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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    • 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.
    • 62 Metascore
    • 50 Peyton Robinson
    The Teacher
    Putting on display the day-to-day reckonings of Palestinian life under violent Israeli occupation, Nabulsi’s film touches the heart but loses grip on the mind as it journeys to juggle more subplots than its hands can handle.
    • 71 Metascore
    • 63 Peyton Robinson
    Bob Trevino Likes It
    Bob Trevino Likes It is overly convenient but touching, nonetheless.
    • 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.
    • 84 Metascore
    • 63 Peyton Robinson
    Eephus
    The pacing works referentially to its namesake and real-time ambition, but the characters aren’t quite interesting or engaging enough to sustain attention for the whole runtime, and the film’s crawl eventually wears on weary knees.
    • 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.
    • 70 Metascore
    • 63 Peyton Robinson
    Companion
    Hancock’s film is not revolutionary nor particularly thoughtful past the outline of its concept. Regardless, it’s an enjoyable romp in the sci-fi horror sphere.
    • 73 Metascore
    • 75 Peyton Robinson
    One Of Them Days
    One of Them Days satisfies like a high-five landed after three whiffs: a rewarding win on account of the stumbles it took to get there.
    • 69 Metascore
    • 88 Peyton Robinson
    The Piano Lesson
    Uniting with a star-studded trio – his brother John David Washington, Samuel L. Jackson, and Danielle Deadwyler – Washington's study of inheritances (trauma, wealth, and history) is a powerful portrayal of Black lineage in America.
    • tbd Metascore
    • 38 Peyton Robinson
    Cellar Door
    With less textbook dedication to its metaphors and more sleight of hand in its structure, “Cellar Door” would accomplish the tension it intends, but its bland approach fails to inspire investment.
    • 82 Metascore
    • 88 Peyton Robinson
    Exhibiting Forgiveness
    Kaphar’s film bloats its runtime, with a handful of conversations going back for seconds on a full stomach, but it still manages to be utterly moving, entrusting its cast completely with carrying its ideas to touching fruition.
    • 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.
    • 79 Metascore
    • 100 Peyton Robinson
    Girls Will Be Girls
    Writer-director Shuchi Talati’s feature debut, “Girls Will Be Girls,” is a profoundly moving document of generational girlhood.
    • 34 Metascore
    • 25 Peyton Robinson
    Uglies
    Uglies is an Orwellian tale with weak conviction. Among its contemporaries, it’s a disappointing volume in the YA dystopian canon.
    • 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.
    • 71 Metascore
    • 75 Peyton Robinson
    Seeking Mavis Beacon
    Seeking Mavis Beacon is utterly creative, a documentary that reflects the state of the Internet as it stands, and as it turns a mirror on its makers.
    • 66 Metascore
    • 25 Peyton Robinson
    Blink Twice
    Blink Twice sucker punches the audience with its sexual violence and then fails to find intelligence or dexterity in its handling of it or any of the themes running adjacent.
    • 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.
    • 90 Metascore
    • 100 Peyton Robinson
    Sugarcane
    Sugarcane is soul-shaking. It’s profoundly evocative, with spoken memories and moments of inability to muster the words gut-punching with equal measure.
    • 65 Metascore
    • 50 Peyton Robinson
    Peak Season
    Peak Season feels like a bunch of friends making a film; at times, this intimacy and dialed-back scale is charming. At others, it pokes holes in the facade of the fourth wall, and immersion is lost.
    • 66 Metascore
    • 75 Peyton Robinson
    Dandelion
    Even with a shaky conclusion, the swarming warmth of Riegel’s direction and the meditation of her writing results in a film that displays the fleeting, volatile kind of love that forces you to grow - the kind the greatest songs are written about.
    • 80 Metascore
    • 100 Peyton Robinson
    The Nature of Love
    The Nature of Love is a rom-com for the ages, examining the confoundment we find when trying to understand our deepest human feelings, and doing it with the deserved spectrum of “oohs” “hahas” and “oh gods.”
    • 79 Metascore
    • 88 Peyton Robinson
    Copa 71
    Copa 71 is stirring, exciting, and lively, a kinetic tale that finally spotlights the revolutionary event that didn’t quite turn the tide but certainly started the wave.
    • tbd Metascore
    • 38 Peyton Robinson
    She Rises Up
    This idea of shopping local takes new meaning and adheres to the heartstrings as the credits begin, but much of the detail fails to make an impact, and “She Rises Up” becomes largely forgettable.
    • 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.
    • 75 Metascore
    • 75 Peyton Robinson
    Solo
    Through Dupuis’s eye, this story is empathetic and involved, and this feeling persists despite disorganization’s attempt to shake its structure.
    • 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.
    • 80 Metascore
    • 100 Peyton Robinson
    Gasoline Rainbow
    Gasoline Rainbow feels like a living, breathing, laughing organism. It’s not a caricature of Gen-Z nor a wishful document of what we may hope or theorize 2020s youth to be, and the Ross brothers’ largely hands-off technique allows this to thrive.
    • 64 Metascore
    • 75 Peyton Robinson
    Turtles All the Way Down
    Marks’ “Turtles All the Way Down” shines with John Green’s trademark whimsy. It’s a charming, delightful YA romance that doesn’t bind itself to the sole enjoyment of its target market.
    • 68 Metascore
    • 75 Peyton Robinson
    Omen
    Omen excellently captures the feelings of both cultural and generational alienation. In script and performance, there is never a moment of certainty.
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