Matthew Dessem

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For 21 reviews, this critic has graded:
  • 33% higher than the average critic
  • 14% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 10.2 points lower than other critics. (0-100 point scale)

Matthew Dessem's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Vast of Night
Lowest review score: 20 Iceman
Score distribution:
  1. Positive: 7 out of 21
  2. Negative: 5 out of 21
21 movie reviews
    • 84 Metascore
    • 100 Matthew Dessem
    Every scene has been staged and shot with intelligence, intent, inventiveness, and a sense of play. To watch it is to get excited about the billions of different ways you can combine sound and moving images to tell a story.
    • 51 Metascore
    • 40 Matthew Dessem
    The nudges and winks in Dumbo about Disney’s predatory practices are an invitation from filmmaker to audience to share a knowing chuckle over the essential soullessness of the entire enterprise.
    • 57 Metascore
    • 80 Matthew Dessem
    Roth and screenwriter Eric Kripke’s adaptation of The House With a Clock in its Walls is a bullseye, perfectly balanced between funny and scary.
    • 64 Metascore
    • 80 Matthew Dessem
    Most of the time, the way to hit the big target is to aim as precisely as possible at the small one. That’s what Noah Buschel does so well in his new film Glass Chin.
    • 37 Metascore
    • 30 Matthew Dessem
    Phantom Halo is overstuffed even before Bogdanovich starts layering in the soliloquies and comic book metaphors.
    • 63 Metascore
    • 70 Matthew Dessem
    The title does a real disservice to the film, a romantic comedy made with both visual and narrative intelligence, centered by great performances from Kévin Azaïs and Adèle Haenel.
    • 56 Metascore
    • 50 Matthew Dessem
    The film is ultimately shackled to an ultra-conventional structure and form—workaholic learns about the important things in life through the power of wanly scored montages—and a good central performance from Mary Elizabeth Winstead isn’t enough to save it.
    • 54 Metascore
    • 40 Matthew Dessem
    The Riot Club was clearly made by people who understand that a film that revels in conspicuous consumption doesn’t magically become anti-greed by hastily grafting on a moral. But instead, they’ve made a polemic that suddenly, unconvincingly insists it’s a character study.
    • 83 Metascore
    • 80 Matthew Dessem
    '71
    A master class in structure, a meticulously constructed period piece, a powerful anti-war film, and rarest of all, a thriller whose tension and suspense feel genuinely earned.
    • tbd Metascore
    • 50 Matthew Dessem
    It’s rich territory, and Etziony and Hanuka manage to make both the film’s action sequences and its interviews compelling and interesting. But Call For Help drags in its second half, particularly in an interlude back in the States that makes the same point over and over again.
    • 73 Metascore
    • 80 Matthew Dessem
    Something, Anything is the rare film that gently asks the big questions, then gives us space, and room.
    • 52 Metascore
    • 20 Matthew Dessem
    No amount of cosmic fireworks or woozy strings can hide the nice-guy passive-aggressive bullshit squatting at the center of Comet—it’s like a dreamy, swoony De Beers ad that stars Cecil Rhodes.
    • 51 Metascore
    • 30 Matthew Dessem
    As the onscreen moon goes through its inexorable cycle, Late Phases transforms from laughably non-frightening horror film to self-serious family drama and back again, all the while remaining ferociously, ravenously boring. Silver bullets would be a mercy.
    • 62 Metascore
    • 70 Matthew Dessem
    Bad Turn Worse takes its best shot at the slow-motion apocalypse that was Thompson’s specialty, and most of the film is beautifully claustrophobic.
    • tbd Metascore
    • 40 Matthew Dessem
    There’s no shortage of the recognizable actors in minor roles that populate this sort of thing: Luis Guzmán as a loan shark, Gina Gershon as a detective. But there’s a real shortage of recognizable human behavior.
    • 57 Metascore
    • 60 Matthew Dessem
    The movie is a mishmash of riveting action and drama pasted together with obligatory plot-moving that is so phoned-in that it approaches parody.
    • 72 Metascore
    • 60 Matthew Dessem
    Diplomacy is at its worst when Schlöndorff consciously attempts to open the play up.
    • 59 Metascore
    • 50 Matthew Dessem
    The makeup is really all there is to look at—visually speaking, the film is aggressively uninteresting. But beyond all Dead Snow 2’s flaws, it’s important not to lose sight of the fact that it has undead soldiers in Soviet and Nazi uniforms straight-up swinging pickaxes at each other.
    • 55 Metascore
    • 60 Matthew Dessem
    Lapa’s story is in the disconnect between the words and the visuals, or the visuals and what we know to be true, or even the words from one moment to the next.
    • 28 Metascore
    • 20 Matthew Dessem
    The film is adequately directed, well-photographed, and competently acted. But it’s rotten at its core.
    • 32 Metascore
    • 20 Matthew Dessem
    A poorly stitched together Frankenstein’s monster of a film: crass one moment, grandiose the next, and dead from head to toe.

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