Matt Zoller Seitz

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For 310 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 7.8 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Sunset Song
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 26 out of 310
310 movie reviews
    • 55 Metascore
    • 88 Matt Zoller Seitz
    Aquaman is as concerned with scientific accuracy as “SpongeBob Squarepants.” And that’s one of many reasons why I like it.
    • 51 Metascore
    • 50 Matt Zoller Seitz
    The whole movie feels oddly stranded and dramatically inert, despite the obvious passion that went into making it.
    • tbd Metascore
    • 88 Matt Zoller Seitz
    This is an ambitious and enlightening documentary, filled with wisdom and asking great questions, some of which may never have a satisfying answer.
    • 32 Metascore
    • 50 Matt Zoller Seitz
    You could build a suspension bridge over the gap between what Robin Hood could have been and what it is. Its hero is credible as a man who wants to rob from the rich and give to the poor, but the storytelling is so impoverished that the message can't stick.
    • 38 Metascore
    • 50 Matt Zoller Seitz
    The devil figure is Federico (Riccardo Scamarcio, last seen in "John Wick: Chapter Two"). He's eloquent, charming, faintly sinister man who, as Bryan points out, seems to magically appear in their lives at moments of crisis.
    • 93 Metascore
    • 100 Matt Zoller Seitz
    The women are all compelling though never too-polished storytellers. Whether they succumb to the horror of what they're describing and start to cry or remain stoic throughout becomes part of the experience of hearing the tale.
    • 78 Metascore
    • 75 Matt Zoller Seitz
    Wang's movie is empathetic enough not to pass negative judgment on the characters as they muddle through their experience.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    Part rap musical, part social satire, with elements of Westerns and kung fu pictures, Bodied is one of the funniest, freest movies of the year.
    • 71 Metascore
    • 88 Matt Zoller Seitz
    It feels immediate and rings true, thanks to the performances of its lead actors, and the storytelling of director Yen Tan and his co-writer, co-editor. and cinematographer, the single-named Hutch.
    • 91 Metascore
    • 100 Matt Zoller Seitz
    A Bread Factory is an idealistic statement about the importance of art in everyday life. It's about how a scene from a play or a line from a poem can cast a new light on your problems or dreams, maybe put a whole new frame around your life, your community, and the culture and nation that helped shape you.
    • 91 Metascore
    • 100 Matt Zoller Seitz
    The most surprising and challenging thing about Part Two is how it takes one of the central ideas from Part One—art's ability help us understand and express ourselves in everyday life—and externalizes it, so that creativity that might otherwise have been confined to the stages of the arts centers erupts into the world outside.
    • 57 Metascore
    • 75 Matt Zoller Seitz
    Galveston is the film equivalent of a familiar, not too special song that's been brilliantly re-arranged and performed.
    • 84 Metascore
    • 75 Matt Zoller Seitz
    The objective seems to be to make you feel, by the end, as if you've walked a million miles in Neil Armstrong's boots. On that score, judged solely as a spectacle, First Man has to be considered a success — especially if you see it in IMAX format.
    • 83 Metascore
    • 100 Matt Zoller Seitz
    The film's writer-director, Tamara Jenkins is a brilliant chronicler of upper-middle class white people and their foibles, and her eye for detail is anthropologically exact, empathetic but never begging for sympathy.
    • 43 Metascore
    • 63 Matt Zoller Seitz
    Nothing about it makes a lot of sense, but then, nothing about classic old comedies starring people like W.C. Fields or Laurel and Hardy made much sense, because they about oddballs getting into trouble and then trying to get out of it.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Bisbee '17 is also about the artifice of storytelling and the alchemy of acting, and that magic moment when we decide to forget that we're seeing performers pretending to be long-dead people.
    • 93 Metascore
    • 100 Matt Zoller Seitz
    Its easygoing intimacy is what puts it over the top.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    A solid hangout movie as well as a band-of-buddies film — genres that tend to revolve around young men. It's also a movie that deliberately blurs the line between documentary and fiction: the main characters are all real New York skaters who are playing characters who are very close to themselves in real life.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    The movie never entirely convinces us that its heroine has the capacity to kill, although her pain and loss are conveyed with skill by Fishback.
    • 49 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately, the film never finds a way into Berg's personality that explores his many facets without reducing him to a blank-slate character at the center of a traditionally-made period thriller.
    • 62 Metascore
    • 75 Matt Zoller Seitz
    It's satisfying, for the most part—a solid romantic comedy with sharp dialogue, amusing characters, a soundtrack of well-worn feel-good hits, and a few surprises up its sleeve. Its only major flaw is an inability to imagine the bosses as richly as the leads.
    • 87 Metascore
    • 100 Matt Zoller Seitz
    Creepy beyond belief, Hereditary is one of those movies you shouldn't describe in detail, because if you do, it will not only ruin surprises but make the listener wonder if you saw the film or dreamed it.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    As unnecessary prequels go, Solo: A Star Wars Story isn't bad. It's not great, either, though—and despite spirited performances, knockabout humor, and a few surprising or rousing bits, there's something a bit too programmed about the whole thing.
    • 66 Metascore
    • 63 Matt Zoller Seitz
    Since Deadpool 2 shows no sign of wanting to rewrite a whole genre with its audacity, we might as well concede that it does the job it apparently wants to do with professionalism and flair, and that the faster we end this piece, the faster you can go on social media and complain about it.
    • 46 Metascore
    • 50 Matt Zoller Seitz
    So preoccupied with giving its star's wish fulfillment fantasies that it forgets to make sure all the other major characters seem like characters, rather than underdeveloped notions.
    • tbd Metascore
    • 38 Matt Zoller Seitz
    The comedy thriller The Con is On is a Who's Who of 1990s indie film character actors, but the movie ends up delivering a lot of cliches from that brief but extremely specific era of filmmaking, and not necessarily the ones you might want.
    • 68 Metascore
    • 63 Matt Zoller Seitz
    This movie shouldn't just engage and amuse and occasionally move us; it should shock and scar us. It should kill Ned Stark and Optimus Prime and Bambi's mommy, then look us in the eye after each fresh wound and say, "Sorry, love. These things happen."
    • 46 Metascore
    • 50 Matt Zoller Seitz
    This all sounds like it could make for a fascinating movie. But The Devil and Father Amorth feels at once bloated and slight, like a DVD supplement puffed up to feature length (an hour and eight minutes, just long enough to be exhibited in theaters as a stand-alone title).
    • 38 Metascore
    • 50 Matt Zoller Seitz
    This is not a particularly fascinating movie, unfortunately, despite being well-done in most of the superficial ways.
    • 80 Metascore
    • 88 Matt Zoller Seitz
    If you have a good idea, a strong cast, a smart script, and directorial chops, you don't need a lot of money to make a compelling movie. The Endless is proof.
    • 44 Metascore
    • 50 Matt Zoller Seitz
    The cast is filled with actors doing everything they can to make their characters as memorable as possible even when the script (credited to four people) isn't lending them the support they deserve.
    • 45 Metascore
    • 12 Matt Zoller Seitz
    The cast's heroic exertions fail to save Flower from its own worst tendencies.
    • 48 Metascore
    • 75 Matt Zoller Seitz
    Much better and more original than anyone could have expected.
    • 69 Metascore
    • 88 Matt Zoller Seitz
    It's less concerned with covering the totality of his life than evoking his life force, which is good-humored, earthy and inspiring.
    • 53 Metascore
    • 63 Matt Zoller Seitz
    There's a lot here that feels insufficiently shaped or fitfully realized, but at the same time, there's a lot to like. It's the Platonic ideal of a mixed bag. The newness of the new parts counterbalances the ineffectiveness of the stuff that seemingly every fantasy blockbuster does, and that this one doesn't do well.
    • 31 Metascore
    • 38 Matt Zoller Seitz
    The new Death Wish is a vigilante film that's also about vigilante film cliches, when it remembers to think about such things, which is only occasionally. Most of its attempts to subvert or freshen up familiar elements aren't well developed, and they're certainly never strong enough to counter the bloodlust and gun worship that's invariably going to power this kind of project.
    • 66 Metascore
    • 88 Matt Zoller Seitz
    This is one of the best surprises of a still-young movie year: a comedy that takes nothing seriously except fun.
    • 68 Metascore
    • 75 Matt Zoller Seitz
    What makes Early Man enjoyable is the way Park and his writers detail the heroes' good-natured oafishness and the bad guys' snooty arrogance.
    • 71 Metascore
    • 63 Matt Zoller Seitz
    Golden Exits made me want to get up and go do something sensible and productive, so as to not be like the characters in the film.
    • 45 Metascore
    • 50 Matt Zoller Seitz
    To call Clint Eastwood's The 15:17 to Paris a mixed bag would be generous. It packs all the wild action you came to see into a 20-minute stretch near the end, and elsewhere gives us something like a platonic buddy version of Richard Linklater's "Before" trilogy.
    • 37 Metascore
    • 38 Matt Zoller Seitz
    The Cloverfield Paradox is a bit of a scam job, promising to reconcile entries in a series that have little in common save for a shared genre. It fizzles so badly at the end that you might legitimately wonder if it ever had anything to do with the other two films in the first place, or if it was produced independently of the series and retroactively added.
    • 62 Metascore
    • 38 Matt Zoller Seitz
    Despite a few good scenes and ideas, and a final ten minutes that will be affecting for anyone who lived through the aftermath of the attacks on New York, the end product often feels like a standard-issue high concept romantic comedy with scaffolding of 9/11 solemnity built around it.
    • 67 Metascore
    • 75 Matt Zoller Seitz
    As an evocation of on-the-ground political reality, The Final Year is a a solid and often entertaining work in much the same wheelhouse as the durable political documentary "The War Room."
    • 56 Metascore
    • 50 Matt Zoller Seitz
    Frustratingly not-quite-there from start to finish.
    • 57 Metascore
    • 63 Matt Zoller Seitz
    The film is worth seeing because, regardless of things that I wish had been done better or differently, it feels like the beginning of a major filmmaking career, and because Pettyfer and Freedson-Jackson are so strong.
    • 72 Metascore
    • 75 Matt Zoller Seitz
    A long-winded but engrossing kidnap thriller.
    • 58 Metascore
    • 75 Matt Zoller Seitz
    This is a likable, funny diversion, and sometimes more than that.
    • 85 Metascore
    • 100 Matt Zoller Seitz
    Writer/director Rian Johnson’s Star Wars: The Last Jedi is a sprawling, incident- and character-packed extravaganza that picks up at the end of “Star Wars: Episode VII - The Force Awakens” and guides the series into unfamiliar territory. It’s everything a fan could want from a “Star Wars” film and then some.
    • 73 Metascore
    • 50 Matt Zoller Seitz
    This is all fascinating stuff. But you pretty quickly get the sense that Buirski either doesn't find it interesting enough to let it stand on its own or else is afraid audiences will rebel against too many bare-bones elements.
    • 81 Metascore
    • 100 Matt Zoller Seitz
    I had some minor quibbles about Coco while I was watching it, but I can’t remember what they were. This film is a classic.
    • 48 Metascore
    • 63 Matt Zoller Seitz
    The film’s clever editing (credited to Klinger and Geraldine Mangenot) jumps back and forth through time in intriguing, sometimes intoxicating ways, and even when the drama flags there’s always a stunning image to stare at.
    • 45 Metascore
    • 75 Matt Zoller Seitz
    If the film is a potluck stew of half-cooked notions, it's at least a tasty one.
    • 58 Metascore
    • 63 Matt Zoller Seitz
    No Stone Unturned at times veers close to a rant. It's clear that Gibney is going for something along the lines of Errol Morris' "The Thin Blue Line," which also used stylized re-creations, but the pieces don't fit together as neatly here.
    • 74 Metascore
    • 75 Matt Zoller Seitz
    This is a close-but-no-cigar movie, but so enjoyable for the most part, and so modest in its aims, that its disappointments aren’t devastating. I’d watch the first 90 minutes again anytime.
    • 68 Metascore
    • 88 Matt Zoller Seitz
    Thank You For Your Service, an involving and often wrenching drama about Iraq War veterans adapting to civilian life, is a film that teaches you how to watch it.
    • 79 Metascore
    • 88 Matt Zoller Seitz
    One of Us is so strong as-is that its more harrowing sections — particularly Ari's account of his childhood suffering and the details of Rachel's fight for freedom — are so already hard to watch that you might want to turn away.
    • 66 Metascore
    • 88 Matt Zoller Seitz
    It pays attention to issues of racial, religious and gender discrimination without wavering from its main objective: giving us an entertaining film about a couple of guys who are in way over their heads.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    The movie would fit nicely in a film festival comprised of works with a similar theme, including "Legends of the Fall" and "The Revenant" and older wilderness dramas like "Jeremiah Johnson" and "Bend of the River."
    • 27 Metascore
    • 38 Matt Zoller Seitz
    The whole thing is too much of a tease, and once you figure that out, there's no actual suspense to speak of, just momentary manipulations.
    • 80 Metascore
    • 100 Matt Zoller Seitz
    It’s the humblest deep movie of recent years, a work in the same vein as American marginalia like “Stranger Than Paradise” and “Trees Lounge,” but with its own rhythm and color, its own emotional temperature, its own reasons for revealing and concealing things.
    • 45 Metascore
    • 63 Matt Zoller Seitz
    An action film, a spy thriller, a meditation on revenge, and a story about mentors and pupils, but mostly it's a movie that loves to maim and kill people and is very good at it.
    • 72 Metascore
    • 100 Matt Zoller Seitz
    Angelina Jolie's First They Killed My Father is far and away her best work as a director: a rare film about a national tragedy told through the eyes and mind of a child, and as fine a war movie as has ever been made.
    • 91 Metascore
    • 75 Matt Zoller Seitz
    The film’s boundless enthusiasm for the idea of the library wins the day.
    • 80 Metascore
    • 100 Matt Zoller Seitz
    Trophy strives to be kind and fair. But it is unmerciful in its exploration of the hunting business. Like a ruthless lawyer, it loves poking holes in arguments that appear rock-solid.
    • 15 Metascore
    • 38 Matt Zoller Seitz
    Maybe the heart of the problem is that Kate and Meg's behavior doesn't track with the practical realities of lifelong, functioning friendship between (most) women as experienced by...well, any functioning adult who lives in the world.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    Huerta is such a commanding figure, and the array of historical footage marshalled on behalf of her story is so impressive, that the film makes a strong impression.
    • 48 Metascore
    • 38 Matt Zoller Seitz
    Co-directors Éric Summer and Éric Warin and their collaborators seem determined to crush the life out of an original premise and many promising characters by stealing every available page out of a substandard American studio animated feature’s playbook.
    • 67 Metascore
    • 75 Matt Zoller Seitz
    What elevates it and makes it special is the attention it pays to local geography and atmosphere, the mundane aspects of working-class Northeastern U.S. life, and the culturally super-specific types of people you'll find in that environment
    • 64 Metascore
    • 75 Matt Zoller Seitz
    Stanfield is a true movie star, radiating decency even as the character's shell hardens.
    • 78 Metascore
    • 88 Matt Zoller Seitz
    The movie is put together with the no-fuss confidence of Soderbergh's best entertainments, staging comedic banter and suspense sequences with equal assurance, even playing sly perception games with the audience by making you wonder how smart or dumb the characters (and the movie) actually are.
    • 81 Metascore
    • 88 Matt Zoller Seitz
    This is a movie that doesn't merely tell a gripping, important story, but reminds us that the storyteller and the storytelling matter just as much.
    • 21 Metascore
    • 50 Matt Zoller Seitz
    Whenever the movie reaches for poetry it lands somewhere in a chain drugstore's greeting card aisle, trying to choose between one that shows an adorable child laughing in a Photoshopped field of sunlit daisies, one that tries for gallows humor but isn't really that funny, and a third with a quote about mortality and wisdom only seems thoughtful because it's written in cursive.
    • 94 Metascore
    • 88 Matt Zoller Seitz
    This is a movie of vision and integrity made on an epic scale, a series of propositions dramatized with machinery, bodies, seawater and fire. It deserves to be seen and argued about. They don't make them like this anymore. Never did, really.
    • 32 Metascore
    • 25 Matt Zoller Seitz
    Wish Upon is another one of those movies that would be memorable if it were a lot better or a lot worse.
    • 61 Metascore
    • 63 Matt Zoller Seitz
    The problem is that the relatively brief running time (less than two hours) works at cross-purposes with the movie's laid back characterizations and populated cast.
    • 84 Metascore
    • 100 Matt Zoller Seitz
    I rarely see a movie so original that I want to tell people to just see it without reading any reviews beforehand, including my own. David Lowery’s A Ghost Story is one of those movies.
    • 77 Metascore
    • 75 Matt Zoller Seitz
    If you're interested in that period, the sheer number of notable photos shown here is reason enough to see the movie.
    • 75 Metascore
    • 88 Matt Zoller Seitz
    A work of melancholy enchantment, by turns sweet, funny, scary, sad, and—in the manner of all good science fiction movies—thought-provoking.
    • 88 Metascore
    • 88 Matt Zoller Seitz
    The movie is a throwback to an earlier era of documentaries, when filmmakers did not feel obligated by commercial pressure to give their film the shape of a thriller, a sports film, a mystery or anything else, but instead simply brought their cameras into people's lives.
    • 59 Metascore
    • 63 Matt Zoller Seitz
    Despite its lack of originality, as well as its lackadaisical storytelling and world building, it satisfies in that amiably weird way that only a "Cars" film can.
    • 69 Metascore
    • 88 Matt Zoller Seitz
    The 3-D animation is designed and executed in an unrealistic manner, paying loving attention to light and shadow but tossing the laws of physics out of the nearest classroom window.
    • 67 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately, Lucy Walker's Buena Vista Social Club: Adios plays more like a well-intentioned but unsatisfying addendum to Wenders' movie and Cooder's recording.
    • 73 Metascore
    • 100 Matt Zoller Seitz
    As gripping as the movie is as a legal thriller, it's even more notable as a portrait of a community.
    • 65 Metascore
    • 100 Matt Zoller Seitz
    This is one of Scott’s best-directed movies and one of his most entertaining overall, partly because he’s working in a genre, the science fiction spectacle, that he does better than anyone since Stanley Kubrick, but also because he seems to be approaching it almost entirely in terms of visceral impact and emotion—as symphony of fire and blood, poetry and schlock.
    • 41 Metascore
    • 38 Matt Zoller Seitz
    The result is an oxymoron: a frenetic slog. That’s unfortunately what happens to King Arthur: Legend of the Sword.
    • 74 Metascore
    • 88 Matt Zoller Seitz
    This is Smith's show, and it's all about the writing here, with Smith serving more as a town crier, an information delivery device in human form.
    • 43 Metascore
    • 38 Matt Zoller Seitz
    Has a lot of good ideas and a few engrossing sequences, but it never quite finds a groove, or even a mode, and it ends in an abrupt, unsatisfying way.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Free Fire is neither the best nor the worst of the Tarantino wannabes; at its worst, it's tediously unoriginal, and at its best, it's funny and reasonably involving.
    • 78 Metascore
    • 88 Matt Zoller Seitz
    Those who don't know anything about the tale going in (a category that included me) might be gobsmacked by what happens. The order of events doesn't stick to any established commercial movie template. What happens feels as random yet eerily inevitable as life itself.
    • 70 Metascore
    • 88 Matt Zoller Seitz
    This movie feels as if somebody woke from an intense nightmare, decoded it and realized it was rather unsubtly working through some of their unresolved issues, then brought it to Judd Apatow and said, "Here's your next comedy."
    • 44 Metascore
    • 63 Matt Zoller Seitz
    Loud, trashy, sweet and weird, the Mighty Morphin Power Rangers reboot Power Rangers is not merely an ideal film for rambunctious and undemanding 12-year olds, it actually sees the world through their eyes.
    • 54 Metascore
    • 63 Matt Zoller Seitz
    The first Malick film I’ve watched where the dots never came together to form a legible image.
    • 63 Metascore
    • 75 Matt Zoller Seitz
    Burning Sands, Gerald McMurray's feature filmmaking debut, is one of the fresher entries, thanks mainly to its setting: a historically black fraternity on a historically black campus like Howard, the university where the co-writer and director got his degree.
    • 62 Metascore
    • 75 Matt Zoller Seitz
    The monsters are brilliantly designed and skillfully animated (except for a few shots where Kong looks a tad cartoony), and the army of visual and sound effects artists convince you that that these CGI titans live and breathe and weigh hundreds of tons.
    • 40 Metascore
    • 63 Matt Zoller Seitz
    Table 19 also feels the need to be a romantic comedy in which all's well that ends well, and it's here that the movie fails most conspicuously.
    • 79 Metascore
    • 75 Matt Zoller Seitz
    You could call it a musical performance documentary and not be wrong, but it's trying to do other things too, some expertly and others not so well; but there's never a point where you quite get a handle on it because it keeps changing in front of your eyes.
    • 75 Metascore
    • 75 Matt Zoller Seitz
    An American independent film from the 1990s that just happens to have been released this year.
    • 47 Metascore
    • 50 Matt Zoller Seitz
    I keep forgetting the title of A Cure for Wellness and calling it “The Color of Despair.” It’s an accurate mistake.
    • 54 Metascore
    • 38 Matt Zoller Seitz
    The film is quite repetitive, essentially a very long sketch, and offers little in the way of character development for supporting players. In contrast to the original "The Office," everyone else is there mainly to stare in shock at David as he offends people or does something stupid.
    • 60 Metascore
    • 38 Matt Zoller Seitz
    I've seen this film twice and I'm just not convinced it's all that interested in the subjects it claims to be interested in. And that's a deal-breaker of a problem.

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