and falling prey to some of the same stereotypes about "red" and "blue" (or reactionary and progressive) America that it keeps intimating that Americans need to get beyond.
    • tbd Metascore
    • 88 Matt Zoller Seitz
    It's torment in cinematic form, made comprehensible and engrossing by its focus on a singular experience, and the performance that anchors it.
    • 83 Metascore
    • 100 Matt Zoller Seitz
    Fire of Love is one of a vanishingly rare breed of documentary that is determined to be "total cinema," not just capturing the facts of what happened to its subjects but creating an entire aesthetic—a vibe—around them.
    • 40 Metascore
    • 25 Matt Zoller Seitz
    This is the kind of earnest but inept and obliviously indulgent indie flick that a film festival's artistic director would program in full awareness of its deficiencies, because they thought the name of someone associated with the project (in this case, the director) will put butts in seats.
    • tbd Metascore
    • 63 Matt Zoller Seitz
    First Love is an earnest but unremarkable romance wrapped around an intelligent and sometimes powerful story of the destruction that capitalism inflicts on middle-class American families.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    The film's main goal is to make us laugh and pull the rug out out from under us. But while there's a bit of pathos here and there, the movie doesn't add up to much in the end.
    • 38 Metascore
    • 50 Matt Zoller Seitz
    Ninety minutes of footage like this, minus any characters or plot at all, probably would've resulted in an artistically better use of a couple hundred million dollars than "Jurassic World: Dominion," which will doubtless be a smash on the order of all the other entries in the franchise, even though it doesn't do much more than the bare minimum you'd expect for one of these films, and not all that well.
    • tbd Metascore
    • 75 Matt Zoller Seitz
    By the time the film eases into its final stretch, it becomes a sub-genre of drama that I call "accidental radio," meaning that even though there are pictures, you might not see them all because you're covering your eyes a lot of the time.
    • 63 Metascore
    • 88 Matt Zoller Seitz
    Part of the film's specialness lies in the fact that there seems to be little rhyme or reason to the choices it makes, or when it decides to make them.
    • 73 Metascore
    • 88 Matt Zoller Seitz
    This is a dazzling movie, all the more so for being made on a seemingly tiny budget. Emergency has a lot to say even though it never carries itself as a film that has a message.
    • 73 Metascore
    • 75 Matt Zoller Seitz
    There are many rewards to be found here, not the least of which is a skill at staging scenes with beginnings, middles, and ends that are entirely dependent upon the subtle interactions of a few actors who live or die on the basis of the words they've been given to speak, and the silences they've been encouraged to inhabit.
    • 60 Metascore
    • 75 Matt Zoller Seitz
    Trocker is deft at creating situations that go right up to the edge of blatant symbolism or metaphor, bit resist the urge to pitch themselves over the brink and become blatant and simplistic.
    • 71 Metascore
    • 100 Matt Zoller Seitz
    Like its lead character, and the actor who plays him, Barry Levinson's The Survivor initially presents as familiar and comprehensible. The biographical drama then proceeds to surprise its audience, not with plot twists—we're told at the outset what the character's issues are, and have a pretty good idea of where the story is going to end up—but with how it keeps finding little ways to complicate and deepen every relationship and moment.

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