Matthew Dessem

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Slate, The Dissolve
For 22 reviews, this critic has graded:
  • 31% higher than the average critic
  • 13% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 12.9 points lower than other critics. (0-100 point scale)

Matthew Dessem's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 The Vast of Night
Lowest review score: 20 Iceman
Score distribution:
  1. Positive: 7 out of 22
  2. Mixed: 9 out of 22
  3. Negative: 6 out of 22
22 movie reviews
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    • 84 Metascore
    • 100 Matthew Dessem
    The Vast of Night
    Every scene has been staged and shot with intelligence, intent, inventiveness, and a sense of play. To watch it is to get excited about the billions of different ways you can combine sound and moving images to tell a story.
    • 57 Metascore
    • 80 Matthew Dessem
    The House with a Clock in Its Walls
    Roth and screenwriter Eric Kripke’s adaptation of The House With a Clock in its Walls is a bullseye, perfectly balanced between funny and scary.
    • 64 Metascore
    • 80 Matthew Dessem
    Glass Chin
    Most of the time, the way to hit the big target is to aim as precisely as possible at the small one. That’s what Noah Buschel does so well in his new film Glass Chin.
    • 63 Metascore
    • 70 Matthew Dessem
    Love at First Fight
    The title does a real disservice to the film, a romantic comedy made with both visual and narrative intelligence, centered by great performances from Kévin Azaïs and Adèle Haenel.
    • 83 Metascore
    • 80 Matthew Dessem
    '71
    A master class in structure, a meticulously constructed period piece, a powerful anti-war film, and rarest of all, a thriller whose tension and suspense feel genuinely earned.
    • 73 Metascore
    • 80 Matthew Dessem
    Something, Anything
    Something, Anything is the rare film that gently asks the big questions, then gives us space, and room.
    • 62 Metascore
    • 70 Matthew Dessem
    Bad Turn Worse
    Bad Turn Worse takes its best shot at the slow-motion apocalypse that was Thompson’s specialty, and most of the film is beautifully claustrophobic.

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