For 928 reviews, this critic has graded:
  • 40% higher than the average critic
  • 7% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 9.4 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Wetlands
Lowest review score: 0 The Last Film Festival
Score distribution:
928 movie reviews
    • 91 Metascore
    • 87 Robert Abele
    Minding the Gap, which is brilliantly edited by Liu and Joshua Altman, has a floating, grab-bag style that collapses the time frame into a kind of momentum-driven arc, but while the pieces are often bite-sized, and not always delineated by a year or person’s age, the collage has a distinctive chronological feel.
    • 40 Metascore
    • 25 Robert Abele
    Peter Berg’s Mile 22 is an angry, hyperviolent downer of an action flick that is the August blowout-sale of its ilk: loud and desperate.
    • 53 Metascore
    • 40 Robert Abele
    Gutierrez is ultimately too enamored of his quasi-feminist, visually convulsive upending of damsel myths to let his actors enjoy themselves the way De Palma or Dario Argento would.
    • 82 Metascore
    • 90 Robert Abele
    A migrant worker’s journal opens up a world for a disaffected teenager, and us, in Araby, a beautifully turned Brazilian movie that carries on as if a social-cause documentary and a folk song confessional had entered into a poignant embrace.
    • 65 Metascore
    • 60 Robert Abele
    Schwentke’s grim history lesson carries an undeniable propulsiveness. But it’s ultimately too ugly a story to be truly resonant.
    • 47 Metascore
    • 67 Robert Abele
    There’s a refreshingly contained, deadpan sass to many of the characters’ personalities – and even Marino’s direction of the actors — that makes these people appealing, not abrasive, and which never devolves into the needlessly crude or ham-fistedly improvised, as so often happens in the more raucously engineered R-rated comedies.
    • tbd Metascore
    • 80 Robert Abele
    Though made by different directors, there’s a visual language of urban detail, intimate gesture and expressively animated lighting that connects all three — they’re like sweet, sad pop songs from a supergroup with many lead performers.
    • 39 Metascore
    • 50 Robert Abele
    For those already jaded by the onslaught of YA fantasy universes, The Darkest Minds is on the forgettably “safe” end of the genre’s coded spectrum.
    • 62 Metascore
    • 68 Robert Abele
    Never Goin’ Back, which Frizzell has admitted is in ways an honest, personal reckoning with incidents in her own fumbling adolescence, has something many comedies simply fail to care about: a spark-filled joie de vivre about the stupidity of youth that lifts it above many more cynically crass (and typically male) examples of the genre.
    • 72 Metascore
    • 75 Robert Abele
    Activist in tone, and paced like a thriller, Reed’s movie painstakingly details how an election can be brusquely seized and swayed by unseen forces. Candidates need do little but sign on to be successfully co-opted.
    • 51 Metascore
    • 60 Robert Abele
    Not every eccentric tweak of hers lands, but it’s a wonderful feeling knowing McKinnon sees potential for humor every time the camera’s on her, even for a reaction shot shoved into an action sequence.
    • 74 Metascore
    • 80 Robert Abele
    Combined with the forces of anti-regulation in government and profit-driven companies who know how to market to doctors and cover up their mistakes, the movie lays bare a blueprint for countless suffering.
    • 66 Metascore
    • 70 Robert Abele
    The bread and butter of good kids with talent and dreams, a committed coach, loyal followers and game footage does the expected task of charming us into becoming new fans, wherever we are.
    • 44 Metascore
    • 30 Robert Abele
    The characters, the dumb dialogue, and the story mechanics are the biggest problems with “Hot Summer Nights,” which never convinces, while it uses an annoying, legend-building voiceover narration from an unseen local to keep hawking the notion that we’re seeing life-changing, mythic events.
    • 63 Metascore
    • 70 Robert Abele
    The movie is both a painful reminder of how Muslims are most often the victims of terrorism and the kind of behind-the-scenes glimpse at everyday evil...that reveals a confounding bizarro world where the inexplicable and mundane mix.
    • 53 Metascore
    • 60 Robert Abele
    The mix of essay, history, critique, laughable spectacle, and reflection starts to feel unwieldy and steered toward easy assessments about the perils of loving money and worshiping appearance over substance.
    • tbd Metascore
    • 70 Robert Abele
    As long as the world worshiped fame, Hunt realized, that light could be redirected where it was most needed, and in our toxically fused celebrity-political climate, that focused, principled, humane simplicity of purpose feels as resonant as ever.
    • 86 Metascore
    • 80 Robert Abele
    At nearly two and a half hours, it’s designed to test your patience for the things that matter in these movies — violent confrontation, deception, jokey camaraderie, and over-the-top action — but it does so with a remarkably re-engaged fluidity of purpose.
    • 61 Metascore
    • 65 Robert Abele
    It’s better than your typical kiddie flick, often gorgeous to behold in its exquisitely painted Yukon wilderness and fierce, majestic canine protagonist.
    • 68 Metascore
    • 70 Robert Abele
    The message is clear, and memorably rendered: Care about where your meat comes from, because then you might eat less of it, feel better when you do eat it, and cause a little less suffering in the world.
    • 50 Metascore
    • 43 Robert Abele
    So much of Boundaries coasts on hackneyed complications and characters’ self-defeating actions that one wonders why we should believe anything anybody says.
    • 92 Metascore
    • 70 Robert Abele
    Salazar’s deliberateness of image and tone can sometimes feel like its own archly overemphasized meaning, but it’s never less than an artfully sincere companion to the drama of missing years and reconsidered choices that fortifies Sunday’s Illness.
    • 69 Metascore
    • 80 Robert Abele
    A beautifully filmed, subtly political travelogue with some central conundrums.
    • 80 Metascore
    • 95 Robert Abele
    The good news is that this continuation is a similarly rousing and savvy adventure that energetically serves up more of what we love — from the sleek retro-futurist designs to the ticklishly severe Eurasian super-clothier Edna Mode — and yet wisely, wittily, reverses the first film’s accommodating traditionalism to make for an even richer, funnier portrait of its tight and in-tights family.
    • 66 Metascore
    • 50 Robert Abele
    Not an exposé, and hardly a case of sports-as-uplift, The Workers Cup feels like a toe dip when the topic calls for at least a deep wade.
    • 60 Metascore
    • 70 Robert Abele
    Though its vibe is often too meandering, A Kid Like Jake shows that even the most accepting of environments aren’t immune to the vulnerabilities and worries coursing through any well-intended parent’s soul.
    • 71 Metascore
    • 80 Robert Abele
    Breath boasts no unique truths about maturing, but its serene roar under gray skies makes it a softly roiling, ultimately affecting gem.
    • 58 Metascore
    • 45 Robert Abele
    Though it boasts an agreeably preposterous scenario and a weird mixed bag of physicalities and acting styles — from Foster and Sterling K. Brown to Jenny Slate and Dave Bautista — the movie is itself an eye-rolling performance of cyber-pulp tropes and pop-movie excesses that undercuts its spotty pleasures at nearly every turn.
    • 66 Metascore
    • 70 Robert Abele
    The news is, sadly, all too consumed still with crime story post-mortems about “good kids” who screw up, but at least American Animals wants to leave you wondering about how we tell stories, and whose we tell, rather than simply satisfied you saw one told well.
    • 39 Metascore
    • 40 Robert Abele
    It’s a movie that already seems like a dust-gathered statue, rather than something vividly, imaginatively crafted to reflect the burning intensity of so passionate and forward-minded an artist.

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