Matt Zoller Seitz

Select another critic »
For 311 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 Trophy
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 26 out of 311
311 movie reviews
    • 100 Metascore
    • 100 Matt Zoller Seitz
    I love how Boyhood admits that, in certain ways, growing up stinks. Every character has a least one moment in which they have to heed the advice of Corinthians and put away childish things. None of them like it.
    • 96 Metascore
    • 100 Matt Zoller Seitz
    It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.
    • 96 Metascore
    • 100 Matt Zoller Seitz
    For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.
    • 95 Metascore
    • 88 Matt Zoller Seitz
    Baldwin's voice as a writer comes through powerfully anyway. It was wise to have Jackson read Baldwin's words plainly in his own voice, rather than attempt an impersonation.
    • 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.
    • 94 Metascore
    • 88 Matt Zoller Seitz
    Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere" — which means it's slow and grim and deliberately hard to love — yet it's fascinating, and the performances and photography are outstanding.
    • 94 Metascore
    • 100 Matt Zoller Seitz
    The best parts of it feel truly new, even as they channel previous animated classics (including the works of Hayao Miyazaki) and explore situations and feelings that everyone has experienced to some degree.
    • 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.
    • 93 Metascore
    • 100 Matt Zoller Seitz
    Its easygoing intimacy is what puts it over the top.
    • 92 Metascore
    • 88 Matt Zoller Seitz
    Tower is explanatory journalism and history, but also personally expressive, and the two impulses never cancel each other out.
    • 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.
    • 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
    • 75 Matt Zoller Seitz
    The film’s boundless enthusiasm for the idea of the library wins the day.
    • 90 Metascore
    • 100 Matt Zoller Seitz
    With Gett, the Trial of Viviane Amsalem, siblings Ronit and Shlomi Elkabetz prove that they rank with the finest filmmakers alive.
    • 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.
    • 88 Metascore
    • 88 Matt Zoller Seitz
    For all its visual audacity and honest feeling, Anomalisa is a modest, even slight work, aesthetically sealed off from the same reality it engages.... But there's so much beauty and sadness in it, and so many exquisitely conceived scenes (including an impromptu musical performance that ranks with Kaufman's greatest moments), that it would be miserly to underrate it.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Newtown is being characterized as an apolitical documentary, just a portrait of Newtown before, during and after the shootings, but that's not entirely true.
    • 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.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    The movie's major, perhaps only, fault is that its brilliant construction denies it the storytelling clarity and basic insights that conventional nonfiction films provide.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Life itself, that loaded two-word phrase, is what Roger really wrote about when he wrote about movies.
    • 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.
    • 87 Metascore
    • 88 Matt Zoller Seitz
    Stillman pushes the comedy right up to the edge of screwball.
    • 86 Metascore
    • 75 Matt Zoller Seitz
    Like its hero, Stand Clear of the Closing Doors goes with the flow and has a chaotic and thrilling time but doesn't know where to go or what to do with itself.
    • 86 Metascore
    • 100 Matt Zoller Seitz
    The collage film Cameraperson is one of the most original, challenging, sometimes infuriating documentaries of recent times.
    • 85 Metascore
    • 75 Matt Zoller Seitz
    As written by Sean Baker and Chris Bergoch and directed by Baker, it's assured and immensely likable, and truly independent in story and style.
    • 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.
    • 84 Metascore
    • 88 Matt Zoller Seitz
    As gorgeous and impenetrable as a dream.
    • 84 Metascore
    • 100 Matt Zoller Seitz
    It is voluptuously beautiful, frankly sexual, occasionally perverse and horrifically violent.
    • 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.
    • 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.

Top Trailers