Peyton Robinson

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RogerEbert.com
For 109 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Peyton Robinson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Put Your Soul on Your Hand and Walk
Lowest review score: 12 Back to Black
Score distribution:
  1. Positive: 67 out of 109
  2. Mixed: 12 out of 109
  3. Negative: 30 out of 109
109 movie reviews
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    • 62 Metascore
    • 63 Peyton Robinson
    Love to Love You, Donna Summer
    The strength of the film is its heart, and Summer’s relationships are used not only narratively, but structurally. With frequent narration from Summer’s daughters, and a heavy focus on their childhoods with a loving but distant mother, their desire to understand her beyond her parenthood and into her personhood is the the movie’s foundation.
    • 61 Metascore
    • 88 Peyton Robinson
    Heart Eyes
    Heart Eyes is a raving good time. As a Valentine’s Day flick and a horror picture, it lands for fans of all kinds: those who seek warmth, wrath, or both.
    • 61 Metascore
    • 38 Peyton Robinson
    Drift
    Perhaps with less questions left unanswered, “Drift” would permit a more sympathetic lead, but the flatness and flippance of its context leaves everything on the surface.
    • 61 Metascore
    • 88 Peyton Robinson
    The Persian Version
    The Persian Version pulses with personality, striking an excellent balance between humor and heart.
    • 60 Metascore
    • 38 Peyton Robinson
    The Pod Generation
    The Pod Generation is thoughtful and timely but flat, an opaque expression of an overly simple thesis.
    • 60 Metascore
    • 38 Peyton Robinson
    No One Will Save You
    The opening moments of the first act are rendered as the film’s best, as No One Will Save You continues to fall apart due to a frustrating lack of narrative context.
    • 60 Metascore
    • 50 Peyton Robinson
    Magic Farm
    Magic Farm is eye-catching with its high saturation and punchy editing choices, but the seduction of bright and bold visuals is incompatible with Ulman’s unwieldy script. Her hands are full, and oftentimes clarity slips through her fingers.
    • 59 Metascore
    • 25 Peyton Robinson
    The Silent Twins
    While there's undeniable creativity in the film's visual and metaphorical aspects, there's a glaring neglect in the power needed for this film to find its own voice.
    • 59 Metascore
    • 75 Peyton Robinson
    The President’s Wife
    For non-French audiences (or those not well versed in world politics), many references and soundbytes can soar over the head, but “The President’s Wife” is most concerned with uplifting its lead lady in all her schemes, sarcasm, and competence, and this it does well.
    • 58 Metascore
    • 75 Peyton Robinson
    Novocaine
    Berk and Olsen accomplish a formidable action-comedy, one that puts their horror roots in neon lights and sense of humor on equal display.
    • 57 Metascore
    • 38 Peyton Robinson
    Surrounded
    The hazy horizons and warmth of the Wild West lend to stunning cinematography, but the bones of the visuals are not enough to support the film. Mandler’s direction is effective for the genre, but there’s a fatiguing number of posed cowboy-against-the-horizon shots that begin to feel kitschy on account of their frequency.
    • 57 Metascore
    • 38 Peyton Robinson
    Shirley
    Shirley views itself as a punchy, exciting political dossier, but lacks the attention to detail to make it anything other than a historical summary.
    • 56 Metascore
    • 63 Peyton Robinson
    It's What's Inside
    It’s What’s Inside is a fun jaunt through the dynamics of a friend group and the interiorities of its members, even as it sanitizes its potential.
    • 55 Metascore
    • 38 Peyton Robinson
    A Lot of Nothing
    A Lot of Nothing takes a fraction of a stance on how Black people are socially caricatured and systemically discriminated against. So when the film reaches its big reveal and the discussion of it, it spins any assumption of intention into obscurity.
    • 55 Metascore
    • 25 Peyton Robinson
    Slanted
    Regrettably botched, despite its bold concept at its core, “Slanted” is too simple to make a statement.
    • 54 Metascore
    • 50 Peyton Robinson
    Goodbye June
    The whole film feels like a production of calling in favors, as the relatively hotshot cast it drew seems incongruent with its content: a clichéd story of a disordered family over the holidays.
    • 54 Metascore
    • 63 Peyton Robinson
    M3GAN 2.0
    M3GAN 2.0 doesn’t seem to set out to do much more than show off and get laughs, and it accomplishes it well enough. The film is bigger, but not better, delivering precisely what fans of the sassy android will come to the theatres to see.
    • 53 Metascore
    • 38 Peyton Robinson
    Bad Things
    Where the central four characters' friendship and intersecting romantic relationships are meant to be the film’s grounding center, there's nothing but flimsy connections and dead air. There’s no chemistry between the characters and no genuine feeling in their performances.
    • 51 Metascore
    • 50 Peyton Robinson
    Dark Harvest
    Dark Harvest misses many beats necessary for a fully realized narrative. And yet the concept and its action-driven execution make a fun watch with some laughs of incredulity.
    • 49 Metascore
    • 50 Peyton Robinson
    The Front Room
    It’s passable for an easy watch and some uncomfortable chuckles but is bearable only on behalf of Hunter’s loyal antagonism while falling short just about everywhere else.
    • 48 Metascore
    • 63 Peyton Robinson
    Good Burger 2
    Good Burger 2 is a sentimental slapstick sequel chock full of fun cameos and absurdity, yet it doesn’t divert itself enough from the familiar path. It serves up little more than nostalgia, with some solid laughs but too little that are memorable.
    • 48 Metascore
    • 25 Peyton Robinson
    Solo Mio
    It moves at a breakneck pace to get to its primary plot, but neglects the emotional backdrop required to really invest. Indulgence itself is the film’s greatest lack.
    • 47 Metascore
    • 50 Peyton Robinson
    Haunted Mansion
    With a repeated sourness in the film’s comedic efforts and a tragically misused ensemble, Haunted Mansion misses the chance to become a Halloween classic.
    • 47 Metascore
    • 63 Peyton Robinson
    Corner Office
    Corner Office is a sometimes-funny satire stuffed with capitalist ennui, but it bites with dull teeth, failing to provide enough support for its sentiment to stick.
    • 47 Metascore
    • 25 Peyton Robinson
    The Nun II
    There's an overall lack of thoughtfulness in The Nun II regarding scares, and Chaves is vehemently loyal to oversaturated tropes. The movie starkly neglects creativity and, in turn, lacks effective fear.
    • 46 Metascore
    • 50 Peyton Robinson
    The Watchers
    Based on the book by A.M. Shine, “The Watchers” is Ishana Night Shyamalan’s directorial debut, a fabled narrative that seesaws between fantastical whimsy and proposed horrific terror with lots of ambition but little finesse.
    • 44 Metascore
    • 25 Peyton Robinson
    The Union
    The Union delivers tonal whiplash on account of its failure to exceed at either end of its genre attempt at action-comedy.
    • 43 Metascore
    • 12 Peyton Robinson
    Back to Black
    Taylor-Johnson’s film, penned by Matt Greenhalgh, is concerned with Amy the addict, making “Back to Black” a dreadful, dastardly attempt at a biopic.
    • 42 Metascore
    • 38 Peyton Robinson
    The People We Hate at the Wedding
    Its goal is to be a feel-good film, and it sort of accomplishes that. But from the predictable plot structure and series of overt zingers to the eye-rolling litany of on-the-nose needle drops, The People We Hate at the Wedding is awkwardly executed.
    • 41 Metascore
    • 38 Peyton Robinson
    The Woman in Cabin 10
    The moving parts of this thriller are subservient to nailing plot points down on a bulletin of perfectly wound red twine. On account of this, “The Woman in Cabin 10” entertains enough to pass the time, but certainly doesn’t thrill.
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