For 575 reviews, this critic has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 10.9 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 It's Such a Beautiful Day
Lowest review score: 0 The Forgiven
Score distribution:
575 movie reviews
    • 67 Metascore
    • 63 Simon Abrams
    So while Enid’s investigation never goes anywhere noteworthy, Censor still fosters an increasingly desperate, anxiety-inducing effect.
    • 68 Metascore
    • 25 Simon Abrams
    There are a lot of fragmentary ideas in The Real Thing, but they’re not cohesive or worthwhile as they’re loosely formed into one grey 232-minute lump.
    • tbd Metascore
    • 0 Simon Abrams
    The action in Funhouse is consistently cheap and generally silly. That’s sort of the movie’s point, but it’s also sort of hard to care when everything else is so tacky.
    • 61 Metascore
    • 25 Simon Abrams
    Too bad The Djinn is often as plodding as it is impersonal. This movie crawls whenever it needs to sprint.
    • tbd Metascore
    • 25 Simon Abrams
    You can either be sentimental or bitter about the movies, but you can rarely charm people by being both at once. Unfortunately, the people behind the Indian moviemaking comedy RK/RKAY took that risk, and wound up making a mawkish, inert fantasy about a filmmaker whose protagonist escapes his movie within the movie.
    • 68 Metascore
    • 63 Simon Abrams
    The Paper Tigers is still very much a martial arts movie that ends with a late-night rooftop fight, and then a celebratory dim sum meal. But if you already like this sort of lightweight crowdpleaser, you’re bound to find something worthwhile here.
    • 64 Metascore
    • 75 Simon Abrams
    In many ways, Zhang’s latest is the coldest film that he’s made in a while, though it might also be his most alluring.
    • 63 Metascore
    • 50 Simon Abrams
    Bloodthirsty isn’t as deep or dark as it needs to be, and that’s way more frustrating than its general lack of werewolves.
    • tbd Metascore
    • 63 Simon Abrams
    Unfortunately, the quality of storytelling here often isn’t strong enough to hold one’s interest throughout such a diminutive runtime. Still, you might enjoy yourself if you don’t expect much character development, but do look forward to some creative uses of improvised weapons, like a hammer and a septic tank lid.
    • 60 Metascore
    • 50 Simon Abrams
    A light touch doesn’t suit the heavy themes in The Power, a horror psychodrama that’s specifically concerned with sexual misconduct and then more generally about the abuse of (you guessed it) power at a London hospital.
    • 61 Metascore
    • 50 Simon Abrams
    The director's gifted collaborators sometimes perk up this listless parable, but never enough to sell its second-hand fatalism.
    • 50 Metascore
    • 50 Simon Abrams
    The Vault is not, in other words, just derivative—it’s also flabby and bland.
    • 64 Metascore
    • 38 Simon Abrams
    And when the movie’s over, nothing is resolved that the filmmakers didn’t side-step or reduce to a few unconvincing symbols of hope for a more equitable future. You might like Enforcement if that’s a line you already want to buy; there’s otherwise not much here to change your mind.
    • 86 Metascore
    • 75 Simon Abrams
    Thankfully, despite its creators’ general fussiness, The Truffle Hunters is good enough, if only because guys like Carlo and Angelo are more charming than they are eccentric.
    • 69 Metascore
    • 38 Simon Abrams
    What makes The Vigil so frustrating is that it feels like a product and not a reflection of its subject’s identity crisis.
    • 53 Metascore
    • 25 Simon Abrams
    Hovannisian's documentary would be much more convincing if he picked a single aspect of Tankian’s activism—or composing, or personality—and considered it in greater detail.
    • 31 Metascore
    • 25 Simon Abrams
    The ensemble cast members all dutifully perform their roles, but there’s not much for them to sink their teeth into.
    • 45 Metascore
    • 50 Simon Abrams
    This may be Goro Miyazaki’s most eccentric feature yet, but it’s also his least engaging. Earwig and the Witch doesn’t move the way it should, and that’s lethal when your last name is Miyazaki.
    • 54 Metascore
    • 63 Simon Abrams
    The unsettling mood and creeping pace of the Indonesian horror movie The Queen of Black Magic take some getting used to.
    • tbd Metascore
    • 63 Simon Abrams
    Watching Harlow struggle with the simultaneously impersonal and obviously prejudiced nature of his imprisonment is often enough to make Caged seem like more than the sum of its parts.
    • 67 Metascore
    • 38 Simon Abrams
    Psycho Goreman isn’t clever or lively enough to be more than fitfully fun, especially given how much time is spent mocking generic, but painstakingly recreated plot contrivances.
    • 45 Metascore
    • 63 Simon Abrams
    An ambitious black comedy that never goes far enough.
    • 82 Metascore
    • 50 Simon Abrams
    The movie version of The Reason I Jump does not, in other words, successfully illustrate what its title promises, but rather generalizes about a sensitive topic to the point of inadvertently making it seem more unapproachable.
    • 68 Metascore
    • 75 Simon Abrams
    I can’t honestly recommend Climate of the Hunter to everybody; it’s not a generic horror movie, but rather a dark arthouse fantasy that brings to mind the films of Ingmar Bergman and Andy Milligan. To say that Reece’s movie is bound to be an acquired taste would be something of an understatement.
    • 59 Metascore
    • 50 Simon Abrams
    This movie is progressive intentionally, but not formally, and the difference between its creators’ themes and consideration is unfortunately glaring.
    • 85 Metascore
    • 88 Simon Abrams
    Trying to explain how this movie works as well as it does, without using excessive jargon or some kind of audiovisual aide, is tricky since “To the Ends of the Earth” isn’t about anything less than its heroine’s uncertain relationship with her foreign environment, and what she chooses to communicate simply by being seen and heard. Which is often thrilling to behold, but not so much to explain.
    • 35 Metascore
    • 50 Simon Abrams
    With its gleefuly nihilistic and destructive ending, What Lies Below ends on such a flat note that it makes everything before it seem like an inconsequential and/or needlessly convoluted set-up.
    • 27 Metascore
    • 38 Simon Abrams
    Jiu Jitsu is too disjointed and tame to be worth an impulse-rent; it's also too silly to be enjoyed with a straight face, and too lazy to be endearingly dopey.
    • 34 Metascore
    • 50 Simon Abrams
    The movie’s off-putting and constantly foregrounded political agenda wouldn’t be so unpleasant if the action scenes were more plentiful and/or thrilling. They aren’t.
    • 54 Metascore
    • 50 Simon Abrams
    The most frustrating thing about the British prenatal horror movie Kindred is not that it’s impersonal, but rather that it’s not personal enough.

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