For 507 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 4.8 points higher than other critics. (0-100 point scale)

Betsy Sharkey's Scores

  • Movies
Average review score: 64
Highest review score: 100 Cutie and the Boxer
Lowest review score: 0 Nothing Left to Fear
Score distribution:
  1. Negative: 27 out of 507
507 movie reviews
    • 54 Metascore
    • 60 Betsy Sharkey
    The film catches her long after she's left the public eye, and rather than an examination, or an assessment, of her politics, it instead offers up an affecting if not always satisfying portrait of the strong-willed leader humbled by age.
    • 43 Metascore
    • 60 Betsy Sharkey
    If anything, watching the film is like attending an old-style Southern tent revival - you want to believe in the fight against all that fire and brimstone. Heck, you want to join the righteous brigade. But when the lights go up and the fever dies down, it feels more like you've witnessed a show than a real showdown with the devil.
    • 46 Metascore
    • 60 Betsy Sharkey
    If this low-budget indie is any indication, the younger Levinson's creative sensibilities appear to be darker than his dad's, the voice clearly his own.
    • 60 Metascore
    • 60 Betsy Sharkey
    The animation style mirrors the original, which is simple in an appealing way. It is particularly effective in the action sequences, which make the most of animation's ability to create a playful reality. But the multi-layered historical references designed to be adroitly wry are a trickier gambit.
    • 36 Metascore
    • 60 Betsy Sharkey
    Some of the phallic jokes work, others are really lame. Fortunately there are many other funny bits that have nothing to do with body parts that keep the laughs coming.
    • 43 Metascore
    • 60 Betsy Sharkey
    If you're going to saturate a film with so much violence, at least it's nice to see an action hero - or antihero - actually feeling the pain.
    • 39 Metascore
    • 60 Betsy Sharkey
    The Sparks-styled romance has almost become its own movie genre - predictable, pure of heart, sentimental and never straying from the boy-meets-girl basics, or the surface, for that matter - and in that The Lucky One delivers.
    • 70 Metascore
    • 60 Betsy Sharkey
    It's just that there isn't enough story - the book shouldn't be required reading for the film to make sense.
    • 74 Metascore
    • 60 Betsy Sharkey
    What is missing is something new - clarity, insight, outrage. Instead, its understatement is ultimately its undoing.
    • 70 Metascore
    • 60 Betsy Sharkey
    For all of its punishing pathos, the movie does not have the clean lines and elegance of another cut at crime in this city, "L.A. Confidential" (based on an Ellroy novel). As the day of reckoning approaches, the film spins out of control, careening between convoluted subplots, with the emotional pitch of the piece swinging too wildly.
    • 60 Metascore
    • 60 Betsy Sharkey
    If you can get past the rough patches - a slightly sluggish start and a coda that feels like one punch line too many - there is some sinister fun to be had in watching Kinnear skating toward disaster on ice that is very thin indeed.
    • 64 Metascore
    • 60 Betsy Sharkey
    The writer-director becomes so intent on hammering home the parallels between economic decay, political disappointments and petty criminals, there is nothing soft, or subtle, about it. He should trust his audience more.
    • 35 Metascore
    • 60 Betsy Sharkey
    The heart of this film is on the road with Bateman and McCarthy. If not for their brilliance, Identity Thief would be running on empty.
    • 47 Metascore
    • 60 Betsy Sharkey
    The spectacularly brutal fighting is the film's main calling card, and in that "Rise of an Empire" doesn't disappoint. Still, in the battle for best guilty pleasure, I'd give it to the Spartans of "300," by a head.
    • 53 Metascore
    • 60 Betsy Sharkey
    Peirce has done a remaking rather than a reimagining.
    • 55 Metascore
    • 60 Betsy Sharkey
    The bookish group at the heart of this talky film is having such a grand time trading tart exchanges their mood proves infectious. The sparring helps offset some of the contrivances that make Liberal Arts less buttoned up than it should be - so an A for effort and a C for execution.
    • 50 Metascore
    • 60 Betsy Sharkey
    A strange, but strangely entertaining combo of drag racing machismo, slapstick silliness, raunchy riffs, politically incorrect rants and sweet nothings.
    • 66 Metascore
    • 60 Betsy Sharkey
    What helps offset the predictable in this very predictable movie is a series of show-stopping numbers, so props to the folks who oversaw music and choreography. But the true saving grace is a few of the central players.
    • 63 Metascore
    • 60 Betsy Sharkey
    It's not your typical animated fare, but since the filmmakers can't quite decide whether its tale should be serious or silly, "Cat" trips and stumbles unsteadily between a bit of both.
    • 39 Metascore
    • 60 Betsy Sharkey
    With so many twists, the movie feels like it's trying too hard. Some moments are cleverly constructed; and others seem as if the filmmakers have left themselves no plausible escape.
    • 74 Metascore
    • 60 Betsy Sharkey
    Young's almost mystical musicianship is what saves it.
    • 58 Metascore
    • 60 Betsy Sharkey
    The new thriller from South Korean director Park Chan-Wook is a bizarrely perverse, beautifully rendered mystery that you may or may not care to solve.
    • 61 Metascore
    • 60 Betsy Sharkey
    Like the relationship she has chosen to dissect, the film is promising, disappointing, touching or frustrating, depending on the moment.
    • 67 Metascore
    • 60 Betsy Sharkey
    Zilberman's minimalistic approach fits the idea of the film better than it fits the actual film. It leaves this melancholy mood piece with some beautiful moments, but unlike Beethoven's work, A Late Quartet ultimately feels unfinished.
    • 49 Metascore
    • 60 Betsy Sharkey
    Wonderfully animated and well-voiced, Rio 2 is nevertheless too much. Too much plot, too many issues, too many characters. But not too much music.
    • 41 Metascore
    • 60 Betsy Sharkey
    While the action is brisk, the film never feels in a hurry. Walken and Pacino amble through their paces. Arkin ups the adrenaline any time he's around, and he is not around quite enough.
    • 50 Metascore
    • 60 Betsy Sharkey
    Perhaps Switch's greatest strength is in giving us enough information to try to come up with better questions of our own.
    • 52 Metascore
    • 60 Betsy Sharkey
    There are moving moments as Cornish channels the slow self-enlightenment necessary for Ashley's character arc. And the actress is particularly good in the scenes with the promising young Hernandez.
    • 61 Metascore
    • 60 Betsy Sharkey
    With so many sight gags and nearly every living comic in the world making an appearance at some point, the entire operation, like Ron's ego, feels a bit bloated.
    • 39 Metascore
    • 60 Betsy Sharkey
    For a movie about planes, a lot happens on the ground — those refueling stops can take forever. But the animators take advantage of the power of flight, packing the action sequences with daredevil runs. But it's a race, and a kind of sameness occasionally sets in.
    • 59 Metascore
    • 60 Betsy Sharkey
    A joyous, raucous, righteous film but also a frustrating and disappointing one.
    • 37 Metascore
    • 60 Betsy Sharkey
    It's a challenging film, but maybe not as challenging as it should be.
    • 55 Metascore
    • 60 Betsy Sharkey
    Between Law's performance and Shepard's script, which brims with explicit and expressive dialogue, the movie is remarkable for its ability to exhaust, irritate and also entertain.
    • 56 Metascore
    • 60 Betsy Sharkey
    For all of the substantive issues underpinning the documentary, it still feels a slight film for Berlinger, and very unlike the documentary veteran's best work, found in his dogged following of the West Memphis Three case.
    • 34 Metascore
    • 50 Betsy Sharkey
    The veteran Marshall has proved a quick study, serving up the pastiche with panache so the stars mostly shine, the story snippets mostly amuse and you'll barely notice all the empty spots where a plot used to be.
    • 43 Metascore
    • 50 Betsy Sharkey
    There's no real depth or texture to the characters of any sort, sentimental or otherwise, and I say that as someone who can be brought to tears by a Hallmark commercial.
    • 45 Metascore
    • 50 Betsy Sharkey
    The story is poignant and compelling, but ultimately the film doesn't have the heft it needs to fill out the big screen.
    • 57 Metascore
    • 50 Betsy Sharkey
    The problem with It's Complicated, a romantic comedy about the menopausal crowd starring Meryl Streep, Alec Baldwin and Steve Martin, is that it's not nearly complicated enough.
    • 58 Metascore
    • 50 Betsy Sharkey
    Sheridan seems as conflicted as the Cahills about their virtues and failings. The underlying themes -- love, loyalty, decency, duty, honor, betrayal -- that screenwriter David Benioff will use to both bind and break this family seem to bedevil him more than inspire him this time out.
    • 43 Metascore
    • 50 Betsy Sharkey
    Cirque is a harmless bit of fluff with a very cool look, but there's just never enough bite.
    • 51 Metascore
    • 50 Betsy Sharkey
    The movie version of karaoke. It sings the same tune as the 2007 British underground hit, but it's a little, and at times a lot, off-key.
    • 69 Metascore
    • 50 Betsy Sharkey
    If anything, the film is a reflection of the Web zeitgeist, where observation comes easily but insight is rare. What saves the documentary from becoming a complete frustration is the sheer, stunning prescience of Harris.
    • 43 Metascore
    • 50 Betsy Sharkey
    An old-style potboiler about desperate cops in dire straits that overcooks both its story and its stars.
    • 40 Metascore
    • 50 Betsy Sharkey
    Pattinson could have the makings of a brilliant career, something more than the hot streak he's got going as the "it" guy of the moment. The same problems plague the film, which is beautifully shot but its emotional potential unrealized.
    • 76 Metascore
    • 50 Betsy Sharkey
    Any comic relief it affords comes with such an undertow of repressed emotions and displaced anger that it all starts to feel more depressing than dramatic.
    • 48 Metascore
    • 50 Betsy Sharkey
    Envisioned as a psychosexual thriller about a woman scorned, director Atom Egoyan's latest puzzle is just puzzling, little more than a messy affair with mood lighting, sexy lingerie, heavy breathing and swelling, um, music.
    • 65 Metascore
    • 50 Betsy Sharkey
    It's clear from first frame to last that the filmmakers decided to go broad, very broad, with a story that swings between hysterical, hyper-sexual, bizarre, surprisingly tender and just plain awful. This is one mixed bag of a movie.
    • 33 Metascore
    • 50 Betsy Sharkey
    Brolin's intermittent voice-over narration proves to be the most powerful stuff, with the rest curiously sputtering.
    • 53 Metascore
    • 50 Betsy Sharkey
    Piranha 3D is trying so hard for the laughs and the allusions amid all the gore, and endless bloodbath of bare naked ladies, that it completely forgets to frighten anyone.
    • 50 Metascore
    • 50 Betsy Sharkey
    In Prince Dastan, he (Gyllenhaal) is supposed to be that heady mix of street smarts, roguish charm and barroom moxie with the noble heart of a lion underneath. It's a lot to ask and turns out to be something more than he can deliver.
    • 44 Metascore
    • 50 Betsy Sharkey
    There are enough clever bits, in that exploding-bodies kind of way, to inject some fun into the party. White and director of photography Scott Kevan, who collaborated on "Stomp the Yard," have some seriously inventive visuals, which at times are smash-cut fabulous.
    • 62 Metascore
    • 50 Betsy Sharkey
    Too many of the characters are either good or bad, and that loss of nuance is missed.
    • 52 Metascore
    • 50 Betsy Sharkey
    Filled with unrealized possibilities and fraught with flaws, Final Destination seems destined to be little more than a footnote in the anthology of extraordinary films to come out of the long creative collaboration between producer Merchant, director James Ivory and screenwriter Ruth Prawer Jhabvala.
    • 61 Metascore
    • 50 Betsy Sharkey
    The film falls short of delivering the outrage and uplift that should have come easy for this true-life fight against justice denied. Unfortunately, that makes Conviction more a trial than a triumph.
    • 51 Metascore
    • 50 Betsy Sharkey
    This is a disappointing turn coming from Phillips, particularly since "The Hangover" was such a fresh, bracing brew of black comic fun.
    • 50 Metascore
    • 50 Betsy Sharkey
    Fortunately Stewart seems to thrive in water over her head, and when she pulls Gandolfini in with her the movie gels. It makes you wish the filmmaker had left them in the deep end longer.
    • 53 Metascore
    • 50 Betsy Sharkey
    Oh, there are sword fights aplenty (as bloodless as ever), but instead of a real story, we are left clinging to individual moments.
    • 49 Metascore
    • 50 Betsy Sharkey
    New players, a new story line, a new director and nearly three decades of improved technology including all the whiz-bang-wow the latest 3-D has to offer. Unfortunately, there's not nearly enough new life.
    • 51 Metascore
    • 50 Betsy Sharkey
    Though the film is peppered with one-liners tailor-made for Spacey to sling with stinging effect, it doesn't so much leave you laughing as just weary, and wishing this weren't a true story at all.
    • 41 Metascore
    • 50 Betsy Sharkey
    Nighy is usually a treat to watch navigating life's bad turns, so it's especially frustrating that the filmmaker so often leaves him at loose ends.
    • 57 Metascore
    • 50 Betsy Sharkey
    The good thing about All Good Things - that would be Kirsten Dunst, for if there is one thing this strange and creepy film does well it is remind us of just what a talented actress she is.
    • 33 Metascore
    • 50 Betsy Sharkey
    Oone of those movies that falls between complete disaster and loads of fun. Mild amusement is probably about right.
    • 45 Metascore
    • 50 Betsy Sharkey
    Country Strong is Feste's second film, and she infuses it with an earnestness that swings between too too much and appealing, the same earnestness that swamped her filmmaker debut last year with "The Greatest."
    • 48 Metascore
    • 50 Betsy Sharkey
    What makes this intriguing, yet woefully uneven film so relatable is that there is nothing about Ned's experience that seems extreme.
    • 33 Metascore
    • 50 Betsy Sharkey
    If you're a Sandler film buff, the comedy is classic Sandler and will probably satisfy. Still, the best thing about the movie remains Aniston - she is reason enough to just go with it.
    • 37 Metascore
    • 50 Betsy Sharkey
    The city's skyline is blown to bits. Burning, broken, blackened bits. So if that's what you're in the mood for, that is what the film delivers, endlessly, but in that cheesy-campy way that can make a bad movie good fun.
    • 44 Metascore
    • 50 Betsy Sharkey
    Lost is the fresh, perverse, painfully politically incorrect R-rated pleasure that came when "The Hangover" ate up the summer of 2009.
    • 63 Metascore
    • 50 Betsy Sharkey
    The intricate plotting that distinguished the book overwhelms the movie.
    • 60 Metascore
    • 50 Betsy Sharkey
    An emotional runaway of a film that carries neither the insight nor the uplift to make the weight of its dark journey worth it.
    • 29 Metascore
    • 50 Betsy Sharkey
    Gorgeously shot, smartly conceived, cleverly cast, badly executed - the lush medieval beauty here is at best only skin deep.
    • 59 Metascore
    • 50 Betsy Sharkey
    Smart isn't all it's cracked up to be and soon the movie is unraveling faster than all of Eddie's grand schemes.
    • 47 Metascore
    • 50 Betsy Sharkey
    A frustrating mix of smart flash and smirking impudence.
    • 42 Metascore
    • 50 Betsy Sharkey
    The franchise remains as much an endurance test as a movie, but at least a better Bay has delivered a leaner, meaner, cleaner 3-D rage against the machines.
    • 50 Metascore
    • 50 Betsy Sharkey
    FD 5 did not raise even a single goose bump - which for a movie that bills itself as horror is not a good thing. The camp factor, however, is high and makes the 95 minutes pretty much fly by.
    • 72 Metascore
    • 50 Betsy Sharkey
    The laughs come easily, the screams not so much. It's as if the filmmakers got so wrapped up in the satire they forgot to include the intense sensation of rising dread that creates all the thrills and chills that are part of the attraction.
    • 46 Metascore
    • 50 Betsy Sharkey
    I realize that making Immortals immortal was way too much to ask, but frankly, just a shade more plausible, not to mention pleasurable, would have been nice.
    • 53 Metascore
    • 50 Betsy Sharkey
    What's missing are the kind of moments that actually matter, the ones that are so gripping that you want desperately for time to stop - to savor them, to feel the fear, the passion, the regret. Ah, well … maybe next time.
    • 52 Metascore
    • 50 Betsy Sharkey
    That the plot is the problem comes as something of a surprise given Monahan's pedigree. The well-regarded screenwriter ("Body of Lies," "Kingdom of Heaven") won an Oscar for the deliciously conflicted cops and crime twister of 2006's "The Departed."
    • 60 Metascore
    • 50 Betsy Sharkey
    The writing-directing brothers are usually interested in the small stuff of everyday, but perhaps they've gone a little too small here.
    • 31 Metascore
    • 50 Betsy Sharkey
    If you can get past the gross invasion of privacy issues that would exist if this were real life and not just a frothy confection, what you have is some bittersweet fun peppered by bursts of sharp patter, the best between the boys.
    • 65 Metascore
    • 50 Betsy Sharkey
    The animation is snappy in the way it handles an extremely eclectic-looking bunch of monsters. The 3-D effects are nifty but, as with so much about "MU," not necessary.
    • 55 Metascore
    • 50 Betsy Sharkey
    Good stuff comes when bad stuff happens; that's when some of the movie animation prowess kicks into high gear. But too many of the "solutions" the guys concoct are so impossibly complex or just downright ridiculous — puppetry comes to mind — that like the continents, it's a little too easy to drift away.
    • 42 Metascore
    • 50 Betsy Sharkey
    With Snow Flower, the filmmaker is forever torn between two childhoods, two adulthoods, two distinct political and social eras, and two complex relationships, unable to make both equally relevant.
    • 44 Metascore
    • 50 Betsy Sharkey
    At best, the jokey bits are occasionally funny.
    • 62 Metascore
    • 50 Betsy Sharkey
    In many ways, "Engagement" reflects both the best and worst of Stoller and Segel's creative collaborations.
    • 40 Metascore
    • 50 Betsy Sharkey
    In Man on a Ledge, Leth does well in taking us to dizzying heights. If only he had found a way to ground that thrill in some real pathos as well.
    • 27 Metascore
    • 50 Betsy Sharkey
    At some point you hope the actor (Butler) will find a movie that will give him the right material to make hearts truly beat faster. Until then, it appears we'll have to settle for films with more flaws than his characters.
    • 52 Metascore
    • 50 Betsy Sharkey
    When the movie should touch the heart, it just misses. When moments should produce gales of laughter, it struggles for a smile. When panic and fear should set the heart racing, it doesn't.
    • 37 Metascore
    • 50 Betsy Sharkey
    A hyper-realistic-looking, character-driven story of survival with talking dinosaurs that can't decide whether to inform or entertain. The film and its featured creatures do a little of both but modestly.
    • 61 Metascore
    • 50 Betsy Sharkey
    Lonergan has created a forceful yet extremely fitful film that teases with moments of brilliance only to frustrate in the end. Margaret is an unrealized dream, one you wish he'd gotten as right as his 2000 debut, "You Can Count on Me."
    • 63 Metascore
    • 50 Betsy Sharkey
    In the end Anna Karenina lets you down - visually stunning, emotionally overwrought, beautifully acted, but not quite right.
    • 45 Metascore
    • 50 Betsy Sharkey
    The footage itself, particularly of the surf, is spectacular, with veteran cinematographer Bill Pope handling the camerawork. But the drama is soggy, overreaching for the heartfelt and overdoing the inspirational.
    • 60 Metascore
    • 50 Betsy Sharkey
    Sometimes the facts can get in the way of the drama, and that's the central problem here. That sense of needing to be true to the record is reflected in an overwhelmed screenplay.
    • 47 Metascore
    • 50 Betsy Sharkey
    Red 2 is much more of a mixed bag than it should have been.
    • 53 Metascore
    • 50 Betsy Sharkey
    Paul Weitz has dialed things down considerably for Being Flynn, writing and directing with an earnest sensitivity that at times suits, at times undermines, the complexities of the story at hand.
    • 52 Metascore
    • 50 Betsy Sharkey
    Although the movie isn't a complete disaster, it's not your father's RoboCop either.
    • 49 Metascore
    • 50 Betsy Sharkey
    Here that soul-baring, soul-searching is the centerpiece of the film. Unfortunately, not much else about Lola Versus matches that standard.
    • 48 Metascore
    • 50 Betsy Sharkey
    In truth, the film fizzles as much as it fumes.
    • 33 Metascore
    • 50 Betsy Sharkey
    Given all the impossible choices the young jockey had to face, The Cup should have been a weepie if ever there was one - but the filmmakers stumble on their way to the finish line.
    • 41 Metascore
    • 50 Betsy Sharkey
    Breathtaking moments give way to boring ones; searing emotions vie with the exceedingly bland.