For 648 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 11.1 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Evolution
Lowest review score: 0 Zookeeper
Score distribution:
648 movie reviews
    • 66 Metascore
    • 50 Simon Abrams
    A lot of substantial or just different material might have enriched this documentary’s tidy fall-and-rise story.
    • 47 Metascore
    • 63 Simon Abrams
    Rubikon never offers viewers deep answers to its bigger questions, but it does pose enough questions to keep things moving while you watch.
    • 53 Metascore
    • 35 Simon Abrams
    While Sniper: The White Raven sometimes delivers solid meat-and-potatoes action movie violence, the rest of the film only confirms the hellish nature of war, which we’ve all seen before.
    • tbd Metascore
    • 63 Simon Abrams
    I’m not sure where this particular wannabe franchise is going or if anybody but initiated viewers will care to find out, but I could watch another one.
    • 65 Metascore
    • 60 Simon Abrams
    Derrickson and Cargill successfully tailor their focused and mostly compelling narrative to a Steven Spielberg/Amblin Entertainment–esque bit of Stephen King–sploitation.
    • 70 Metascore
    • 38 Simon Abrams
    Poser might have been more satisfying if its gauzy night-club aesthetic and bold, underlined dialogue didn’t smother viewers with trite observations about hipster artistes.
    • 80 Metascore
    • 100 Simon Abrams
    Imagine, if you will, a dystopian nightmare set in a post-industrialized world that’s forever teetering on its last legs, but never quite falls over. This description does not, admittedly, tell you much, but the movie’s less of a narrative-driven parable than a dazzling and corrosively cynical vision of a hyper-compartmentalized society that’s struggling to both die and reset.
    • 68 Metascore
    • 40 Simon Abrams
    The scattershot new media satire Vengeance might have been merely a toothless provocation replete with both-sides false equivalences were it not so well-scripted and well-directed on a scene-to-scene basis.
    • 48 Metascore
    • 63 Simon Abrams
    Dashcam succeeds as a barrage of icky stimuli that may go great with a rowdy audience.
    • 68 Metascore
    • 70 Simon Abrams
    Fortune Favors Lady Nikuko succeeds where so many other movies like it fail simply by making its characters seem real enough to be going through a series of familiar growing pains.
    • 84 Metascore
    • 88 Simon Abrams
    RRR
    RRR feels simultaneously personal and gargantuan in scope.
    • 75 Metascore
    • 50 Simon Abrams
    Carpignano’s impressionistic plot and pseudo-naturalistic style also tends to boil down human emotions so as to only suggest rather than reveal complexity. The limiting style and characterizations in A Chiara are only so thoughtful.
    • 53 Metascore
    • 63 Simon Abrams
    Christina Ricci does most, if not all, of the emotional lifting in the lightweight horror drama Monstrous, a period piece about a single mom and her son who, in 1955, run away from home and re-settle in an isolated lakeside house.
    • 68 Metascore
    • 75 Simon Abrams
    The Taiwanese horror movie The Sadness is both conceptually exhausting and viscerally upsetting—an ideal summer movie for the third year of the ongoing COVID-19 pandemic.
    • 59 Metascore
    • 75 Simon Abrams
    The movie’s half-hearted jokes, on frustrated women artists and their blind male collaborators, tend to be one-note and thankfully besides the point. But if you adjust your expectations, you’re more likely to accept Lux Aeterna as a vigorously realized doodle.
    • 74 Metascore
    • 50 Simon Abrams
    I often wished there was more to Hatching than just a few weak digs at bad mothers who are a little too online. Maybe you have to be Finnish to see Hatching as a blistering and culturally specific satire. Or maybe there’s just not much to get about the movie.
    • 39 Metascore
    • 40 Simon Abrams
    The awkward transitions and clichéd merrymaking that define Lisa’s story will likewise be either more feature than bug for genre fans or just one more thing that makes Azuelos and Fierro’s narrative seem lazy and confused.
    • 54 Metascore
    • 30 Simon Abrams
    This sleepy and visually murky black-and-white drama belabors the same banal truisms about memory and role-playing during wartime –basically, it’s impossible to maintain your autonomy when you’re only a pawn in a complicated game — and tends to be more interesting to think about than to watch.
    • 49 Metascore
    • 50 Simon Abrams
    The Cellar doesn't even need to be a smarter or even more faithful homage. All it needs to be is a little more of something—energetic, gross, thoughtful ... something!—to make it compelling enough to withstand comparisons to its many generic precedents.
    • 78 Metascore
    • 50 Simon Abrams
    Pathological behavior seems to be the main subject of the bitter Ukrainian satire Donbass, an unpleasant, but as-advertised slice of life drama set in the title region, an embattled territory in Eastern Ukraine.
    • 59 Metascore
    • 75 Simon Abrams
    The film may be cinematic comfort food, but its creators do earn our trust and nail all the essential beats they need to along the way.
    • 83 Metascore
    • 63 Simon Abrams
    The dual nature of “Babi Yar. Context” as both an essay movie and a cut-up historic document might create an uneasy tension with viewers who would like to know more about whatever they’re looking at. If nothing else, Loznitsa succeeds at being upsetting.
    • 82 Metascore
    • 63 Simon Abrams
    There’s more atmosphere than plot in the Romanian drama Intregalde, a moody parable that sometimes feels like the Eastern European arthouse response to The Texas Chain Saw Massacre.
    • 72 Metascore
    • 60 Simon Abrams
    Like the anime series, Jujutsu Kaisen 0 sometimes feels too much like a Cliffs Notes adaptation, despite also featuring more interaction between the supporting characters and the lead protagonist than the original manga.
    • 28 Metascore
    • 63 Simon Abrams
    Co-writer/co-director duo Harpo and Lenny Guit’s apparent disregard for their viewers’ comfort can sometimes be quite funny, depending on your tolerance for messy, meandering absurdist comedy.
    • 49 Metascore
    • 88 Simon Abrams
    Against the Ice delivers all the delirious period drama thrills and survival horror angst that you could want from a movie with that title.
    • 46 Metascore
    • 63 Simon Abrams
    The Burning Sea may ultimately be too uptight for its own good, but there’s enough here to satisfy disaster aficionados who’ve already been here before and only really want to root for more of the same.
    • 44 Metascore
    • 50 Simon Abrams
    Fistful of Vengeance is a movie in duration only; it’s pretty slapdash in terms of its execution, even during its glossy-looking action set pieces.
    • 61 Metascore
    • 50 Simon Abrams
    Dog
    The camera loves Channing Tatum, and that makes up for a lot in Dog, a corny road movie that mostly panders to fans of Tatum and/or dogs, as well as any moviegoer who still thinks that making a big show of supporting the troops (any troops) makes them more human than, uh, most everyone else.
    • 69 Metascore
    • 63 Simon Abrams
    Sometimes, the suggestive nature of Gregg’s impressionistic mood piece—as well as a characteristically strong lead performance by Riseborough (Possessor, Mandy)—is enough to sustain one’s interest in Here Before. Right up until Gregg lobs an unsettling and only partly satisfying twist at viewers and leaves us to work through our feelings on our own time.

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