Matt Zoller Seitz

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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 The Handmaiden
Lowest review score: 0 Alice Through the Looking Glass
Score distribution:
  1. Negative: 26 out of 311
311 movie reviews
    • 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.
    • 49 Metascore
    • 50 Matt Zoller Seitz
    The character is so one-note, always tying everything back to his need to redeem himself and his dad and articulating so many of his concerns verbally rather than through his eyes or body, that after a while I wanted to put in earplugs to get a break from him.
    • 66 Metascore
    • 75 Matt Zoller Seitz
    Had The Founder focused solely on Kroc’s relationship with the McDonald brothers, it might have been one of the great intimate, sour character studies of recent times.
    • 34 Metascore
    • 50 Matt Zoller Seitz
    Sleepless is one of those movies that needed to be a lot better or a lot worse to make much of an impression.
    • 79 Metascore
    • 100 Matt Zoller Seitz
    Silence is a monumental work, and a punishing one.
    • 56 Metascore
    • 50 Matt Zoller Seitz
    Despite being played by two charismatic and more-than-capable actors, the title characters never click in the way they need to. They're too cool and vague for the volcanic story they enact.
    • 65 Metascore
    • 88 Matt Zoller Seitz
    Rogue One is a letdown in other areas, and there are creative decisions so ill-conceived they take you out of the story. But somehow these aren't enough to sink the movie, which manages to succeed as both super-nerdy fan service and the first entry since the 1977 original that will satisfy people who have never seen a "Star Wars" film.
    • 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.
    • 81 Metascore
    • 63 Matt Zoller Seitz
    There are two movies in Jackie, Pablo Larraín's film about Jackie Kennedy (Natalie Portman) immediately before, during and after the assassination of her husband, President John F. Kennedy. One of these movies is just OK. The other is exceptional. The first one keeps undermining the second.
    • 60 Metascore
    • 75 Matt Zoller Seitz
    It's a mess, but a glorious one, and it's so clearly the expression of one artist's vision, seemingly immune to studio notes, that when you find yourself wondering "Who on earth could this possibly be for?" you realize that it's a compliment. As an entertainment, Rules Don't Apply deserves an extra half-star for audacity.
    • 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.
    • 62 Metascore
    • 63 Matt Zoller Seitz
    The problem, though, is that we never get enough sense of Paz's interior life to judge this movie as anything other than a comeback story about a nice guy who got knocked out by the cosmos and hauled himself up.
    • 70 Metascore
    • 75 Matt Zoller Seitz
    Hunter Gatherer doesn't look or feel like many movies being made right now.
    • 71 Metascore
    • 63 Matt Zoller Seitz
    True to form, Hacksaw Ridge draws equally on Gibson's bottomless thirst for mayhem and his sincerely held religious beliefs — or some of them, anyway. It's a movie at war with itself.
    • 76 Metascore
    • 75 Matt Zoller Seitz
    If you go into a Herzog documentary hoping for a definitive, deep look at a certain subject, you're bound to come away disappointed. But if you go into them expecting a series of portraits of obsessed people, each painted by one of the most likable obsessives in cinema, you're likely to come away satisfied.
    • 84 Metascore
    • 100 Matt Zoller Seitz
    It is voluptuously beautiful, frankly sexual, occasionally perverse and horrifically violent.
    • 47 Metascore
    • 50 Matt Zoller Seitz
    It’s a pity that Jack Reacher: Never Go Back fails to support Cruise and his co-stars, all of whom are acting as if their lives depended on it. There’s a great movie buried somewhere in here—a strange but beguiling family comedy and a meditation on nature vs. nurture, with a bit of shooting and punching thrown in—but the filmmakers never figure out how to excavate it.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    Like many Mel Gibson films, as well as such revenge-driven revisionist Westerns as "Posse" and "Django Unchained," The Birth of a Nation is an intriguing object, passionate and furious and shameless and slick, distorting history in both defensible and problematic ways.

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