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 A Ghost Story
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 26 out of 311
311 movie reviews
    • 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.

Top Trailers