For 528 reviews, this critic has graded:
  • 42% higher than the average critic
  • 5% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 10 points lower than other critics. (0-100 point scale)

Simon Abrams' Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Cosmopolis
Lowest review score: 0 But Always
Score distribution:
528 movie reviews
    • 68 Metascore
    • 50 Simon Abrams
    Villain is the kind of stiflingly reverent genre picture that is so beholden to its main characters’ pity-me worldview that its predictably downbeat ending feels like the kind of hero worship that you often find in either a cloying biopic or a hidebound true crime adaptation.
    • 56 Metascore
    • 50 Simon Abrams
    That kind of gallow’s humor defines the surface tone of Arkansas, which often feels like a riff on “Breaking Bad,” only now it’s more about how sad it is to be poor white trash.
    • 65 Metascore
    • 63 Simon Abrams
    Deerskin isn’t weird enough to be great, mostly because Dupieux (“Rubber, “Reality”) is a little too precious when it comes to pacing, characterizations, humor, etc.
    • 61 Metascore
    • 38 Simon Abrams
    Unlike “Stranger Things,” The Wretched is a little too cute about teen angst, and not light enough on its feet to make you want to root for its ostensibly typical adolescent.
    • 57 Metascore
    • 75 Simon Abrams
    1BR
    Everything in 1BR is over-exposed, often literally thanks to the movie’s basic camera set-ups and general emphasis on naturally and/or harshly front-lit close-ups, or medium shots of brown stucco walls.
    • 69 Metascore
    • 63 Simon Abrams
    The gory, but weirdly blasé Russian black comedy Why Don’t You Just Die! feels like a gross exercise in style that’s also a passable tribute to Jim Thompson’s bleakly hilarious crime novels, and a brain-dead critique of post-Soviet consumerism.
    • 43 Metascore
    • 63 Simon Abrams
    So while Clover may not be original, it is pretty watchable.
    • 64 Metascore
    • 25 Simon Abrams
    Vivarium isn’t a fun watch, and not just because it’s generally claustrophobic and insistently bleak.
    • 50 Metascore
    • 38 Simon Abrams
    Pegg and Temple’s responsive, well-attuned performances are actually the most frustrating things about Lost Transmissions since they’re good enough to make you want to care, even when their characters don’t seem to be worth caring about.
    • 56 Metascore
    • 50 Simon Abrams
    Almost everything that’s enjoyable about Escape From Pretoria is a variation on stuff you’ve probably seen in superior prison movies, though Radcliffe’s haunted performance is exceptionally compelling.
    • 76 Metascore
    • 63 Simon Abrams
    There’s not much to Porumboiu’s latest beyond a surplus of plot twists and double crosses.
    • 70 Metascore
    • 60 Simon Abrams
    Established “My Hero Academia” fans will probably enjoy Class 1-A’s typically endearing group dynamic, even if none of the jokes in the movie are that great. And their big fight with Nine is genuinely well-staged and climactic, thanks to some impressive computer graphics and director Kenji Nagasaki’s thoughtful staging and choreography.
    • 52 Metascore
    • 63 Simon Abrams
    Greed is never the sum of its best parts since other actors — especially Jamie Blackley, who, playing young McCreadie in a series of flashbacks, is fine but relatively disappointing — can’t pull off the movie’s delicate balance of broad humor and po-faced drama.
    • 42 Metascore
    • 60 Simon Abrams
    Guns Akimbo may be too mild to be memorable, but it is a mostly satisfying time-waster.
    • 60 Metascore
    • 75 Simon Abrams
    Ride Your Wave moves without a great sense of urgency, but only because Hinako’s emotional turmoil isn’t a great conflict or a tragedy. It is, however, as real as the private heartaches that we self-consciously wear on our sleeves.
    • 47 Metascore
    • 25 Simon Abrams
    Sonic the Hedgehog is the worst kind of bad movie: it's too inoffensive to be hated and too wretched to be enjoyable.
    • 61 Metascore
    • 20 Simon Abrams
    The Nowhere Inn . . . is a collection of comedic and musical sketches that are not funny, weird or thoughtful enough to sell its creators’ insistent, but mostly trite and undeveloped, ideas about the performative nature of self-fashioning and creative authenticity.
    • 64 Metascore
    • 88 Simon Abrams
    The sprawling scope of The Traitor is a big part of its dryly funny (though never in a ha-ha kind of way) appeal, and that takes some getting used to.
    • 75 Metascore
    • 75 Simon Abrams
    The new French voodoo/gothic drama Zombi Child is mostly satisfying, but also a little frustrating because of its creators’ walking-on-shells sensitivity.
    • 72 Metascore
    • 75 Simon Abrams
    Weathering With You, Shinkai’s latest animated romantic-fantasy to be released in America, has the same spark of ingenuity and consistency of vision as his earlier work.
    • 51 Metascore
    • 30 Simon Abrams
    There’s ultimately too much strained seriousness in The Song of Names' dramatically flimsy and symbolically heavy episodic narrative, making Girard and Caine’s already dated feel-good historical drama seem especially tacky.
    • 62 Metascore
    • 65 Simon Abrams
    The sturdy but shallow martial arts melodrama Ip Man 4: The Finale isn’t much more than what fans have already gotten from the popular action franchise.
    • 50 Metascore
    • 75 Simon Abrams
    Sappy, slow, and mostly effective.
    • 43 Metascore
    • 63 Simon Abrams
    There are a lot of promising ideas here, but none are developed so much that this remake feels essential.
    • 49 Metascore
    • 75 Simon Abrams
    So while not everything works in Black Christmas, the stuff that does is ultimately what matters most.
    • 41 Metascore
    • 35 Simon Abrams
    The predictably loud and shockingly boring action caper 6 Underground is one-man-brand director Michael Bay’s answer to the “Fast & Furious” series.
    • 61 Metascore
    • 50 Simon Abrams
    The best thing I can say about Daniel Isn’t Real is that it’s a promising early feature made by young artists who haven’t yet worked out how to express and/or synthesize what they like about their favorite artists and their work. It’s all style and very little substance.
    • 81 Metascore
    • 88 Simon Abrams
    Strickland frequently tests viewers’ patience, but his off-putting sensibility is powerful enough to make In Fabric as mesmerizing as its subject: salesmanship as a sinister, inescapable form of hypnosis.
    • 60 Metascore
    • 50 Simon Abrams
    There’s a significant difference in quality between the mediocre scenario (and dialogue) and thrilling production design (and direction) in White Snake.
    • 61 Metascore
    • 55 Simon Abrams
    Shooting the Mafia is, if nothing else, a decent introduction to Battaglia’s work, even if the rest of Loginotto’s primer doesn’t tell us much about who Battaglia is, or how to appreciate what she does.

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