For 1,381 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
Average review score: 62
Highest review score: 100 Summer Hours
Lowest review score: 0 Shoot 'Em Up
Score distribution:
1,381 movie reviews
    • 22 Metascore
    • 40 A.O. Scott
    This movie, with its relatively modest running time and not-quite-household-name cast, is no more ridiculous than, let’s say, the “Thor” movies, and a lot less pretentious.
    • 48 Metascore
    • 30 A.O. Scott
    A shallow yet empty action extravaganza.
    • 40 Metascore
    • 30 A.O. Scott
    This picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer.
    • 49 Metascore
    • 30 A.O. Scott
    Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
    • 50 Metascore
    • 30 A.O. Scott
    This may be the first movie that runs under two hours and yet has no attention span. Characters are abandoned and picked up; narrative threads dissolve before your very eyes.
    • 24 Metascore
    • 30 A.O. Scott
    Couldn't be more artless.
    • 42 Metascore
    • 30 A.O. Scott
    Overplotted, hollow thriller.
    • 47 Metascore
    • 30 A.O. Scott
    Its bone-deep willingness to do anything to entertain is exhausting.
    • 30 Metascore
    • 30 A.O. Scott
    A washout.
    • 21 Metascore
    • 30 A.O. Scott
    Feels like an early rehearsal for a play where all the movement is being coordinated but the underlying emotional notes have yet to be set.
    • 36 Metascore
    • 30 A.O. Scott
    Like its title, it's a clumsy contraption.
    • 40 Metascore
    • 30 A.O. Scott
    The movie doesn't turn out to be as benignly right-wing as it initially suggests, though the plot turns can be spotted a mile away.
    • 52 Metascore
    • 30 A.O. Scott
    Forlorn melodrama, which is low on drama and high on mellow.
    • 28 Metascore
    • 30 A.O. Scott
    Could serve as a textbook example of what to avoid in nonfiction filmmaking.
    • 56 Metascore
    • 30 A.O. Scott
    By interweaving several stories, the movie suffers from a peculiar multiplier effect: it deepens its shallowness.
    • 20 Metascore
    • 30 A.O. Scott
    Like a soft drink that's been sitting open too long: it's too much syrup and not enough fizz.
    • 60 Metascore
    • 30 A.O. Scott
    Filled with voyeuristic shots as the camera peers through picket fences and windows and around corners; the film looks as if it were shot with a surveillance camera from a 7-Eleven
    • 43 Metascore
    • 30 A.O. Scott
    The movie is like spending an idle afternoon browsing, and not buying.
    • 35 Metascore
    • 30 A.O. Scott
    So disorganized that it seems to be pulling its conclusions out of its pockets, along with scraps of paper, matches, lint and half-forgotten junk.
    • 34 Metascore
    • 30 A.O. Scott
    By the end the most vivid figure on the screen is the lovable doggie who goes wherever dangling fingers are waiting to give the happy pooch a scratch.
    • 43 Metascore
    • 30 A.O. Scott
    Appears to be a somewhat sinister episode of "Nightline."
    • 60 Metascore
    • 30 A.O. Scott
    It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
    • 42 Metascore
    • 30 A.O. Scott
    A piece of moldy wax fruit if ever there was one.
    • 37 Metascore
    • 30 A.O. Scott
    This dumb, only intermittently (though sometimes even intentionally) funny sequel presumes that since almost everything else from the 1980's has come back, why not the cynosures of the "Nightmare on Elm Street" and "Friday the 13th" movies?
    • 49 Metascore
    • 30 A.O. Scott
    Such few assets aren't enough to alleviate the film's shallowness.
    • 35 Metascore
    • 30 A.O. Scott
    Like a zombie picture directed by one of the undead.
    • 54 Metascore
    • 30 A.O. Scott
    Perhaps the directors are under the delusion that the dodging and leaping can make up for an ending that leaves the cast members of "Killer" adrift and nearly scratching their heads in puzzlement.
    • 36 Metascore
    • 30 A.O. Scott
    This mistaken-identity picture is so film-culture referential that the final product is a ghost.
    • 35 Metascore
    • 30 A.O. Scott
    Even the handful of moments that are amusing feel recycled from old sketches of Mr. Murphy's.
    • 49 Metascore
    • 30 A.O. Scott
    The lip movements of the animated figures are slightly slow, so you feel as if you're watching a badly dubbed Japanese creature feature from the 1960's. The dialogue is almost as stilted, and after a while you drift into that half-dream state that inert movies can create.
    • 27 Metascore
    • 30 A.O. Scott
    The documentary doesn't get near the prowess of its subject; it passes through your life like a minor daydream.
    • 43 Metascore
    • 30 A.O. Scott
    The unfortunate thing is that children will probably waste their summers indoors watching "Recess" over and over again.
    • 44 Metascore
    • 30 A.O. Scott
    Pallid compared with the flaming id of television's "Will and Grace," the happy swizzle stick Jack, who's all appetites. When series television is more entertaining than a series of short independent films, that's something to worry about.
    • 42 Metascore
    • 30 A.O. Scott
    Tacky and disposable.
    • 27 Metascore
    • 30 A.O. Scott
    The most indolent waste of screen time since Andy Warhol's marathon shot of the Empire State Building.
    • 33 Metascore
    • 30 A.O. Scott
    Sitting through the lavish and dumb action spectacular Lara Croft: Tomb Raider is about as much fun as watching someone else play a video game.
    • 31 Metascore
    • 30 A.O. Scott
    Tries to show it has its heart in the right place, but it's such a crude undertaking that it doesn't actually seem to have a heart at all.
    • 29 Metascore
    • 30 A.O. Scott
    This crude comedy delivers on the "No Shame, No Mercy" threats from the original. Unfortunately, it all adds up to "No Good."
    • 36 Metascore
    • 30 A.O. Scott
    Summer is like an episode of the religious children's series "Davey and Goliath," without the entertainment value of animation and a talking dog.
    • 11 Metascore
    • 30 A.O. Scott
    It's an oddity that will be avoided by millions of people, this new Pinocchio. Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
    • 66 Metascore
    • 30 A.O. Scott
    With the exception of some of the battles, which have the angry desperation of Mr. Yuen's inspired martial-arts choreography, Close is a nominal effort.
    • 41 Metascore
    • 30 A.O. Scott
    By Monday, Torque will look like a period piece with its expiration date, January 2004, prominently displayed. The inevitable movie-inspired video game will appear more realistic.
    • 39 Metascore
    • 30 A.O. Scott
    It's one of the rare films for which a blooper reel would be redundant.
    • 46 Metascore
    • 30 A.O. Scott
    This movie is a suspense thriller whose only suspense comes from an audience wondering if the picture will hit its promised 97-minute running time.
    • 58 Metascore
    • 30 A.O. Scott
    The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
    • 24 Metascore
    • 30 A.O. Scott
    At least it isn't a remake -- though given how slovenly and forced this movie is, maybe that wouldn't have been such a bad idea.
    • 24 Metascore
    • 30 A.O. Scott
    The picture, which fails to achieve its ambitions or to fulfill our expectations, is ultimately worse than a violent piece of hack work, in which the director isn't interested in displaying his integrity -- or taste. You'd be better off downloading the trailer: a much more convincing piece of storytelling.
    • 34 Metascore
    • 30 A.O. Scott
    If you're looking for laughs, give "Valley of the Dolls" another read instead.
    • 33 Metascore
    • 30 A.O. Scott
    Fitfully amusing.
    • 37 Metascore
    • 30 A.O. Scott
    Nothing in the picture works. It is both overwrought and tedious, its complicated narrative bogging down in lyrical voiceover, long flashbacks and endless expository conversations between people speaking radically incompatible accents.
    • 56 Metascore
    • 30 A.O. Scott
    Try as it might to be refined and provocative, Perfume: The Story of a Murderer never rises above the pedestrian creepiness of its conceit.
    • 51 Metascore
    • 30 A.O. Scott
    300
    Another movie -- Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of 300 -- calculated the cost [of freedom] at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that 300 aspires to become.
    • 43 Metascore
    • 30 A.O. Scott
    Hot Rod might be called the poor man’s “Eagle vs. Shark” if “Eagle vs. Shark” were not already the poor man’s “Napoleon Dynamite.” It certainly lacks the conceptual purity and aesthetic integrity of the “Jackass” movies. In any case poor certainly describes the quality of the filmmaking.
    • 38 Metascore
    • 30 A.O. Scott
    Raunchier and somewhat more imaginative than “Hot Rod.”
    • 19 Metascore
    • 30 A.O. Scott
    The main audience for this dim little sex comedy has no particular interest in seeing Ms. Alba act. They want to see her in her underwear and also to confront one of the central cultural questions of our time: will she take her top off?
    • 46 Metascore
    • 30 A.O. Scott
    Lame, long, ugly joke of a movie.
    • 33 Metascore
    • 30 A.O. Scott
    No real mockery is intended by this harmless, mindless grab bag of slightly used gags, which lampoons some of the conventions of recent comic-book epics and adds the expected staples of juvenile humor: urine, vomit and intestinal gas.
    • 56 Metascore
    • 30 A.O. Scott
    What is harder to comprehend is how Mr. Clooney turned out such a sloppy, haphazard and tonally incoherent piece of work. Leatherheads lurches hectically between Coen brothers-style pastiche and John Saylesian didacticism, while Mr. Clooney works his brow and his jaw and waits in vain for his charm to kick in and save the day.
    • 37 Metascore
    • 30 A.O. Scott
    This movie sets out to honor and refresh a youthful enthusiasm from the past and winds up smothering the fun in self-conscious grandiosity.
    • 38 Metascore
    • 30 A.O. Scott
    A clumsy and confused adaptation of Michael Chabon's 1988 novel.
    • 32 Metascore
    • 30 A.O. Scott
    Drab and incoherent teen comedy.
    • 34 Metascore
    • 30 A.O. Scott
    Wears its preposterousness with a certain pride. It’s about the cat-and-mouse game between two very smart guys, and it’s perfectly happy to be as dumb as it wants.
    • 45 Metascore
    • 30 A.O. Scott
    Like his scripts for “21 Grams” and “Babel,” this one makes heavy use of happenstance and temporal displacement, and like them, too, it depends on ideas about human behavior that can only be called preposterous.
    • 49 Metascore
    • 30 A.O. Scott
    The scandal of Antichrist is not that it is grisly or upsetting but that it is so ponderous, so conceptually thin and so dull.
    • 34 Metascore
    • 30 A.O. Scott
    Has shockingly little to say.
    • 49 Metascore
    • 30 A.O. Scott
    Straining to capture artistic frenzy, it descends into vulgar chaos, less a homage to Federico Fellini’s “8 ½” (its putative inspiration) than a travesty.
    • 51 Metascore
    • 30 A.O. Scott
    What we see on screen is a lumbering, flat-footed fancy-dress melodrama.
    • 25 Metascore
    • 30 A.O. Scott
    There are dull stabs at verbal wit that leave you baffled, bored or slightly grossed out.
    • 31 Metascore
    • 30 A.O. Scott
    It’s a phoned-in, gutless piece of hack work that reminds you of other, better films in the same vein.
    • 22 Metascore
    • 30 A.O. Scott
    For his sins poor Stewart is kidnapped, tortured and shot up with horse tranquilizer after his leg is broken. It’s disturbing, and somewhat baffling too, until you grasp that this hapless sucker is a surrogate for the audience.
    • 33 Metascore
    • 30 A.O. Scott
    A movie that is as stuffed with bogus feeling and overwrought incident as a fast-food burrito.
    • 46 Metascore
    • 30 A.O. Scott
    A loud, seemingly interminable, and altogether incoherent entry in the preposterous and proliferating “action-comedy” genre.
    • 37 Metascore
    • 30 A.O. Scott
    As it lurches from Act II to Act III, Battle: Loss Angeles reveals itself to be a lousy movie.
    • 23 Metascore
    • 30 A.O. Scott
    There are a few funny moments in Jack and Jill, most of them celebrity cameos that also serve to affirm what a cool, connected celebrity Mr. Sandler is. The most sustained of these is the appearance of Al Pacino as himself, falling for Jill and giving the film a jolt of genuine zaniness. I'm sorry to say that this may be Mr. Pacino's most convincing performance in years.
    • 22 Metascore
    • 30 A.O. Scott
    An attempt to inaugurate a new movie franchise, something that might appeal to women and mystery fans. This is a perfectly sound ambition, but the movie, directed by Julie Anne Robinson from a script by Stacy Sherman, Karen Ray and Liz Brixius, is so weary and uninspired that it feels more like an exhausted end than an energetic beginning.
    • 39 Metascore
    • 30 A.O. Scott
    If realism is what you're after, you'll do better at "The Three Stooges." The Lucky One is where you will find death, redemption and kisses in the rain.
    • 41 Metascore
    • 30 A.O. Scott
    I don't think Mr. James intended to make a creepy, exploitative movie about teenage runaways - or, for that matter, a moralistic, cautionary tale of girls gone bad. But those are the default categories that Little Birds stumbles toward, perhaps because the filmmaker has not found a cogent way to channel his curiosity or his empathy.
    • 32 Metascore
    • 30 A.O. Scott
    Hallie's dad said it was Rocky Horror for toddlers whatever that is. Me and Hallie are 7 and we thought it was for babies.
    • 42 Metascore
    • 30 A.O. Scott
    However you take its politics, the film upholds a dreary tradition of simplifying and sentimentalizing matters of serious social concern, and dumbing down issues that call for clarity and creative thinking. Our children deserve better.
    • 38 Metascore
    • 30 A.O. Scott
    The movie is a bust, and, as usual in these situations, it is easier to say how than why, and best to say as little as possible, cut one's losses and move on.
    • 28 Metascore
    • 30 A.O. Scott
    Everything that made the first “Die Hard” memorable — the nuances of character, the political subtext, the cowboy wit — has been dumbed down or scrubbed away entirely.
    • 40 Metascore
    • 30 A.O. Scott
    Salinger, directed by Mr. Salerno, is less a work of cinema than the byproduct of its own publicity campaign.
    • 37 Metascore
    • 30 A.O. Scott
    One of the things that makes Adore, which was written by Christopher Hampton, hard to take seriously is how seriously it takes itself, how utterly purged of humor or credible human complication the drama at its center turns out to be.
    • 36 Metascore
    • 30 A.O. Scott
    It feels like a halfhearted bluff and has the stale smell of yesterday’s after-shave.
    • 55 Metascore
    • 30 A.O. Scott
    A flimsy bit of mildly romantic, putatively comic Anglophile bait.
    • 37 Metascore
    • 30 A.O. Scott
    The film is more of a pageant than a convincing drama. It’s so determined to deliver its moral that it loses its grip on the reality of its characters.
    • 17 Metascore
    • 20 A.O. Scott
    A supernatural soap opera.
    • 30 Metascore
    • 20 A.O. Scott
    The picture is so predictable that the bad acting becomes a distraction.
    • 21 Metascore
    • 20 A.O. Scott
    This bloated spectacle has all the get-up-and-go of one of the legendary late-era Elvis Presley concerts. The picture feels longer than Presley's career and as irrelevant as he was by the end.
    • 25 Metascore
    • 20 A.O. Scott
    Still never having to say you're sorry.
    • 37 Metascore
    • 20 A.O. Scott
    Like many of the nonpolitical terrorist-as-villain spectaculars that have been held back after Sept. 11, has the whiff of something gone stale. Though it may have sat on the shelf for a while, this project had gone bad long before it was released.
    • 36 Metascore
    • 20 A.O. Scott
    Almost creates a sense of dread as you sit watching its raft of aimless, self-absorbed neurotics clang into one another.
    • 33 Metascore
    • 20 A.O. Scott
    Manages to squeeze in several different endings — like a bad pop song that doesn't know when to fade out. But as Mr. Schwarzenegger's stature as an action figure diminishes, his effort to retain a piece of the market is touching.
    • 34 Metascore
    • 20 A.O. Scott
    Blends the least of Woody Allen with a plot complication out of "Love, American Style," stuck together with sitcom glue.
    • 41 Metascore
    • 20 A.O. Scott
    About 20 minutes in, it is clear that the couple will emerge as nothing more than crabby yuppies whose articulation of their pouts sounds like the same argument over and over again.
    • 25 Metascore
    • 20 A.O. Scott
    A shell game passing as entertainment.
    • 31 Metascore
    • 20 A.O. Scott
    A weak-witted comedy.
    • 49 Metascore
    • 20 A.O. Scott
    The film falls far short of its goals, but it is a classic of sorts. It belongs in that Blockbuster on Mount Olympus, where pristine new copies of "I Changed My Sex," "Dracula's Dog," "Blackenstein" and "Battlefield Earth" play constantly.
    • 36 Metascore
    • 20 A.O. Scott
    Stardom makes its metaphor of 15 minutes seem like a lifetime.
    • 19 Metascore
    • 20 A.O. Scott
    Mr. Baldwin's attack -- there's no better way to put it -- is unforgettable. He's the first shrunken narrator with a serial killer's swagger.
    • 21 Metascore
    • 20 A.O. Scott
    If the film were a fight, they'd have stopped it.
    • 28 Metascore
    • 20 A.O. Scott
    It's hard to take Passion seriously because it brings to mind the kind of shallow psychology that wouldn't be out of place in a history short about Sigmund Freud on "ABC Schoolhouse Rock."
    • 33 Metascore
    • 20 A.O. Scott
    Everything in this film is forgettable, right down to bongos pounding on the soundtrack to indicate a quickening of the pulse.
    • 19 Metascore
    • 20 A.O. Scott
    Rarely has a movie worked so hard to be so inconsequential.
    • 21 Metascore
    • 20 A.O. Scott
    The action is the best thing in the picture.
    • 33 Metascore
    • 20 A.O. Scott
    May lead to a new axiom: success has many fathers, but failure has "Project Greenlight."
    • 39 Metascore
    • 20 A.O. Scott
    You can't get more high-concept, or less plotted, than this, and Daddy Day Care is proof.
    • 16 Metascore
    • 20 A.O. Scott
    It's the central story that's lacking.
    • 14 Metascore
    • 20 A.O. Scott
    The current version, however, like its predecessor, fails as entertainment. Mr. McTiernan's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious.
    • 20 Metascore
    • 20 A.O. Scott
    Relentlessly softheaded and softhearted.
    • 24 Metascore
    • 20 A.O. Scott
    Mr. Deeds is mostly terrible, a shambles of a comedy that looks as if it was shot by a tabloid news crew.
    • 29 Metascore
    • 20 A.O. Scott
    Backstage isn't as good as the rap documentaries "Rhyme and Reason" and "The Show," but it still casts a keen, observant eye...on this world.
    • 53 Metascore
    • 20 A.O. Scott
    It is all a contrivance; the cast and filmmakers were under the delusion that putting unhappy women in a room would lead to drama.
    • 38 Metascore
    • 20 A.O. Scott
    There are a few laughs, but I'm not sure that a comedy is supposed to make you recoil, which is what "Smoochy" does.
    • 52 Metascore
    • 20 A.O. Scott
    It lumbers from one scene to the next with the stop-and-start mistiming generally seen in the outtakes shown at the end of the "Cannonball Run" movies, which this picture resembles in spirit.
    • 34 Metascore
    • 20 A.O. Scott
    It's fleet- footed, merciless entertainment. But the mixture of laughs, bathos and brutality is a big turnoff.
    • 49 Metascore
    • 20 A.O. Scott
    A soulless compilation of thrills.
    • 32 Metascore
    • 20 A.O. Scott
    There's so little chemistry between Mr. Wilson and Ms. Hudson that you begin to look back on what now seems like the halcyon time of "How to Lose a Guy in 10 Days."
    • 30 Metascore
    • 20 A.O. Scott
    "Queen" is a movie that stoops to jokes like calling Lestat's CD "a monster hit"; the movie is just a plain old monster.
    • 34 Metascore
    • 20 A.O. Scott
    You might be tempted to say, "Huh?" Or, if you're in the theater, to leave. But wait -- there's less.
    • 30 Metascore
    • 20 A.O. Scott
    So lacking in shame that it finally seems laughable.
    • 30 Metascore
    • 20 A.O. Scott
    All it has in common with the original is a few dumb fun scares. In the new version, what we're left with after the scares is just plain dumb.
    • 40 Metascore
    • 20 A.O. Scott
    The stripped-down narrative is almost an apology for the ludicrous story -- but it's just not enough of one.
    • 12 Metascore
    • 20 A.O. Scott
    A film so family-safe it feels sheathed in plastic Bubble Wrap. Unfortunately, it's not even as much fun as popping the bubbles. It doesn't matter that the film is less than 90 minutes. It still feels like a prison stretch.
    • 23 Metascore
    • 20 A.O. Scott
    After several scenes of this tacky nonsense, you'll be wistful for the testosterone-charged wizardry of Jerry Bruckheimer productions, especially because Half Past Dead is like "The Rock" on a Wal-Mart budget. And the marked-down price tags are incredibly visible.
    • 39 Metascore
    • 20 A.O. Scott
    High-school cafeteria soup has more flavor than this bland, tepid throwback.
    • 49 Metascore
    • 20 A.O. Scott
    A stupefying mix of action, politics and melodrama.
    • 32 Metascore
    • 20 A.O. Scott
    All hope is lost for those trapped in theaters with this picture.
    • 34 Metascore
    • 20 A.O. Scott
    The film equivalent of the dark, boring period on a haunted house ride before the gondola crashes into another room filled with dirty mirrors.
    • 26 Metascore
    • 20 A.O. Scott
    The worst that can be said of the first two-thirds of Tideland is that it is tiresome. Toward the end it becomes creepy, and not in a good way.
    • 26 Metascore
    • 20 A.O. Scott
    Our judgments, in any case, may be superfluous, since the director, Mathieu Kassovitz, has already publicly described it as "pure violence and stupidity."
    • 30 Metascore
    • 20 A.O. Scott
    Does it have to be so witless, so stupid, so openly contemptuous of the very audience it’s supposed to be pandering to?
    • 20 Metascore
    • 20 A.O. Scott
    Nearly every time Mr. Jordan, working from a script by Mr. Ellis and Nicholas Jarecki, tries for similar effects, he goes badly awry, so that you snicker when the movie is trying to be poignant and groan when it aims to make a joke.
    • 63 Metascore
    • 20 A.O. Scott
    Something TERRIBLE is afoot. Sadly, that something turns out to be the movie itself.
    • 20 Metascore
    • 20 A.O. Scott
    The problem -- the catastrophe -- of The Last Airbender is not in the conception but the execution. The long-winded explanations and clumsy performances are made worse by graceless effects and a last-minute 3-D conversion that wrecks whatever visual grace or beauty might have been there.
    • 37 Metascore
    • 20 A.O. Scott
    You are not, in a movie like this, supposed to think too much; you are supposed to be transported beyond skepticism on a wave of pure, tacky feeling. Instead, in this case, you drown in sentimental, ghoulish nonsense.
    • 46 Metascore
    • 20 A.O. Scott
    If you can discern any critical distance or interesting perspective here, or even a good reason to spend 90 minutes in such company, I'm afraid the joke is on you.
    • 44 Metascore
    • 20 A.O. Scott
    The film calls attention to its own artificial status. It actually knows it’s a movie! What a clever, tricky game! What fun! What a fraud.
    • 41 Metascore
    • 20 A.O. Scott
    It may be too much to ask for anything more, but, on the other hand, if you’re going to go to the trouble of pretending to blow up the White House, you might also want to pretend that something was at stake.
    • 30 Metascore
    • 20 A.O. Scott
    There is no story to speak of. Just a series of anecdotes that gain very little when acted out on screen.
    • 34 Metascore
    • 20 A.O. Scott
    Whatever thoughtful instincts Mr. Castellitto might possess are undermined by his addiction to cinematic prettiness.
    • 31 Metascore
    • 20 A.O. Scott
    A thin line separates the magical from the preposterous, and by insisting so strenuously on its own magic, Winter’s Tale pitches helplessly into earnest ridiculousness.
    • 12 Metascore
    • 10 A.O. Scott
    Strands one of the most gifted casts assembled in some time. Sadly, though many of the actors throw off a spark or two when they first appear, they can't generate enough heat in this cold vacuum of a comedy to start a reaction.
    • 24 Metascore
    • 10 A.O. Scott
    So minimally plotted that not only does it lack subtext or context, but it also may be the world's first movie without even a text.
    • 30 Metascore
    • 10 A.O. Scott
    A desperate, broad comedy.
    • 44 Metascore
    • 10 A.O. Scott
    It's the element of condescension, as the filmmakers look down on their working-class subjects from their lofty perch, that finally makes Sex With Strangers so distasteful.
    • 34 Metascore
    • 10 A.O. Scott
    Has the dreary one-track banality of a feature-length version of an episode of "Red Shoe Diaries," Showtime's series for people who like soft core but are too lazy to leave the house.
    • 41 Metascore
    • 10 A.O. Scott
    Wants to be sweet and dark at the same time, but it is as distant as a planet's satellite.
    • 27 Metascore
    • 10 A.O. Scott
    Looks like a big-budget version of a Miller's Genuine Draft commercial.
    • 48 Metascore
    • 10 A.O. Scott
    The cast of The Core deserve Oscar nominations just for being able to speak most of the lines without succumbing to the chortles.
    • 25 Metascore
    • 10 A.O. Scott
    A dreary crash of malapropisms and slapstick maimings wrapped very loosely around a murder mystery.
    • 17 Metascore
    • 10 A.O. Scott
    Ops is too brain-dead to play the incognito war criminal segment for comedy, although when Will is seen thumbing through the pages of a newspaper called USA Daily, the picture has inadvertently tumbled down a Mad magazine wormhole.
    • 23 Metascore
    • 10 A.O. Scott
    Festooned with yards of gross-out jokes, sniggering allusions and, astonishingly, a sentimental climax that's more repellent than any of the crude effluvia the film is drenched with.
    • 47 Metascore
    • 10 A.O. Scott
    Few people other than future airline passengers should be subjected to such misery.
    • 14 Metascore
    • 10 A.O. Scott
    The only people who could be surprised at this movie will be those who wandered into the wrong multiplex theater by mistake.
    • 38 Metascore
    • 10 A.O. Scott
    Serves a reheated notion on a creaky TV tray.
    • 19 Metascore
    • 10 A.O. Scott
    The film isn't even as good as the second-rate game it is based on, which is nothing but a shootout.
    • 32 Metascore
    • 10 A.O. Scott
    After about 20 minutes of "Thing," a concussion begins to look enormously appealing.
    • 18 Metascore
    • 10 A.O. Scott
    It feels like both a joke and a turkey.
    • 18 Metascore
    • 10 A.O. Scott
    If Boat Trip were screened on a cruise ship, most of the passengers would be dog-paddling back to shore.
    • 28 Metascore
    • 10 A.O. Scott
    As good as cut-rate animation that seems to consist of screen savers can be.
    • 43 Metascore
    • 10 A.O. Scott
    You'll see better film on ponds.
    • 45 Metascore
    • 10 A.O. Scott
    A Viagra suppository for compulsive action fetishists and a movie that may not only be dumb in itself, but also the cause of dumbness in others.
    • 25 Metascore
    • 10 A.O. Scott
    The only thing that kept me watching License to Wed until the end (apart from being paid to do so) was the faith, perhaps misplaced, that I will not see a worse movie this year.
    • 27 Metascore
    • 10 A.O. Scott
    A witless, straining mess.
    • 40 Metascore
    • 10 A.O. Scott
    So shameless in its pandering, sentimental vision of Frenchness as to constitute something of a national embarrassment.
    • 23 Metascore
    • 10 A.O. Scott
    An R-rated version of this mess would be only more gratingly dishonest as it tried to hide its weak sentimentality behind a fig leaf of vulgarity.
    • 33 Metascore
    • 10 A.O. Scott
    What makes Leap Year so singularly dispiriting is precisely that it is bad without distinction -- so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense.
    • 27 Metascore
    • 10 A.O. Scott
    The ugly smell of unexamined privilege hangs over this film like the smoke from cheap incense.
    • 33 Metascore
    • 10 A.O. Scott
    There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
    • 9 Metascore
    • 10 A.O. Scott
    This may be the worst movie Pauly Shore has ever been in. Think about that.
    • 46 Metascore
    • 10 A.O. Scott
    The movie is a noisy, useless piece of junk, reverse-engineered into something resembling popular art in accordance with the reigning imperatives of marketing and brand extension.
    • 40 Metascore
    • 10 A.O. Scott
    His (Fleischer) first feature, "Zombieland," was a half-witty genre parody. This one might be described as genre zombie-ism: the hysterical, brainless animation of dead clichés reduced to purposeless, compulsive killing. Too self-serious to succeed as pastiche, it has no reason for being beyond the parasitic urge to feed on the memories of other, better movies.
    • 9 Metascore
    • 0 A.O. Scott
    It may be a bit early to make such judgments, but Battlefield Earth may well turn out to be the worst movie of this century.
    • 49 Metascore
    • 0 A.O. Scott
    A worthless piece of garbage.
    • 24 Metascore
    • 0 A.O. Scott
    The Love Guru is downright antifunny, an experience that makes you wonder if you will ever laugh again.
    • 36 Metascore
    • 0 A.O. Scott
    The most transcendently, eye-poppingly, call-your-friend-ranting-in-the-middle-of-the-night-just-to-go-over-it-one-more-time crazily awful motion pictures ever made.
    • 43 Metascore
    • 0 A.O. Scott
    The law of diminishing returns is enforced so stringently that the movie succeeds not only in negating its own comedy, but its very being.