For 40 reviews, this critic has graded:
  • 20% higher than the average critic
  • 5% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 24.8 points lower than other critics. (0-100 point scale)

Vadim Rizov's Scores

  • Movies
  • TV
Average review score: 39
Highest review score: 83 The Fool
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 5 out of 40
  2. Negative: 15 out of 40
40 movie reviews
    • 10 Metascore
    • 0 Vadim Rizov
    There’s not a single scene that speaks to characters with lives outside their streamlined narrative function; they’re performers in a parable traced over a Chick tract, filmed with a bland competence at odds with the true perversity of the material. Old-school Pure Flix: Welcome back!
    • 1 Metascore
    • 0 Vadim Rizov
    D’Souza fails, as ever, to make an argument that would resonate outside the QAnon echo chamber.
    • 33 Metascore
    • 0 Vadim Rizov
    A Light In Darkness isn’t as offensive as the first film—it lacks the requisite misogyny and Islamophobia, and does a better job of looking like it’s almost a real movie—but it’s not far behind, an emblematic film for the foul moment.
    • 53 Metascore
    • 58 Vadim Rizov
    Shot in widescreen in New Orleans, this new Benji looks burnished and luxe in comparison with the visibly threadbare original, to which it pays several nods for the fans.
    • tbd Metascore
    • 25 Vadim Rizov
    The plot’s mechanics in tying the families together are often clumsy and contorted, in ways that are strange without being particularly interesting.
    • 12 Metascore
    • 25 Vadim Rizov
    There was probably never going to be a version of this film that would prove even remotely plausible as a movie someone felt passionately about making for artistic reasons; as far as expanding on smartphone-related IP, this is an even weaker starting point than Sony Animation’s recent The Angry Birds Movie.
    • 50 Metascore
    • 58 Vadim Rizov
    The Case For Christ is pretty slow going, tedious rather than offensive, with Strobel repeatedly whiteboarding out the evidence as callback voice-overs add up all the pieces until he’s convinced. “All right, God,” he finally says. “You win.”
    • 60 Metascore
    • 70 Vadim Rizov
    Sabine Lubbe Bakker and Niels van Koevorden's documentary Ne Me Quitte Pas is a grimly funny deep dive into sustained alcoholism with a classical three-act structure.
    • 54 Metascore
    • 40 Vadim Rizov
    The bouts are all muddles lacking sustained choreography or a sense of trajectory, with crowd-reaction shots and sports-announcer voice-over carrying the slack.
    • 56 Metascore
    • 30 Vadim Rizov
    Trolls is a pretty standard piece of subpar DreamWorks product: loud and shiny, more than a tad frantic despite a generic set of characters.
    • 31 Metascore
    • 33 Vadim Rizov
    Inelegantly compressing the year up to the shooting, I’m Not Ashamed has more than its fair share of clunkiness.
    • 47 Metascore
    • 40 Vadim Rizov
    The film is competent in its framing and editing in a way that most comedies aren’t (compare/contrast with Neighbors 2, which is barely a movie except in the most technical sense) and avoids dead-end-obvious improv.
    • 2 Metascore
    • 0 Vadim Rizov
    That a film already busy with historical reenactments, interviews, and conspiracizing of the wildest sort should end with three consecutive musical numbers suggests a kind of vaudeville structure to D’Souza’s work.
    • 22 Metascore
    • 25 Vadim Rizov
    The first film pandered to a heavy persecution complex; this installment’s relatively subtler, but there are dog whistles aplenty.
    • 83 Metascore
    • 83 Vadim Rizov
    Yuri Bykov’s third feature is in the same vein as a slew of recent Russian films sounding a strident alarm.
    • 28 Metascore
    • 33 Vadim Rizov
    While 90 Minutes In Heaven has a professional sheen miles above the clunky products peddled by PureFlix (God’s Not Dead) and their ilk, that just makes it duller.
    • 26 Metascore
    • 25 Vadim Rizov
    Much of what follows is turgid and, for non-believers, ridiculous.
    • 20 Metascore
    • 16 Vadim Rizov
    It’s obnoxious, to say the least, to use the Vietnam War as an excuse to affirm the importance of telling all and sundry about Jesus at all times (i.e., “testifying”), under all circumstances.
    • 63 Metascore
    • 50 Vadim Rizov
    If this is, as he claims, indeed his last film (or at least last big narrative feature), he’s retiring with the courage of his convictions intact. If only he was expressing them more vigorously.
    • 41 Metascore
    • 40 Vadim Rizov
    Daniel Espinosa’s unwieldy, sometimes unintentionally funny film adaptation nails the gloomy period production design of a perpetually gray empire, but otherwise, it’s a wash, starting with a Europudding assemblage of performers of all nationalities besides Russian.
    • 48 Metascore
    • 40 Vadim Rizov
    For all the good intentions and native hands behind the camera, The World Made Straight never seems particularly credible or convincing as a fresh look at regional history.
    • 69 Metascore
    • 75 Vadim Rizov
    Melancholy climactic trajectory aside, Zero Motivation is primarily very funny.
    • 67 Metascore
    • 67 Vadim Rizov
    Its fascinations compromised by its clunkiness, the film is a necessary niche history that serves well enough as a primer, placing it just a cut above coasting on good intentions.
    • 57 Metascore
    • 50 Vadim Rizov
    Turns out to be a disappointingly standard-issue addiction melodrama, this one the tearful case study of an adrenaline junkie whose compulsion threatens to push her family and loved ones away.
    • 54 Metascore
    • 50 Vadim Rizov
    X-Ray is extremely dull, and unwisely trusting in the power of its talented central duo to carry the film.
    • 37 Metascore
    • 50 Vadim Rizov
    Once the film hits the desert, a little before the halfway point, Jacq has the energy sucked out of him and so does the film, limping along while he repeatedly throws histrionic fits.
    • 51 Metascore
    • 40 Vadim Rizov
    At best, The Liberator is a commendably old-fashioned affair that goes light on CGI backgrounds and heavy on dazzling scenery. At worst, it’s a reminder of all the extras-heavy would-be epics that got tossed on film history’s slag heap.
    • 61 Metascore
    • 50 Vadim Rizov
    Khaou’s avoidance of visual fireworks and his attempt to barrel through his own script in such a workmanlike fashion has the side effect of letting his actors down.
    • 65 Metascore
    • 67 Vadim Rizov
    Constantly just dodging visual cliché, Sutton tries to isolate moments of beauty and frustration within a specific milieu. Sometimes he captures resonant moments in bars and in stray dialogue; other times, his purposelessness seems less like a strategy and more like an evasive feint.
    • 46 Metascore
    • 50 Vadim Rizov
    On the sliding scale of low expectations associated with the “I (may or may not have) slept with a famous person” biopic genre, Robin Hood is more smoothly professional and tolerable than the lowly likes of "My Week With Marilyn" or the JFK-adultery-soap opera "An American Affair."

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