Alan Zilberman

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Washington Post
For 70 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 4.5 points lower than other critics. (0-100 point scale)

Alan Zilberman's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Censored Voices
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 41 out of 70
  2. Mixed: 13 out of 70
  3. Negative: 16 out of 70
70 movie reviews
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    • 58 Metascore
    • 37 Alan Zilberman
    It: Chapter Two
    The movie is like a game of musical chairs that runs too long. And since Muschietti has few scare tactics at his disposal, the film loses its capacity to frighten.
    • 31 Metascore
    • 37 Alan Zilberman
    Hellboy
    Marshall and screenwriter Andrew Cosby went overboard with their R-rating, introducing so much gore and profanity that it, quite frankly, gets dull. The flat performances and incoherent story do not help matters.
    • 57 Metascore
    • 37 Alan Zilberman
    Viper Club
    Good intentions only go so far, especially when they mask tawdry melodrama. Even the best movies push emotional buttons, but they work because viewers become wrapped up in the story. This one is so manipulative you can hear the gears grinding — until they lock up.
    • 52 Metascore
    • 12 Alan Zilberman
    American Chaos
    “Chaos” might have been better had the filmmaker revisited his interview subjects now that we are deep into Trump’s presidency. But that would have required additional work. If the film is a testament to anything, it’s Stern’s laziness.
    • 40 Metascore
    • 25 Alan Zilberman
    From the Land of the Moon
    From the Land of the Moon features a typical Cotillard performance, yet the romance, from French actress and filmmaker Nicole Garcia, manages to convey neither triumph nor tragedy.
    • 44 Metascore
    • 37 Alan Zilberman
    Churchill
    Biography, at its most useful, disabuses us from myth, but Churchill has no such ambitions. As both history and entertainment, it’s a drag.
    • 40 Metascore
    • 25 Alan Zilberman
    Mine
    Guaglione and Resinaro strive to find meaning in Mike’s struggle, even when the script and its conclusion all point to a message that is more senseless, even bleak.
    • 39 Metascore
    • 25 Alan Zilberman
    Why Him?
    Despite flashes of brilliance, Why Him? is perfunctory and boorish, the sort of film that already has begun to fade from memory before you’re too annoyed by it.
    • 34 Metascore
    • 37 Alan Zilberman
    Keeping Up with the Joneses
    Mottola and LeSieur seem to have actively avoided the pursuit of wisdom, settling for broad gags — and the occasional explosion — instead.
    • 69 Metascore
    • 37 Alan Zilberman
    Kicks
    Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
    • 2 Metascore
    • 0 Alan Zilberman
    Hillary's America: The Secret History of the Democratic Party
    D’Souza may wish to tilt the election, but he’ll be lucky if his fans can make it through his film without falling asleep.
    • 55 Metascore
    • 37 Alan Zilberman
    The Purge: Election Year
    Even DeMonaco seems bored by the sieges, escapes and gun battles. Silly one-liners are the only saving grace, and that's because such acting veterans as Williamson know how to sell them.
    • 10 Metascore
    • 12 Alan Zilberman
    Sundown
    Absent any self-awareness by its protagonists, the best thing about Sundown is that it’s too dumb to be offensive.
    • 49 Metascore
    • 37 Alan Zilberman
    Sold
    Sold is maudlin in a way that makes its audience, paradoxically, feel good, albeit superficially. A story of human trafficking should move us on a deeper, more uncomfortable level.
    • 38 Metascore
    • 25 Alan Zilberman
    Ktown Cowboys
    The jokes in Ktown Cowboys land with a thud.
    • 40 Metascore
    • 25 Alan Zilberman
    The Benefactor
    It isn’t unusual for a good premise to have a faulty execution. The Benefactor suffers from a conclusion that feels inauthentic to the real perils of addiction, as well as to its own story. The only remarkable thing about it is Gere, who really should stick to filmmakers worthy of his talent.

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