Betsy Sharkey
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For 568 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 4.6 points higher than other critics. (0-100 point scale)

Betsy Sharkey's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Frozen
Lowest review score: 0 Nothing Left to Fear
Score distribution:
  1. Negative: 31 out of 568
568 movie reviews
    • 45 Metascore
    • 40 Betsy Sharkey
    After scoring big in 1998 with "Mary" - the zipper issue, the "hair gel" mix-up, the roving troubadours - their (Farrelly brothers) raw inventive edge has never been quite as sharp. Hall Pass, starring Owen Wilson and Jason Sudeikis, continues that creative slide into everyday crude.
    • 42 Metascore
    • 40 Betsy Sharkey
    Overall Take Me Home Tonight represents a lateral move at best for its 24-hour party people, a step back at worst, and not worth your time either way.
    • 49 Metascore
    • 40 Betsy Sharkey
    Instead of breathing life into cartoonist Berkeley Breathed's cheeky kids morality tale, the movie - with all its 3-D motion capture animation flash - flatlines.
    • 36 Metascore
    • 40 Betsy Sharkey
    Despite the pretty overload and the smoldering blue-eyed handsome of Egglesfield, the heart-pounding, palm-sweating, heavy-breathing chemical reactions that should be causing major blackouts in Manhattan, where this story unfolds, are nowhere to be found.
    • 33 Metascore
    • 40 Betsy Sharkey
    It is a third man, a revolutionary, who nearly steals the show. Which might have been all right if writer-director Roland Joffé hadn't been so conflicted about whose story he wants to tell. But indecision can be deadly, and it proves to be here.
    • 65 Metascore
    • 40 Betsy Sharkey
    A tedious two-plus hours. There were such possibilities in the origins idea.
    • 48 Metascore
    • 40 Betsy Sharkey
    As so often happens with love, what you hope for is not even close to what you get, and in this case we are left with a heartbreaking disappointment of a film.
    • 56 Metascore
    • 40 Betsy Sharkey
    Really, truly, very scary … At least until about 30 minutes in, when you start to be distracted by the lack of logic in the storytelling and the fact that the nasty little gremlins responsible for all the bumps in the night can be offed pretty easily.
    • 40 Metascore
    • 40 Betsy Sharkey
    The better moments are fleeting. More often, the film feels flat-footed, and the story plays out as you'd expect. Long before Tanner Hall ends, you may well find yourself wishing for the final bell.
    • 34 Metascore
    • 40 Betsy Sharkey
    There's a strange sort of diffidence that seems to inhabit Dafoe and Roberts' performances, and the disconnect between the two Janes is simply insurmountable.
    • 49 Metascore
    • 40 Betsy Sharkey
    As good as Worthington, Chastain, Moretz and Morgan can be as they try to untangle the morass and the menace - and get caught up in it - they just can't quite pull it off. The real killer, sadly, is the script.
    • 45 Metascore
    • 40 Betsy Sharkey
    The film doesn't have nearly the bite - ferocious or delicious - that any self-respecting vampire movie really should. It's as if all the life has drained away.
    • 43 Metascore
    • 40 Betsy Sharkey
    We have a fumbling and fawning - if sincere - tribute to the living legend and a director who has never seemed more out of his element.
    • 37 Metascore
    • 40 Betsy Sharkey
    W.E., Madonna's second go at directing a feature film, leaves one wishing she'd find other creative outlets for those times when she's bored with the pop-star life.
    • 57 Metascore
    • 40 Betsy Sharkey
    When the filmmakers move into Nobbs' isolation, though, the movie flags - a surprise given Garcia's excellent work on HBO's minimalist personality study "In Treatment," on which he wrote and directed extensively.
    • 43 Metascore
    • 40 Betsy Sharkey
    This is a movie that leaves you wanting more. To care more, to cry more, to love more.
    • 51 Metascore
    • 40 Betsy Sharkey
    That John Carter is so hit and miss, and miss, and miss is unfortunate on any number of levels.
    • 48 Metascore
    • 40 Betsy Sharkey
    Mostly Lockout is lost in space.
    • 41 Metascore
    • 40 Betsy Sharkey
    Like Freeway, the lovable stray dog at the center of this very teary comedy, Darling Companion has lost its way. Even the marquee ensemble anchored by Diane Keaton, Dianne Wiest, Kevin Kline and Richard Jenkins is not enough to rescue this motley mutt of a movie.
    • 40 Metascore
    • 40 Betsy Sharkey
    The film's single saving grace is Turner, who channels that legendary Catholic guilt like there is no tomorrow.
    • 41 Metascore
    • 40 Betsy Sharkey
    Rather than the engaging enlightenment of the source, the film becomes bloated by confusion.
    • 59 Metascore
    • 40 Betsy Sharkey
    Starts imploding long before the massive asteroid hurtling toward Earth is due to deliver annihilation.
    • 58 Metascore
    • 40 Betsy Sharkey
    It is a disappointment coming from writer-director David Cronenberg, who has proved such a master at mind games. Cronenberg is perhaps too faithful to the book. The topic is provocative and certainly timely, but the film never achieves the incisive power of his best work, "A History of Violence" for one. Even an A-list ensemble that includes Juliette Binoche, Samantha Morton and Paul Giamatti can't save it.
    • 53 Metascore
    • 40 Betsy Sharkey
    It is billed as a comedy, but it's really a lipstick-smeared drunken tragedy. The humor is so caustic you won't know whether to laugh or cry.
    • 37 Metascore
    • 40 Betsy Sharkey
    It's a snooze.
    • 44 Metascore
    • 40 Betsy Sharkey
    The film is only slightly more boorish than the racy cult hit was on telly and would probably not be worth the celluloid expended were it not for the bookish, brainy Will McKenzie (Simon Bird).
    • 47 Metascore
    • 40 Betsy Sharkey
    There are some crowd-pleasers - but Hotel Transylvania never becomes the great monster mash that seemed in the offing.
    • 38 Metascore
    • 40 Betsy Sharkey
    Romance and capers exist in Lay the Favorite, they just aren't played well.
    • 52 Metascore
    • 40 Betsy Sharkey
    Some of the language is smart, sinister and ironic in just the right ways, particularly when Addison, Eric Bana's serial-killing mastermind, delivers it. In other cases, the dialogue is so ludicrously off - either unnecessary, or unnecessarily misogynistic if a cop is doing the talking - that it's hard to believe the same person wrote it.
    • 50 Metascore
    • 40 Betsy Sharkey
    So thrill-less, so chill-less is Jack Reacher that it is unlikely to spark interest, much less controversy.