Allison Benedikt
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For 103 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Allison Benedikt's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Squid and the Whale
Lowest review score: 12 The Dukes of Hazzard
Score distribution:
  1. Positive: 51 out of 103
  2. Negative: 22 out of 103
103 movie reviews
    • 63 Metascore
    • 50 Allison Benedikt
    Willis never develops a rapport with Def, and in the end it's not the predictable action but this lack of chemistry and camaraderie that sinks 16 Blocks.
    • 56 Metascore
    • 50 Allison Benedikt
    The look and feel here is classic Hardwicke: gritty and dark, so as to fool you into thinking this film is serious business.
    • 27 Metascore
    • 50 Allison Benedikt
    I've had the unique pleasure of reviewing almost all of Duff's movies, and if there's one thing to say about the girl, she's consistent: nice, sweet, blond, inoffensive and uninspiring.
    • 70 Metascore
    • 50 Allison Benedikt
    Tucker has done a bang-up job, distancing and hypnotizing us with his frenzied, fragmented, sexy images. But war isn't a video game.
    • 47 Metascore
    • 50 Allison Benedikt
    This is familiar clowning territory for our actors -- hypothetically well-matched here, with Carrey a far more sophisticated and energetic comic partner for Leoni than Adam Sandler was in "Spanglish."
    • 51 Metascore
    • 50 Allison Benedikt
    Michael Showalter is a funny man, but … how to put this gently … not a funny movie star.
    • 68 Metascore
    • 50 Allison Benedikt
    A pretty entertaining case against our current war and question the integrity of our president, but more than that, these docs manipulate imagery, music and sound bites to work their audiences into a frenzy.
    • 50 Metascore
    • 50 Allison Benedikt
    Classic Bay, except it's missing the crass director's fine-tuned rhythm, his feel for adrenaline, his breakneck edits and sense of humor.
    • 63 Metascore
    • 50 Allison Benedikt
    Its gorgeous black-and-white photography, dirty and matte, will almost convince you that anything this slow, small and bereft of dialogue must be important.
    • 64 Metascore
    • 50 Allison Benedikt
    There's something both moving and crass in how directors Elliot Berlin and Joe Fab film these tiny paper fasteners.
    • 56 Metascore
    • 50 Allison Benedikt
    Parker is pretty much a disaster here, shrill and phony and, worst of all, spineless. She reminded me of Tea Leoni in "Spanglish," her performance working against the movie, serving only as a cumbersome, opaque obstacle.
    • 72 Metascore
    • 50 Allison Benedikt
    Challenging to follow, at best.
    • 61 Metascore
    • 50 Allison Benedikt
    As visually stunning as it is, "DR9" is also more than two hours and contains, at best, 10 lines of dialogue, an ear-piercing Bjork score and no discernible plot.
    • 59 Metascore
    • 50 Allison Benedikt
    McAvoy does his best with this subpar, heart-tugging material. At times his mix of easy charm and inner demon pulls Rory out from under the tired script, but those pesky dramatic forces keep pushing him back in for every predictable plot development.
    • 63 Metascore
    • 50 Allison Benedikt
    The "comedy" part of Sex is Comedy comes intentionally from cast-crew interaction.
    • 64 Metascore
    • 50 Allison Benedikt
    Walken is an odd choice for a D.C. power player, wasting his creepiness on this straight, respectable role.
    • 48 Metascore
    • 50 Allison Benedikt
    Only resonates when he (Brooks) strips it all away and focuses on parent and child.
    • 49 Metascore
    • 50 Allison Benedikt
    Just doesn't have the same zing.
    • 55 Metascore
    • 50 Allison Benedikt
    It's hollow.
    • 62 Metascore
    • 50 Allison Benedikt
    The Ice Harvest is not "Bad Santa" redux. It has comic moments - primarily from Oliver Platt, in fine drunken stupor - but Ramis' tiptoe into film noir isn't really a comedy.
    • 41 Metascore
    • 50 Allison Benedikt
    Though it's hard not to play it, the expectations game is a dangerous one, especially for sequels. And Roach's original, just like his overexposed star, set us up good.
    • 44 Metascore
    • 38 Allison Benedikt
    It's all neat and sweet and one-dimensional, more the moral to a story than a story.
    • 48 Metascore
    • 38 Allison Benedikt
    A poor man's "When Harry Met Sally."
    • 45 Metascore
    • 38 Allison Benedikt
    Not funny because it's not true.
    • 38 Metascore
    • 38 Allison Benedikt
    There's really just not a lot here. I'm sure Racer's story will entertain the very wee ones -- but so do keys.
    • 49 Metascore
    • 38 Allison Benedikt
    I guess there's something progressive going on when a lesbian love story gets to be just as dreadful and tacky as most straight ones.
    • 45 Metascore
    • 38 Allison Benedikt
    A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
    • 55 Metascore
    • 38 Allison Benedikt
    Yes
    This is the kind of movie that nice people call ambitious. Let's just leave it at that.
    • 42 Metascore
    • 38 Allison Benedikt
    G
    Cherot shot G on a tight schedule, but instead of this age-old indie predicament generating a certain scrappy passion, the film just looks cheap.
    • 22 Metascore
    • 38 Allison Benedikt
    Phony, disingenuous family entertainment, suffocated by its green bean casserole approach to Middle America, spineless cardboard characters and paper-thin plot "twists."

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