Ron Stringer

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L.A. Weekly
For 51 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 17.9 points lower than other critics. (0-100 point scale)

Ron Stringer's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 90 Les Destinées
Lowest review score: 0 The Hillside Strangler
Score distribution:
  1. Positive: 13 out of 51
  2. Mixed: 24 out of 51
  3. Negative: 14 out of 51
51 movie reviews
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    • 28 Metascore
    • 50 Ron Stringer
    House on Haunted Hill
    Low-budget, high-camp.
    • 57 Metascore
    • 40 Ron Stringer
    My Wife Is an Actress
    Calculated to titillate middlebrow audiences on both sides of la Manche.
    • 30 Metascore
    • 50 Ron Stringer
    Gods and Generals
    By highlighting the human costs of slavery to everyone BUT the enslaved -- here, relations between African-American domestics and their owners are cordial, even respectful, on both sides -- Maxwell risks being pilloried as an apologist for that institution.
    • 67 Metascore
    • 50 Ron Stringer
    Quo Vadis?
    The film should also wow fans of Herbert Wise's "I, Claudius" and Franco Zeffirelli's "Jesus of Nazareth" alike.
    • 68 Metascore
    • 40 Ron Stringer
    Bon voyage
    The cast's sometimes capable, sometimes gross mugging is overwhelmed by lavish costumes, shiny vintage cars, hordes of meticulously directed extras, and the here-incongruous seriousness with which the French still regard this momentous, if humiliating, chapter of their national history.
    • 57 Metascore
    • 60 Ron Stringer
    Up at the Villa
    Impressive supporting cast---, in character parts both expanded and invented, enrich the enterprise.
    • 67 Metascore
    • 50 Ron Stringer
    Frequency
    If the trailer for this one left you feeling you'd pretty much got it, plot point by plot point, so really why bother.
    • 23 Metascore
    • 40 Ron Stringer
    Bats
    Overlong, hard look at the perils of tampering with Creation.
    • 43 Metascore
    • 60 Ron Stringer
    Suspended Animation
    The main inspiration here seems to be David Lynch, though fans of Fred Walton’s 1979 hair-raiser "When a Stranger Calls" may experience a touch of déjà vu as well.
    • 30 Metascore
    • 40 Ron Stringer
    Exorcist: The Beginning
    The “surprise” ending, when it comes, is more of a hoot than a holler.
    • 66 Metascore
    • 50 Ron Stringer
    Game Over: Kasparov and the Machine
    Game Over provides no answers.
    • 38 Metascore
    • 40 Ron Stringer
    The Texas Chainsaw Massacre
    Still and all, the makeup special effects are as over the top as anything in Hooper and L.M. Kit Carson's 1986 Texas Chainsaw Massacre 2, and -- for those of us without the sense to steer clear of this sort of thing -- that's saying something.
    • 58 Metascore
    • 40 Ron Stringer
    Tuvalu
    Allusive as all hell, Tuvalu's slapstick allegory of European socioeconomic upheaval in the 20th century opens with a spoof of "Breaking the Waves" lofty coda, then races through a mise en scène that's equal parts Tarkovsky, Méliès and the Brothers Quay.
    • 38 Metascore
    • 40 Ron Stringer
    The Other Side of Heaven
    A fine specimen of clean-cut Mormon family entertainment, but it may also be a step in the wrong direction for the fledgling production company.
    • 42 Metascore
    • 60 Ron Stringer
    Holy Man
    What's most disturbing about this ineptly scripted, utterly implausible (and at the same time curiously likable) comedy of sin and redemption in TV's home-shopping universe is how close a committed cast and a talented director (Stephen Herek, late of Mr. Holland's Opus) come to pulling it off, to making us feel good about the 110 minutes or so we've just pissed away.
    • 70 Metascore
    • 60 Ron Stringer
    Twist of Faith
    Doesn't offer much new in the way of news or analysis. What it does offer is inspiration from an unlikely source, via an unsparing look at one such victim.
    • 33 Metascore
    • 50 Ron Stringer
    The Battle of Shaker Heights
    While decidedly green, at least isn't mealy or tasteless. And if the juice in tyro screenwriter Erica Beeney's witty dialogue can't quite flow through the hard tissue of underripe gimmicks and derivative set pieces, there's enough sweetness in the performances, and tautness in the direction (by Efram Potelle and Kyle Rankin), to forestall any serious bellyaching.
    • 53 Metascore
    • 40 Ron Stringer
    Vanity Fair
    Turgid, melodramatic travesty of Thackeray's gimlet-eyed satire.
    • 47 Metascore
    • 50 Ron Stringer
    The Prince and Me
    To no one's possible satisfaction -- the non-question of how Paige is to ascend to the throne and retain her personal integrity that The Prince and Me falls, finally and irrevocably, flat.
    • 53 Metascore
    • 40 Ron Stringer
    The Hunting of the President
    They have succeeded in establishing conservative ideologue Ken Starr as one of American prosecutorial history's biggest heels and Clinton loyalist Susan McDougal as a bona fide hero and martyr. The problem, of course, is that the president himself was neither, and no amount of hand wringing -- however justified -- can make him one.
    • 52 Metascore
    • 50 Ron Stringer
    Orfeu
    Unfortunately, the innovations that attend this updating dilute the iconic weight of the original.
    • 38 Metascore
    • 60 Ron Stringer
    God's Army
    A fine cast of unknowns in a story of faith -- lost, found and continually challenged -- that neither romanticizes nor condescends to its milieu.
    • 54 Metascore
    • 50 Ron Stringer
    One Missed Call
    It's a prolonged, maddening, predictable -- yet curiously pleasurable -- descent into incomprehensibility.
    • 45 Metascore
    • 40 Ron Stringer
    The Singing Detective
    The problem for director Keith Gordon is that Potter's script pares down to virtual nothing the very narrative threads that allowed us, in the full-length version, to identify with his prickly protagonist, and knocks us upside the head with a hyperkinetic, disorienting first act from which audiences -- especially those approaching this material cold -- are unlikely to recover.

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