Robert Sylvester

What are Robert Sylvester's films like?

Across a limited sample of 3 MovieCove titles with a thematic analysis, their films lean Morality and Power.

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Robert Sylvester's films?

As of October 24, 2026, 2 of their 3 MovieCove titles stream on a subscription or free service.

• Fandor1 title, browse their movies on this service
  • The Joe Louis Story (1953) · writer
• MGM+1 title, browse their movies on this service
  • The Joe Louis Story (1953) · writer
• STARZ1 title, browse their movies on this service
  • The Joe Louis Story (1953) · writer
• The Roku Channel1 title, browse their movies on this service
  • The Joe Louis Story (1953) · writer · free
• Tubi1 title, browse their movies on this service
  • The Joe Louis Story (1953) · writer · free

Subscription and free streaming for Robert Sylvester's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

3 credits, 3 with a MovieCove page.

• 

  The Big Boodle(1957)

  Novel

  Midcredits score: 20th percentile of all films20^th
• 

  The Joe Louis Story(1953)

  Screenplay

  Midcredits score: 31st percentile of all films31^st
• 

  We Were Strangers(1949)

  Novel

  Midcredits score: 64th percentile of all films64^th

Career shape

A full career of 3 titles from 1949 to 1957.

Highest rated

We Were Strangers (1949)

Midcredits 64^th

How do Robert Sylvester's films land?

Their typical MovieCove film has a Midcredits score in the 31^st percentile, the median of all 3; across a limited sample of 3 films with reception data, the typical film sits in the 35^th percentile for acclaim.

Shape of the crowd

None of their 3 titles divides audiences: 1 is Crowd Pleaser.

111

• Crowd Pleaser1
• Broadly Agreed1
• Mixed1

Most loved · writer

We Were Strangers (1949)

Midcredits 64^th · 58% liked

Reviewers score the plot and story 47/100 in their films, across 3 reviewed titles; fans 55, detractors 30. The element that speaks to their work as a writer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Who does Robert Sylvester work with?

People who share at least 2 of Robert Sylvester's MovieCove titles; Pedro Armendáriz shares the most, 2.

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  Pedro Armendáriz2 titlesSee all 2 shared titles with Pedro Armendáriz