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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    • tbd Metascore
    • 38 Peyton Robinson
    Couples Weekend
    The circumstances of “Couples Weekend” are simply too convenient. Its simplicity hinders absorption, shielding viewers from taking in its vulnerability or lessons to heart. And with its similar struggle to elicit its intended laughs, Kirkpatrick’s film is a flat rendering of its jagged proposal.
    • 69 Metascore
    • 75 Peyton Robinson
    Late Shift
    Late Shift never loses grasp of its compassion for its lead, but does neglect coloring in the context. Left wanting more, Volpe’s film touches the heart but doesn’t satisfy the appetite for a more comprehensive picture.
    • 55 Metascore
    • 25 Peyton Robinson
    Slanted
    Regrettably botched, despite its bold concept at its core, “Slanted” is too simple to make a statement.
    • tbd Metascore
    • 38 Peyton Robinson
    Undercard
    Sykes steps into the role enthusiastically, but Miller’s script (with cowriter Anita M. Cal) is beat-you-over-the-head melodramatic, making Sykes’ committed effort to deliver heartfelt pathos all the more difficult to buy.
    • 63 Metascore
    • 75 Peyton Robinson
    By Design
    Amanda Kramer’s “By Design” is an oddball, almost-love story that has more to say about human dejection and desire than a lot of more conventional tales.
    • 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.
    • 67 Metascore
    • 63 Peyton Robinson
    A Private Life
    Despite an overall unsatisfying resolution to these inquiries, the ideas that the film prompts, coupled with Foster’s nuanced performance, make for a compelling enough character study.
    • 80 Metascore
    • 75 Peyton Robinson
    The Testament of Ann Lee
    The Testament of Ann Lee is a large-scale production, mighty in detail, and Fastvold proves herself up to the challenge of her own aspirations, tackling the weighty biography with the same sort of labor-intensive dedication characteristic of its subject.
    • 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.
    • 72 Metascore
    • 75 Peyton Robinson
    Rosemead
    The film does not offer excuses for violence, and neither should we; instead, it prompts reflection on where compassion and control are needed and where the pursuit of them falters.
    • 80 Metascore
    • 75 Peyton Robinson
    Cutting Through Rocks
    The film grants hope for the women of Iran through its thick-skinned subject, putting her resume and grit on display. But with sharper editing and a bit more eagerness for the personal, “Cutting Through Rocks” would supersede general hopefulness for a more intricate touch to the heart.
    • 81 Metascore
    • 88 Peyton Robinson
    Come See Me in the Good Light
    The film is true to Gibson’s persona, which is marked by everything you expect from a poet: thoughtfulness, tenderness, and thorough self-awareness.
    • 83 Metascore
    • 100 Peyton Robinson
    Put Your Soul on Your Hand and Walk
    Iranian filmmaker Sepideh Farsi’s “Put Your Soul on Your Hand and Walk” is not simply a documentary, but a poignant individual’s record. It is a reminder that every number we see on the news is a complex web of individuality. It’s historical sonder on screen.
    • 82 Metascore
    • 75 Peyton Robinson
    Little Amélie or the Character of Rain
    A tender romp through time we’ve all seen long departed, and may only relive through children of our own, “Little Amélie and the Character of Rain” begs for the warmth of innocence, even when it pleads too hard.
    • 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.
    • tbd Metascore
    • 38 Peyton Robinson
    London Calling
    It’s a bit of a tropey mess, but the intent is clear: to have fun. And while the fun-having of the filmmaking itself translates well to the screen amidst a few genuine laughs, “London Calling” is mostly stale.
    • tbd Metascore
    • 25 Peyton Robinson
    The Wrong Paris
    It’s flimsy and forgettable without tension or investment to inspire.
    • tbd Metascore
    • 75 Peyton Robinson
    Democracy Noir
    While the film is an informative tale of international politics, it’s also a warning sign and rallying cry for action back home.
    • 74 Metascore
    • 88 Peyton Robinson
    East of Wall
    Director Kate Beecroft’s Sundance darling “East of Wall” is a stunning portrait of the American West.
    • tbd Metascore
    • 38 Peyton Robinson
    Trust
    With the added threads of female-specific and child celebrity woven through, “Trust” had the potential to be not just thrilling but thoughtful. Yet with an unfocused eye and clumsy pen, it falls way short of the mark.
    • 67 Metascore
    • 63 Peyton Robinson
    Strange Harvest
    Hinging on the nitpicking anxieties of the true crime genre, “Strange Harvest” maintains an air of abject horror, even if its penchant for ease nudges focus out of the way.
    • 88 Metascore
    • 50 Peyton Robinson
    2000 Meters to Andriivka
    The primary struggle of Chernov’s documentary is that it leans into the impersonal in an attempt at devastation. It can’t rely on the men as the crutch of the film’s emotion.
    • 39 Metascore
    • 25 Peyton Robinson
    Saint Clare
    The spirit of religious promise that Perione’s film introduces goes quizzically betrayed. What ensues becomes an attempted campy teen thriller, but without the tension or reward.
    • 74 Metascore
    • 63 Peyton Robinson
    Don't Let's Go to the Dogs Tonight
    Don’t Let’s Go to the Dogs Tonight is inherently bound by its white perspective, but at the same time, it would simply be a different story if not through Bobo’s eyes.
    • 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.
    • 79 Metascore
    • 88 Peyton Robinson
    Marlee Matlin: Not Alone Anymore
    Stern, herself deaf, crafts an intimate and moving documentary that takes us through the legendary life of Marlee Matlin, uncovering a legacy of advocacy, activism, and perseverance.
    • tbd Metascore
    • 25 Peyton Robinson
    House of Abraham
    The film falls victim to the subtlety of a ten-car pile-up. Neither the characters, all archetypal, nor the sequencing of the story, choppy and ham-fisted, inspire any engagement in its subject matter.
    • 75 Metascore
    • 75 Peyton Robinson
    Sister Midnight
    There are laughs aplenty, even as “Sister Midnight” begins to lose creative steam, with the wheels falling off, and the further it falls into the repetitive macabre. But Apte remains the glue holding it all together as the film imagines its prototype of the monstrous feminine.
    • 71 Metascore
    • 88 Peyton Robinson
    Swamp Dogg Gets His Pool Painted
    The true heart of “Swamp Dogg Gets His Pool Painted” is not simply the impressive biographical bullet points, but rather the gift of witnessing its subject being unapologetically himself.
    • 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.
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