Rodrigo Perez

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For 486 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 1.1 points lower than other critics. (0-100 point scale)

Rodrigo Perez's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Captain Phillips
Lowest review score: 0 The Babysitter: Killer Queen
Score distribution:
  1. Positive: 283 out of 486
  2. Mixed: 130 out of 486
  3. Negative: 73 out of 486
486 movie reviews
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    • 43 Metascore
    • 42 Rodrigo Perez
    Dark Phoenix
    Its atrocious, expository dialogue, cumbersome plot, whiplashing character motivations, unintentionally funny moments, and often corny costumes, ensures, Dark Phoenix will be remembered in the annals of mediocre movies (and for somehow utterly wasting Jessica Chastain, Michael Fassbender, Jennifer Lawrence, and James McAvoy in the same film).
    • 47 Metascore
    • 42 Rodrigo Perez
    Jack Reacher: Never Go Back
    Jack Reacher: Never Go Back isn’t a throwaway, and mainstream action/thriller fans should come out more than satisfied at the visceral nature of the film. But anyone hoping for more than a superficial on-the-run chase movie will probably wish Reacher had stayed home, instead of going back.
    • 50 Metascore
    • 42 Rodrigo Perez
    Snow White
    White interjecting its social commentary, “Snow White” otherwise tackles much of the same ideas—the notions of true love, the power of friendship, and the triumph of good over evil—but it’s all put together in a very familiar and garish package. The fairest in the land? Far from it.
    • 50 Metascore
    • 42 Rodrigo Perez
    The Equalizer 2
    Fuqua’s movie, unqualified to create anything other than superficial poignancy, is empty, tiresome and uninteresting, satisfied with repeatedly communicating that if you exploit the innocent, harm the oppressed or abandon your code of conscience, Robert McCall will be there to set things right and severely punish you several times over.
    • 38 Metascore
    • 42 Rodrigo Perez
    Gemini Man
    Packing a promising first act that quickly goes south and and a select few fun action beats, Ang Lee may be a disciple of technology, but if he’s going to trade the potential of meta-commentary on aging, youth, an actor’s legacy and more, for something meant to be slick entertainment, he’s still going to need a more convincing sermon.
    • 30 Metascore
    • 42 Rodrigo Perez
    The Electric State
    The Electric State really aims to be an epic, spectacularly shaped, crowd-pleasing blockbuster, but missing the mark so often, it just veers more and more off course, to be a loud, blustery, hectic extravaganza that’s all noisy dressing and no depth or humanity. It says nothing and offers little other than a folding laundry distraction.
    • 34 Metascore
    • 42 Rodrigo Perez
    Zoolander 2
    Zoolander 2 is no disaster, but it’s almost worse; a tedious jag that barely works as a disposable and mild, if-its-on-cable-TV, diversion.
    • 40 Metascore
    • 42 Rodrigo Perez
    Aloha
    Aloha is bittersweet overkill. Familiar and unwieldy, the dramedy is one long, sustained and ultimately overwrought note of happy/sad wistfulness that loops itself into an echo of strained feedback.
    • 52 Metascore
    • 42 Rodrigo Perez
    Coming 2 America
    [A] benign, only marginally-amusing-at-best nostalgia cash grab.
    • 50 Metascore
    • 42 Rodrigo Perez
    Wolf Man
    It’s, unfortunately, just one-dimensional, a little first-draft-y, perhaps rushed and hurried, and never as powerful or emotional as the film obviously hopes to be.
    • tbd Metascore
    • 42 Rodrigo Perez
    Bleeding Heart
    For some audiences, Bleeding Heart may deliver some much needed catharsis, but it’s ultimately a hollow film that isn’t concerned with consequences or the echoing cycle of violence, just vanquishing the bad guy, reclaiming a dime store sense of “freedom,” and not much more.
    • 37 Metascore
    • 42 Rodrigo Perez
    Baywatch
    Its insistence on trying to balance wannabe sincerity and earnest actions with laughs is a tonally misconceived idea. Ultimately more forgettable then deplorable, Baywatch isn’t so much a disastrous spill in the ocean as it is disposable garbage making a mess.
    • 69 Metascore
    • 42 Rodrigo Perez
    The Drop
    An uninspired movie, The Drop would be utterly forgettable if it weren't for the fact that you’re left wondering how all this talent created something so unexceptional.
    • 60 Metascore
    • 42 Rodrigo Perez
    Butter on the Latch
    Decker is good at articulating sinister moods and unstable psyches, but anything resembling a cogent narrative is challenged.
    • 53 Metascore
    • 42 Rodrigo Perez
    Red Sparrow
    While it’s Lawrence’s most mature and relatively subtle effort to date, it’s also, unfortunately, a slog. The director’s well-intentioned patience ultimately means nothing when its interminable pacing makes the movie feel twice as protracted as its longwinded, two-hour-plus running time.
    • 61 Metascore
    • 42 Rodrigo Perez
    The Wolverine
    The Wolverine wants to have it both ways: a dark character story and an action-packed superhero film. But it never reconciles the two notes, and thus becomes more and more atonal as it wobbles towards its symphonically jarring ending.
    • 20 Metascore
    • 42 Rodrigo Perez
    Accidental Love
    Accidental Love is mostly a mess, a curiosity for fans, and a mangled misfire you'd understand anyone hoping to omit from their CV.
    • 56 Metascore
    • 42 Rodrigo Perez
    The Fence
    The Fence presents a theatrical style that paralyzes the film into a tense but frustrating checkmate for much of its running time.
    • 62 Metascore
    • 42 Rodrigo Perez
    Dual
    Both Stearns and Gillan commit to the detached tenor. Still, it’s often more distant and isolating than it is funny, therefore leading to a movie that feels misjudged and far too remote, even for those well-versed and conversant in this weirdly lopsided style.
    • 45 Metascore
    • 42 Rodrigo Perez
    Greedy People
    It also portends to be a sincere moral fable about avarice and the way it corrupts people—via the bookends of the beginning and end of the story—but it hardly convinces and leaves one a little puzzled at the jejune attempt at blurting something meaningful after 90 minutes of wacky crime tales and dishonest people.
    • 49 Metascore
    • 42 Rodrigo Perez
    The Gray Man
    While it has its moments, a few good laughs, a few impressive thriller sequences, and Evans with his delectably douchey little trash stash, “The Gray Man” is generally an unremarkable swing and miss that wants the best of both worlds, but can’t really thread that needle.
    • 39 Metascore
    • 42 Rodrigo Perez
    The Exorcist: Believer
    Make no mistake, most audiences will find ‘Believer’ revolting, but that’s also the point. It’s fascinating in the way it swings for the fences, is full of conviction, and is overflowing with stimulating ideas about acceptance, denial, community, and more, many of them engaging, many of them handled with no sense of taste (to which Green would probably argue is what Friedkin’s film did; good taste be cast out!).
    • 44 Metascore
    • 42 Rodrigo Perez
    Finestkind
    Knock Helgeland’s unpersuasive plot, his broad writing platitudes, and some of the more ridiculous twists of the genre all you want, but the filmmaker at least seems to know, understand, and capture the milieu and people of these communities. Sure, that’s not enough to save Finestkind, but there is something there.
    • 56 Metascore
    • 42 Rodrigo Perez
    The Glass Castle
    Intimate, but never actually involving, The Glass Castle at least has admirable performances to watch.
    • 31 Metascore
    • 33 Rodrigo Perez
    Rebel Moon Part 1: A Child of Fire
    “Rebel Moon” is nearly unwatchable and one of the most stunning misfires of this scale in quite some time.
    • 57 Metascore
    • 33 Rodrigo Perez
    The Look of Love
    While stylishly capturing the verve, exotica, and free-spirited mojo of swinging '60s London, uber-prolific English director Michael Winterbottom's portrait of legendary U.K. smut impresario Paul Raymond is otherwise a shallow misfire.
    • 25 Metascore
    • 33 Rodrigo Perez
    Walk of Shame
    The film is curiously schizophrenic. Brill’s screenplay mixes traditional rom-com generics with sporadically funny R-rated vulgarity and ludicrously dumb gags.
    • 50 Metascore
    • 33 Rodrigo Perez
    The Greatest Hits
    The Greatest Hits is way worse than just a sophomore slump, more accurately, a long-the-works opus that should have just stayed in the vaults.
    • 60 Metascore
    • 33 Rodrigo Perez
    No One Will Save You
    No One Will Save You is a very bizarrely unremarkable, abnormally lifeless movie, seemingly starting right out of the gate in the second act and then trying to reverse engineer the audience’s sympathy—and everything else— for the unknowable protagonist.
    • 60 Metascore
    • 33 Rodrigo Perez
    Wonder Woman 1984
    A movie that is fundamentally ill-conceived, poorly written, and missing most of the basic charms that made the original “Wonder Woman” such a delight (minus the last act). Directed again by Patty Jenkins, the film is also something of a nonsensical mess narratively, even by the most lenient and forgiving standards of superhero movies where fantastical, impossible things routinely occur. Suspension of disbelief is crucial to this genre, but ‘WW84’ is constantly breaking or conveniently upgrading its rules in ways that definitely break or at least always test your suspension of disbelief.
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