For 546 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 Rango
Lowest review score: 0 Nothing Left to Fear
Score distribution:
  1. Negative: 29 out of 546
546 movie reviews
    • 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.
    • 52 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.
    • 40 Metascore
    • 40 Betsy Sharkey
    The soul of the era is missing, and with it any reason to care. In Fleischer's hands, the high-stakes shootouts are as stylish as a GQ spread, but it's nearly impossible to figure out who's zoomin' who.
    • 49 Metascore
    • 40 Betsy Sharkey
    Nothing clicks, nothing resonates, everything's broken.
    • 51 Metascore
    • 40 Betsy Sharkey
    All the talking would be fine, but the dialogue is preachy, the drama too earnest and the action kind of sluggish, though it's hard not to get a jolt when Johnson jumps behind the wheel.
    • 48 Metascore
    • 40 Betsy Sharkey
    The war crimes and romance stories theoretically run on parallel tracks, but the overall pacing is ragged and the dialogue frequently out of step with the characters we've met.
    • 41 Metascore
    • 40 Betsy Sharkey
    It's massive, all the retaliation and the world saving stuff. And it's convoluted. Frankly no one should have to think that hard to keep up with the Joes.
    • 42 Metascore
    • 40 Betsy Sharkey
    The promise it begins with doesn't pay off. And while Arthur Newman is not a complete disaster, it does leave you wishing the romance and the ride had been a whole lot smoother.
    • 60 Metascore
    • 40 Betsy Sharkey
    The great failing of The Iceman is not in giving us a monster, but in not making us care.
    • 43 Metascore
    • 40 Betsy Sharkey
    Violet & Daisy comes out of the gate guns blazing. Too bad it ends as a misfire.
    • 44 Metascore
    • 40 Betsy Sharkey
    We're the Millers is full of moments that feel as forced as the marriage of convenience — and contrivance — in the movie.
    • 48 Metascore
    • 40 Betsy Sharkey
    Many of the transitions between narrative and music are rough. The temptations of the street, all too real in the real world, feel forced. Confrontations become clichés. The substance of human motivation is missing. And thus the heart never beats as it should.
    • 36 Metascore
    • 40 Betsy Sharkey
    What makes this film particularly bedeviling is that you get the sense there is a nice guy behind this mess, one not so callous about matters of the heart. If anything, the raunch seems forced. The closer the film gets to real emotions, the more authentic it feels.
    • 30 Metascore
    • 40 Betsy Sharkey
    Every time things between blue-collar David (Pettyfer) and pretty, privileged Jade (Wilde) get sticky — either kissy/gooey or teary/hurt-y — and the film could go deep, "Endless" morphs into music video territory.
    • 28 Metascore
    • 40 Betsy Sharkey
    It is the most nonsensical crime caper to make it on screen in a while.
    • 59 Metascore
    • 40 Betsy Sharkey
    Unlike the teeming world living between the lines in Munro's story, there is not nearly enough in Hateship Loveship to keep you invested.
    • 39 Metascore
    • 40 Betsy Sharkey
    Slyness, slapstick and sex can often be mixed to amusing effect whatever the specifics — the original "Hangover," for example, did a credible job of it — but The Other Woman is ultimately undone by its indecision.
    • 35 Metascore
    • 40 Betsy Sharkey
    Everything unfolds at a glacial place, with so many emotional beats overplayed that the experience is more wearing than moving.
    • 37 Metascore
    • 40 Betsy Sharkey
    In blurring the lines between truth and fiction as well as right and wrong, Third Person maddens far more than it intrigues. Indeed, more curious than anything about the movie itself is how such an artistic stumble happened.