For 315 reviews, this critic has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.7 points lower than other critics. (0-100 point scale)

Matt Donato's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Guardians of the Galaxy
Lowest review score: 20 The Bye Bye Man
Score distribution:
  1. Negative: 21 out of 315
315 movie reviews
    • 73 Metascore
    • 80 Matt Donato
    The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.
    • tbd Metascore
    • 80 Matt Donato
    Amy Seimetz plays by her own rules like this is the last film she’ll ever make (it won’t be, no shot). She Dies Tomorrow ponders self-fulfillment with agency and riveting execution. Seimetz’s fearlessness is what sells every ounce of this uncontrollable narrative’s every zig and zag. From tone to philosophy to composition, this is Seimetz’s soul on celluloid.
    • tbd Metascore
    • 70 Matt Donato
    Drunk Bus straps you in for a semi-wild, uplifting ride out of somber darkness and into speedy reclamation.
    • 44 Metascore
    • 50 Matt Donato
    Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.
    • 50 Metascore
    • 80 Matt Donato
    The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.
    • 72 Metascore
    • 70 Matt Donato
    Leigh Whannell does a damn fine job manifesting unnerved tension and sustaining Cecilia’s downfall right in front of everyone’s eyes.
    • 29 Metascore
    • 30 Matt Donato
    Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.
    • 22 Metascore
    • 40 Matt Donato
    From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.
    • 47 Metascore
    • 70 Matt Donato
    It’s an enjoyable movie-night combination of lightning quips, genuine friendship and observational humor paced with Sonic’s “gotta go fast” attitude. Score one for video game fans!
    • 60 Metascore
    • 80 Matt Donato
    Birds of Prey proves that it's no longer a man's world, it's Harley Quinn's - and we should be so lucky.
    • 64 Metascore
    • 50 Matt Donato
    Gretel & Hansel is a full course meal when it comes to cinematography and production design, but the sleepy, hollow narrative pacing is just too stogy to overcome.
    • 35 Metascore
    • 20 Matt Donato
    The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.
    • 48 Metascore
    • 80 Matt Donato
    Yes it's "Alien but underwater," and that's a good thing given how a top-notch Kristen Stewart leads us on a terrifying dive into the deepest reaches of aquatic horror.
    • 41 Metascore
    • 50 Matt Donato
    The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.
    • 72 Metascore
    • 70 Matt Donato
    VFW
    If you’re into “Splatterhouse Cinema” that respects its elders and tenderizes human bodies without remorse, Joe Begos has a pile of discarded corpses waiting for you. It’s vile, slick with repugnance, and appropriately inhumane. A canon full of guts blasted straight into your face – the Fangoria way.
    • 53 Metascore
    • 50 Matt Donato
    Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.
    • 49 Metascore
    • 30 Matt Donato
    Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.
    • 59 Metascore
    • 50 Matt Donato
    Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.
    • 54 Metascore
    • 50 Matt Donato
    Terminator: Dark Fate is a good Terminator franchise entry by comparison, but still falls into many of the pitfalls that modern reboots/remakes/sequels struggle to sidestep when balancing nostalgia with hyper-CGI action.
    • 55 Metascore
    • 60 Matt Donato
    Zombieland: Double Tap winks and nudges its way through a long-time-coming sequel, but earns its survival badges when cracking wits around new casts of characters.
    • 50 Metascore
    • 30 Matt Donato
    3 From Hell is an ugly example of too much wicked style over zero intended substance.
    • 61 Metascore
    • 80 Matt Donato
    Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.
    • 64 Metascore
    • 100 Matt Donato
    Ready Or Not is an exquisite horror comedy heavy on familial dysfunction, heavier on gameplaying brutality, and always a reminder that Samara Weaving deserves to be the biggest of megastars.
    • 58 Metascore
    • 70 Matt Donato
    It Chapter 2 downgrades Pennywise's presence amidst the adult Losers' coming together, but is still a funhouse-freaky sequel that makes quite the statement in terms of scaling blockbuster horror bigger and grander.
    • 43 Metascore
    • 60 Matt Donato
    47 Meters Down is still the alpha of this franchise pack, but Uncaged's stealth "slasher but with sharks" structure is an approved and entertaining surprise.
    • 61 Metascore
    • 70 Matt Donato
    Scary Stories To Tell In The Dark is gateway horror that treats intended audiences to many a scream, pulling no punches nor watering down nightmarish conjurings that remind how healthy fearful emotions can be at any age.
    • 60 Metascore
    • 80 Matt Donato
    Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.
    • 53 Metascore
    • 70 Matt Donato
    Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.
    • 69 Metascore
    • 70 Matt Donato
    Spider-Man: Far From Home is the upbeat teenage "road trip" comedy antidote to post-Endgame doom and gloom that Marvel fans deserve.
    • 48 Metascore
    • 50 Matt Donato
    Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.
    • 43 Metascore
    • 40 Matt Donato
    Dark Phoenix takes arguably the most heavily thematic X-Men comic arc and delivers the most dully procedural, chopped-to-bits cinematic franchise entry in Fox’s mutant canon.
    • 53 Metascore
    • 30 Matt Donato
    The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.
    • 48 Metascore
    • 60 Matt Donato
    Godzilla: King Of The Monsters lays many a colossal Kaiju smackdown, but human arcs crumble under the heavy weights of those 'Zilla-sized behemoths they're forced to shoulder.
    • 53 Metascore
    • 50 Matt Donato
    Ma
    Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.
    • 44 Metascore
    • 70 Matt Donato
    Brightburn doesn't ask if you want blood, but you've damn-well got it in this nastily gruesome superhero hack-n-slash that's a nightmare for parents everywhere.
    • 55 Metascore
    • 80 Matt Donato
    Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.
    • 73 Metascore
    • 80 Matt Donato
    John Wick: Chapter 3 – Parabellum is a gunsmoke hazy, bloody-knuckle ruthless, impossibly badass Wickian continuation.
    • 31 Metascore
    • 40 Matt Donato
    Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.
    • 68 Metascore
    • 80 Matt Donato
    A Vigilante succeeds not by exploiting torture, but instead shifting focus to Olivia Wilde's painful, so very real performance.
    • 71 Metascore
    • 80 Matt Donato
    Shazam! proves that the DCEU has a sense of humor, can execute on it and *deliver* an electric punch of uber-fun comic book action, too. Heart, humor and heroics – can I get a hell yeah?
    • 57 Metascore
    • 80 Matt Donato
    Pet Sematary is proficiently tense, dashingly macabre and soaked in nightmarish tones that thrive on audience screams.
    • 59 Metascore
    • 80 Matt Donato
    Little Monsters is a must-see horror comedy that proves Lupita Nyong'o should be starring in far more horror movies than she's been offered at this point.
    • 81 Metascore
    • 70 Matt Donato
    Us
    Us is an impressive and astonishingly hair-triggered sophomore feature squarely positioned to decimate genre audiences. It’s purposefully vague, but jam-packed with more memorable genre imagery and inquisitive discussion starters than most braindead by-the-book cinematic offerings beholden to formulaic blueprints.
    • 64 Metascore
    • 60 Matt Donato
    Captain Marvel is a recorded mixtape of familiar MCU beats that sets Carol Danvers up for success, but as a period standalone, struggles to be anything we haven't yet seen from superhero cinema.
    • 57 Metascore
    • 70 Matt Donato
    Happy Death Day 2U is a more ambitious, more entertaining - albeit less horror powered - time-warp sequel that proves Jessica Rothe's blinding talent no matter what dimension she's in.
    • 35 Metascore
    • 30 Matt Donato
    The Amityville Murders wastes historical reverence on a paint-by-numbers ghost story that relies too heavily on eyesore animated effects.
    • 53 Metascore
    • 40 Matt Donato
    Once Upon A Deadpool supports the worthiest of causes, but "PG-13 Deadpool 2" is a much duller, hacked-up sequel than this year's *already inflated* R-rated release.
    • 55 Metascore
    • 70 Matt Donato
    Aquaman is imaginatively ambitious superhero cinema with no rules, which is more positive than negative as Wan's vision is realized like an underwater laser light spectacle that the DCEU so desperately needs right now.
    • 87 Metascore
    • 90 Matt Donato
    Spider-Man: Into The Spider-Verse is a celebration of limitless creativity that honors comic book runs of the same freeing mentality.
    • 52 Metascore
    • 40 Matt Donato
    Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.
    • tbd Metascore
    • 40 Matt Donato
    Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.
    • 64 Metascore
    • 70 Matt Donato
    Luca Guadagnino’s Suspiria will divide fans of the original and those excited for something fresh as a testament to long-form (2+ hour) filmmaking that holds together impressively well.
    • 62 Metascore
    • 70 Matt Donato
    Gareth Evans’ Apostle is The Wicker Man, Safe Haven and Silent Hill thrown into a boil that bubbles over during a ruthless third act that certainly delivers if you have the patience.
    • 48 Metascore
    • 50 Matt Donato
    The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.
    • 63 Metascore
    • 80 Matt Donato
    Anna And The Apocalypse is an enthusiastic coming-of-age musical that cares just as much about bellowed heart and soul as it does keeping horror fans entertained.
    • 46 Metascore
    • 60 Matt Donato
    Scares are often on the generic side (pitch-black doorway, hand reaches out), and while some wild effects work enjoys the zanier side of Hell’s mouth opening up to spit venom across Earth’s surface, it’s missing the masterfully torturous tone that Wan’s universe otherwise aims for.
    • 62 Metascore
    • 70 Matt Donato
    Let The Corpses Tan is a stunning display of visual seduction and slaughter-first gunplay, if not somewhat distracted by a skeletal script that’s been stripped of all meatiness.
    • 53 Metascore
    • 30 Matt Donato
    Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.
    • 86 Metascore
    • 70 Matt Donato
    Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.
    • 54 Metascore
    • 40 Matt Donato
    The First Purge doubles-down on bloody opposition against true-to-life societal fears, but abandons the subtlety needed to prevent Gerard McMurray’s prequel from becoming anything more than hateful retribution.
    • 70 Metascore
    • 70 Matt Donato
    Ant-Man And The Wasp is the kind of playtime entertainment suited for Scott Lang's better-when-on-a-team personality, loaded with size-shifty sight gags and lower stakes worth Paul Rudd's ensemble stardom.
    • 51 Metascore
    • 80 Matt Donato
    Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await
    • 62 Metascore
    • 60 Matt Donato
    How does a movie about the galaxy's most dashingly roguish outlaw end up being the safest Star Wars to date?
    • 66 Metascore
    • 70 Matt Donato
    Deadpool 2 is an overstuffed cinematic burrito of raunchy insults, dismembering violence and a "no f#*ks given" attitude that's ready to burst at any second, but somehow holds together bite after enjoyable bite.
    • 68 Metascore
    • 70 Matt Donato
    Avengers: Infinity War cares a bit too much about being "Part 1" and holding enough development for "Part 2," but MCU fans should see their 10-year buildup expectations met - not exceeded, but met.
    • 58 Metascore
    • 60 Matt Donato
    Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.
    • 63 Metascore
    • 70 Matt Donato
    Blue My Mind is a provocative Swiss origin story about sex, drugs and trials no person can possibly be prepared for. Whether Mia’s transformation is true or a ruse, the proposition of underwater DNA is only bested by Lisa Brühlmann’s execution.
    • 80 Metascore
    • 90 Matt Donato
    The Endless is a masterful cinematic echo chamber with incomprehensible depth. You will feel, laugh and be forced to address emotions shared with all on-screen personalities.
    • 63 Metascore
    • 40 Matt Donato
    Never does Soderbergh’s projection strike me as B-movieness or popcorn entertainment. His mix of arthouse iPhone Hollywood and downplayed character accentuation (by way of misrepresented screen shrinkage) makes for a thriller that fails to spike excitement via a villain who’s always right where he has to be.
    • 77 Metascore
    • 100 Matt Donato
    Blindspotting is a force to be reckoned with in terms of experience, anger and boiled frustrations that beg anyone watching to lead the charge for change.
    • 87 Metascore
    • 90 Matt Donato
    Prepare to be turned-ghost pale by horrors of the mind, body and soul, unlike you’ve experienced in quite some time.
    • 64 Metascore
    • 60 Matt Donato
    Ready Player One isn’t slick enough a commentary worth getting riled up about or distracting enough to hide glaring structural issues underneath a barrage of “HEY I KNOW THEM!” cameos like dangling keys in front of a dog.
    • 69 Metascore
    • 70 Matt Donato
    Blockers sells itself as a parents-first warpath comedy, but the true treat here is watching a trio of young women navigate sex-comedy narratives that boys have dominated for far too long.
    • 56 Metascore
    • 60 Matt Donato
    Us And Them might be a little slighter than expected, but Jack Roth's charismatic fire-starter has enough anarchistic anger to appreciate.
    • 82 Metascore
    • 80 Matt Donato
    John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.
    • 48 Metascore
    • 60 Matt Donato
    The Strangers: Prey At Night is a feature-length homage to Carpenter's best, and albeit familiar in structure, Johannes Roberts' execution strikes with brute ferocity.
    • 31 Metascore
    • 40 Matt Donato
    Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.
    • 88 Metascore
    • 80 Matt Donato
    Black Panther proves how representation can rejuvenate even the oldest superhero origin arcs, allowing Marvel a victory that still feels every bit a Ryan Coogler film.
    • 57 Metascore
    • 70 Matt Donato
    The Ritual may start on familiar footing, but trust in David Bruckner's ability to summon some nasty tension and a third act that horror fans will be talking about all year.
    • 37 Metascore
    • 50 Matt Donato
    The Cloverfield Paradox is a monster-sized misfire that feels disconnected from the franchise it’s crashing.
    • 28 Metascore
    • 50 Matt Donato
    Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.
    • tbd Metascore
    • 30 Matt Donato
    No ifs, ands or Bubs about it, the memory of Day Of The Dead: Bloodline will decay at lightning speed. There’s nothing new here that Romero didn’t do better, only a downgraded horror watch with lesser value.
    • 68 Metascore
    • 80 Matt Donato
    Before I Wake is a beautiful, meditative ghost story with one of the more rewarding horror payoffs I’ve seen in years.
    • 36 Metascore
    • 40 Matt Donato
    This year's Inside remake swaps Bustillo and Maury's brutalization levels for beyond-generic thrills that are more frustrating than fierce - whatever that's worth.
    • 56 Metascore
    • 60 Matt Donato
    Dear Joe Lynch, please let me see your Director’s Cut ASAP? Knights Of Badassdom is an unfinished product, but it passes based on the content our director was able to salvage.
    • 49 Metascore
    • 50 Matt Donato
    Though not a terrible film, Insidious: The Last Key fails to live up to the franchise's high standards.
    • 58 Metascore
    • 80 Matt Donato
    Jumanji: Welcome To The Jungle is both a fulfilling reinvention and adventurous video game quest that’s far funnier, and unexpectedly exciting, than you could hope for from an evolved reboot with explosive fantasy character.
    • 85 Metascore
    • 90 Matt Donato
    Star Wars: The Last Jedi is striking, stunning, visually hypnotizing, thrilling - everything "epic" about the famed franchise rolled into a tremendously overcharged start to Rian Johnson's Star Wars career.
    • 45 Metascore
    • 50 Matt Donato
    Justice League is a sloppy team-up film that doesn't even take time to properly introduce pivotal members of its titular team, but when you're playing a dangerous (also ill-advised) game of catch up, these are the risks.
    • 81 Metascore
    • 90 Matt Donato
    This is a masterpiece of woven ancestral roots and the importance of “familia,” confident in song and poetic in vision.
    • 74 Metascore
    • 70 Matt Donato
    Thelma doesn't exactly tell a unique story, but Joachim Trier's vision is so strong you'll barely even notice.
    • 62 Metascore
    • 80 Matt Donato
    Mayhem is a wonderfully violent middle finger to corporate culture, gleeful in its desire to redecorate cubicles with red blood splatters.
    • 52 Metascore
    • 50 Matt Donato
    Murder On The Orient Express is an antique mystery that chugs along at 5-miles an hour without any turns that might jolt viewers in the slightest.
    • 74 Metascore
    • 70 Matt Donato
    This is a very funny, perfectly scored...exciting, albeit overlong exercise in pushing MCU boundaries to their franchise breaking point.
    • 39 Metascore
    • 50 Matt Donato
    Jigsaw feels like a forced hodgepodge of previous franchise entries that never carves its own identity, making you question what prompted such an expected reboot these few years later.
    • 42 Metascore
    • 40 Matt Donato
    Franck Khalfoun’s often-rethought Amityville: The Awakening is sleepover background noise at its best, traceable genre road-mapping at its worst.
    • 40 Metascore
    • 40 Matt Donato
    Leatherface is an origin story that attempts to carve new mythos for one of horror's mightiest legends, but ends up leaning on franchise references and bleakness to an unnecessary fault.
    • 58 Metascore
    • 50 Matt Donato
    Happy Death Day is a generic PG-13 horror purgatory that's lived on repeat until even weaker motivations take us farther out of any semblance of storytelling thrills.
    • 68 Metascore
    • 80 Matt Donato
    Professor Marston is a sweet, saucy biopic about unconventional love and iconic origins (plus bondage!).
    • 30 Metascore
    • 60 Matt Donato
    Cabin Fever: Patient Zero certainly lives up to Eli Roth's gory standards, but individual enjoyment will hinge on one's love of schlocky B-Movie antics.

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