For 1,222 reviews, this critic has graded:
  • 69% higher than the average critic
  • 4% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 7.7 points higher than other critics. (0-100 point scale)

Carrie Rickey's Scores

  • Movies
Average review score: 67
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 Rambo
Score distribution:
1,222 movie reviews
    • 53 Metascore
    • 63 Carrie Rickey
    With ambitions greater than comedy and results that fall short of character study, The Big Year is neither fish nor fowl.
    • 31 Metascore
    • 63 Carrie Rickey
    The film's focus on the contest between the two agents does throw the film off-balance.
    • 65 Metascore
    • 63 Carrie Rickey
    Williams never defaults to mimicry. Her Monroe doesn't have the breathless whisper and quivering lips/quivering hips quality of the Marilyn impersonators. Her Monroe is a lightbulb on a dimmer, suddenly bright, and just as suddenly, indistinct.
    • 62 Metascore
    • 63 Carrie Rickey
    Not an entertainment but an experience. And a kind of cinematic sensitivity training.
    • 44 Metascore
    • 63 Carrie Rickey
    Though one wishes Graff's eye were as developed as his keen ear, he elicits rafter-raising musical performances from Latifah, Palmer, and Jordan that are irresistible fun.
    • 60 Metascore
    • 63 Carrie Rickey
    The beauty of the actors and the ravishing landscape of New Zealand goes a long way to make Ben Sombogaart's sudsy film so eminently watchable.
    • 42 Metascore
    • 63 Carrie Rickey
    The connection between the two time frames and stories (the contemporary one with the addition of screenwriters) is flimsy as a frayed rope bridge, forced as the stepsister's foot into Cinderella's glass slipper.
    • 63 Metascore
    • 63 Carrie Rickey
    While Pierre Thoretton's film boasts vivid archival footage of some YSL couture collections, Bergé's lugubrious tone renders everything black.
    • 59 Metascore
    • 63 Carrie Rickey
    The story, inspired by Bolkovac's experiences in Bosnia and her subsequent book account, is dynamite. Alas, Kondracki's direction fizzles. While she elicits a tense and eloquent performance from Weisz, the first-time filmmaker fails to maintain a consistent tone. Her film samples multiple genres.
    • 49 Metascore
    • 63 Carrie Rickey
    One wishes that Chambers had more gracefully integrated the stories of the individual players into this celebration of Rush.
    • 65 Metascore
    • 63 Carrie Rickey
    Rather than plunge into the murky marital waters of ambivalence and power struggle, the film bobs on the surface. No one would ever mistake David Frankel's dramedy of sexual healing for Ingmar Bergman's psychologically astute "Scenes From a Marriage."
    • 58 Metascore
    • 63 Carrie Rickey
    The good news is that this daddy/daughter reconciliation story connects with the ball. The not-so-good: It's a blooper.
    • 45 Metascore
    • 63 Carrie Rickey
    A touchy daughter and her feely mom form the emotional axis of Peace, Love, & Misunderstanding, a touching, feeling, touchy-feely series of emotional encounters that generate much warmth in Bruce Beresford's balloon-light family comedy. If it were any lighter, it would float away.
    • 51 Metascore
    • 63 Carrie Rickey
    At its best, Worlds Away is a parade of mostly attractive acrobats performing physically improbable feats. At its worst, it has the humorlessness of Ridley Scott plumbing the deeper meanings of an Esther Williams water ballet.
    • 49 Metascore
    • 63 Carrie Rickey
    At 24 minutes, Lola Versus might be a middling episode of a sitcom like "New Girl." At 87 minutes, it is a gracefully aimed arrow shot in the air. Where it lands, Wein and Lister Jones know not where.
    • 66 Metascore
    • 63 Carrie Rickey
    I smiled for the first half of the movie and started laughing hysterically when a supporting character hijacked it from its stars.
    • 60 Metascore
    • 63 Carrie Rickey
    This profanely hilarious and tonally erratic spoof of buddy movies is funny as it begins in "Miss Congeniality 2" territory, funnier still as it zooms into "Lethal Weapon" climes. But it stops dead, and I mean that literally, when it takes a U-turn into a "Pulp Fiction" sinkhole of slapstick violence.
    • 70 Metascore
    • 63 Carrie Rickey
    Amalric's performance is comically moving in the manner of silent actors, and the film is beautifully wrought with moments of enchantment. Alas, Chicken is a movie that begins with a crescendo and doesn't sustain its lyricism.
    • 61 Metascore
    • 63 Carrie Rickey
    Because Trance is principally about the thrill of the ride rather than the inner lives of the riders, it lacks that outlaw humanism specific to Boyle films such as "Trainspotting," "Slumdog Millionaire," and "Millions." In other words, it's an ingeniously built automaton, sexy as hell, and devoid of a heart.
    • 55 Metascore
    • 63 Carrie Rickey
    Three things make the film worthwhile: Shatner's performance; the sequence involving Data getting his "emotion chip" implant; and John Alonzo's crystalline cinematography, which makes Generations the most beautiful Trek ever. [18 Nov. 1994, p.03]
    • 43 Metascore
    • 50 Carrie Rickey
    The film has two curious subplots and supporting performances that feel tacked on rather than organically part of it.
    • 45 Metascore
    • 50 Carrie Rickey
    For this dynamic to work, the actors need to be of complementary temperament and equal power. This is not the case.
    • 33 Metascore
    • 50 Carrie Rickey
    Usually Amy Adams can work all kinds of magic with her wide-eyed gaze and wistful smile. But these attributes aren't assets here, they are distancing devices.
    • 33 Metascore
    • 50 Carrie Rickey
    Love Happens announces itself as a romantic comedy but doesn't speak the language of love. Instead, it trades in the slogans of self-help procedural.
    • 35 Metascore
    • 50 Carrie Rickey
    Roughly an hour in, Transformers 2 morphs from teen adventure into lumbering war movie. Bay and his screenwriters squander their human capital in order to show us scenes of 20-ton toys crushing 10-ton toys.
    • 55 Metascore
    • 50 Carrie Rickey
    Rian Johnson's film is a scam wrapped in a sham.
    • 56 Metascore
    • 50 Carrie Rickey
    There are sniff movies and there are snuff movies, but Perfume: The Story of a Murderer is both. It has the bouquet of balm and blood. Imagine "Fragrance of the Lambs."
    • 54 Metascore
    • 50 Carrie Rickey
    A crude, cringe-worthy, and intermittently funny affair that triggers the gag reflex. I sincerely can't tell you whether I was choking with laughter or keeping from choking.
    • 40 Metascore
    • 50 Carrie Rickey
    The characters are (hand-painted) so flat that the film looks like a paper-doll convention at Epcot.
    • 27 Metascore
    • 50 Carrie Rickey
    This is not the plot of your typical Ice Cube movie. It does, however, combine the plots of at least three John Hughes movies.
    • 32 Metascore
    • 50 Carrie Rickey
    A vaguely creepy and mildly diverting rom-com.
    • 44 Metascore
    • 50 Carrie Rickey
    The Jacket is both a genre movie and a symptom, a gothic treatment of Gulf War syndrome.
    • 59 Metascore
    • 50 Carrie Rickey
    Castellitto directed and stars in this unbearable film, a case study of a surgeon with a raging madonna-whore complex.
    • 41 Metascore
    • 50 Carrie Rickey
    Spectacularly silly and perversely entertaining.
    • 33 Metascore
    • 50 Carrie Rickey
    A heartfelt, '70s-era coming-of-age story with a prologue and epilogue set in the present day, marks the filmmaking debut of actor David Duchovny, who also wrote the symbol-studded screenplay.
    • 48 Metascore
    • 50 Carrie Rickey
    What makes the new movie almost bearable is the byplay between Sandler and Chris Rock.
    • 53 Metascore
    • 50 Carrie Rickey
    Salvadori's choppy film never establishes a comic rhythm.
    • 38 Metascore
    • 50 Carrie Rickey
    A case of a yummy yarn spoiled by cheesy visuals.
    • 34 Metascore
    • 50 Carrie Rickey
    One thing Kidman is not is a clown. She thinks fizzy and dizzy and klutzy are funny. She is mistaken. To be a clown requires a kind of witchcraft.
    • 65 Metascore
    • 50 Carrie Rickey
    Thornton swills the Matthau role with the unslakable thirst of W.C. Fields and idiosyncratic sexuality of Johnny Depp. So this is what Bad Santa does during the off-season.
    • 67 Metascore
    • 50 Carrie Rickey
    While Last Days succeeds as a nature documentary, Van Sant fails to penetrate human nature. The result is a portrait without a face.
    • 46 Metascore
    • 50 Carrie Rickey
    Individually, the actors are endearing. But together in this charmless Gary David Goldberg sitcomedy, inspired by the Claire Cook novel, they are as oddly paired as chalk and cheese.
    • 53 Metascore
    • 50 Carrie Rickey
    Despite excellent elements - great actress, taut plot, slick visuals - Flightplan is like airplane food. No matter how good the ingredients the air chef has to work with, the entree inevitably ends up tasting like a Xerox of a facsimile of a meal.
    • 45 Metascore
    • 50 Carrie Rickey
    An unmitigated, inexplicable, unforgivable flop.
    • 45 Metascore
    • 50 Carrie Rickey
    If, like me, you were hoping for "Scarface" as a hip-hopera, I am sad to report that Get Rich or Die Tryin' has heat, but not sweep.
    • 37 Metascore
    • 50 Carrie Rickey
    The result is two competing films, one about a failure's struggle to succeed in the Brigade Championships, the academy's boxing tournament, and the other about a quitter redeemed by military discipline. In the hands of director Justin Lin, the two story lines don't altogether merge.
    • 53 Metascore
    • 50 Carrie Rickey
    Overwritten, over-designed, and too clever by 200 percent, the film does offer the pleasure of actors enjoying themselves.
    • 47 Metascore
    • 50 Carrie Rickey
    Kids under 6 will dig it - though the alligators and wildebeests might scare them. Certainly they scared this groan-up.
    • 45 Metascore
    • 50 Carrie Rickey
    The only likable characters are ebullient Omer (Sam Golzari), a show-tune-loving reluctant Iraqi suicide bomber who comes to the O.C., and earnest William (Chris Klein), an American GI wounded in Iraq, who are mirror images.
    • 45 Metascore
    • 50 Carrie Rickey
    This one has some originality, even though it unfolds like Ingmar Bergman's divorce melodrama "Scenes From a Marriage" - without the marriage.
    • 57 Metascore
    • 50 Carrie Rickey
    I liked this movie better when it was called "Rock'n'Roll High School" and starred the Ramones and Mary Woronov.
    • 65 Metascore
    • 50 Carrie Rickey
    While these individually diverting factors add up to a good time, they don't add up to a good movie.
    • 65 Metascore
    • 50 Carrie Rickey
    Miami Vice, the movie, is an atmospheric muddle, as gorgeous and unintelligible as raven-haired stunner Gong Li.
    • 48 Metascore
    • 50 Carrie Rickey
    Cobbled together from memorable parts of Allen's own (not to mention Hitchcock's) classics, Scoop doesn't establish its own identity.
    • 41 Metascore
    • 50 Carrie Rickey
    Claustrophobic and overwrought, Jailbait is an unpleasant excursion into gay panic mitigated somewhat by performances that are hard to shake.
    • 47 Metascore
    • 50 Carrie Rickey
    Paradoxically fast-talking and laid back, Long's Bartleby appears to be the illegitimate child of Groucho Marx and Ferris Bueller, one whose schemes are far more impressive than his deeds.
    • 44 Metascore
    • 50 Carrie Rickey
    Despite the appeal of cobra-eyed Thornton and bunny-nosed Heder, Scoundrels trips early, and often.
    • 39 Metascore
    • 50 Carrie Rickey
    The actors, individually fine although they appear to be in different films, tread warily on each other's turf, like Martian and Venusian making adjustments for an alien gravitational field.
    • 47 Metascore
    • 50 Carrie Rickey
    The overall effect is one of a sumptuously laid table where the main course is overcooked.
    • 48 Metascore
    • 50 Carrie Rickey
    If the filmmakers had a script half as good as their special effects, Night at the Museum would be a must-see.
    • 43 Metascore
    • 50 Carrie Rickey
    Grant's film plays like a two-hour episode of "Friends" intercut with "Seventh Heaven." Those sounds you hear are wisecrack, heartbreak, heartbreak, wisecrack, wisecrack.
    • 26 Metascore
    • 50 Carrie Rickey
    Because I Said So might have been sharper if it had focused on the mother/daughter relationship and didn't blunt its story with romantic comedy.
    • 27 Metascore
    • 50 Carrie Rickey
    The question is not whether Murphy can do anything. He can. The question is why he would want to make a movie as squirmingly unfunny as Norbit.
    • 31 Metascore
    • 50 Carrie Rickey
    Mildly diverting but slight, the screwball comedy Gray Matters changes it up, more or less creating its own genre, the curveball farce.
    • 49 Metascore
    • 50 Carrie Rickey
    A movie that provokes as many rueful sighs as it does bruising laughs.
    • 49 Metascore
    • 50 Carrie Rickey
    I watched this movie thinking that it used the idea of taking a chance on cards as a metaphor for taking a chance on love. I was dead wrong.
    • 58 Metascore
    • 50 Carrie Rickey
    Shrek the Third isn't a movie, it's the extension of a brand.
    • 50 Metascore
    • 50 Carrie Rickey
    Ultimately the voyage is so choppy and long (2 hours, 48 minutes) that into the third hour I found myself yawning, "Yo-ho-hum and a very sore bum."
    • 45 Metascore
    • 50 Carrie Rickey
    Evening might be the most shocking waste of natural resources since the despoiling of the Amazon rain forest.
    • 37 Metascore
    • 50 Carrie Rickey
    The moral of this crude, intermittently funny Adam Sandler comedy costarring the reliable Kevin James is that: It's OK to be gay, it's not OK to call someone a faggot, and it takes a real man to admit he loves his man pal.
    • 56 Metascore
    • 50 Carrie Rickey
    At the film's inconclusive conclusion, the filmmakers strand Erica and Sean in the moral twilight.
    • 55 Metascore
    • 50 Carrie Rickey
    One reason to see Rendition is for Naor's stunning performance as the torturer who is the one character aware of the political and moral contradictions of what he's doing. Every time he was on screen, he commanded it.
    • 46 Metascore
    • 50 Carrie Rickey
    George, director of "Hotel Rwanda," is better at directing actors than visual storytelling. Every time the camera tilted to suggest a character's shaken world or distorted worldview I didn't feel heartache, I felt headache.
    • 42 Metascore
    • 50 Carrie Rickey
    Freely mixing reality therapy, fairy tale and satire, Dobkin's film does not maintain a consistent tone. Is it a seriocomedy about brothers who need to work on unfinished business? Is it a holiday fable about a Scrooge who comes to surf the yuletide? Is it a satire in which an efficiency expert (Kevin Spacey) puts pressure on St. Nick to outsource gift allocation and distribution?
    • 38 Metascore
    • 50 Carrie Rickey
    The plot is preposterous. Particularly the part about a kid who has never before played an instrument, but can pick up a guitar and play like Eric Clapton and belly up to a church organ and perform like Mozart.
    • 48 Metascore
    • 50 Carrie Rickey
    In this G-rated movie the effects are gee-whiz, with live giraffes amid the stuffed animals and bouncy balls so manic that they could use some Ritalin.
    • 39 Metascore
    • 50 Carrie Rickey
    Ultimately, the values and the CGI are good, but the acting is broad and the chipmunks aren't really differentiated. What happened to Alvin, the rodent counterpart of Dennis the Menace? Was he declawed in the translation to CGI?
    • 42 Metascore
    • 50 Carrie Rickey
    Nothing wrong about a movie that says, Stop and smell the roses. Now, if only director Rob Reiner hadn't rubbed our noses in a bouquet of plastic blooms.
    • 41 Metascore
    • 50 Carrie Rickey
    A likable and completely dispensable heist film starring two of the deftest comedians working (Keaton and Latifah), the film from Callie Khouri is itself an American retread of the British caper telefilm "Hot Money."
    • 47 Metascore
    • 50 Carrie Rickey
    Much as I gnashed my teeth during 27 Dresses, I genuinely enjoyed the warmth of Heigl's and Marsden's confident ease. While both might be a few minutes past their star-is-born moment, these troupers with more than 30 years of professional work between them have never shone so brightly. It may sound contradictory, but loved them, hated IT.
    • 30 Metascore
    • 50 Carrie Rickey
    What ensues may be predictable, but the slapstick performances of Rudd and Bell are anything but. They court, they spark, and a few times they catch comic fire.
    • 46 Metascore
    • 50 Carrie Rickey
    As Roscoe's parents, Margaret Avery and James Earl Jones emerge with drawers undropped and dignity intact.
    • 35 Metascore
    • 50 Carrie Rickey
    Fast is a good quality in an action/adventure. But there is lightning-paced and then there is warp speed. Doug Liman's Jumper is the latter, a not-so-good quality in an action/adventure for the simple reason that the audience can't figure out what's going on.
    • 69 Metascore
    • 50 Carrie Rickey
    Given the filmmaker's privileged perspective of hindsight, to not consider the real-world repercussions of their theater, to not connect the dots between 1968 and 2008 is a squandered opportunity.
    • 47 Metascore
    • 50 Carrie Rickey
    Mildly diverting and utterly dispensable.
    • 56 Metascore
    • 50 Carrie Rickey
    The material is so charged that it threatens to electrocute any who would touch it. Yet from the moment that Bette Midler, as Bernice the bio-Mom, appears, she becomes the instrument of its emotional release, catharsis teetering on high heels.
    • 34 Metascore
    • 50 Carrie Rickey
    As for The Happening, his throwback horror flick that plays like "The Birds" meets "The Blob," it's beyond good and evil. It's dumbfounding.
    • 51 Metascore
    • 50 Carrie Rickey
    By turns entertaining and excruciating.
    • 35 Metascore
    • 50 Carrie Rickey
    The best that can be said about the movie is that it's harmless and mostly charmless. The Clone Wars is to Star Wars what karaoke is to pop music.
    • 55 Metascore
    • 50 Carrie Rickey
    Despite a winning performance by Anna Faris, the cutest thing in platform shoes since Goldie Hawn, the film falls on its keister so many times that before long the perky pinkness turns bruising black-and-blue.
    • 54 Metascore
    • 50 Carrie Rickey
    Only in its aggressively imaginative profanity is the film consistent.
    • 56 Metascore
    • 50 Carrie Rickey
    W.
    Unlike the filmmaker's previous stabs at presidential biopic-ing and conspiracy theorizing - "JFK" and "Nixon" - this one doesn't have the luxury of historical perspective.
    • 44 Metascore
    • 50 Carrie Rickey
    Handsomely photographed by Eric Schmidt and nicely underplayed by the actors, the film relies too much on its jukebox soundtrack to convey mood.
    • 36 Metascore
    • 50 Carrie Rickey
    A twisty, turny and ultimately silly thriller from "Inside Man's" Russell Gewirtz.
    • 56 Metascore
    • 50 Carrie Rickey
    By the halfway mark, Rogen's performance, like his voice, is less cuddly than grating, and the carbonated giggle that is Elizabeth Banks grows flat. This one's for the Smith cultists.
    • 61 Metascore
    • 50 Carrie Rickey
    Take the flat tire that was "Madagascar." Retread it with "The Lion King" storyline. Pump it up with air. Now you have Madagascar: Escape 2 Africa.
    • 36 Metascore
    • 50 Carrie Rickey
    Seven Pounds is one part jigsaw puzzle, one part "The Giving Tree" and both parts marinated in melancholy.
    • 51 Metascore
    • 50 Carrie Rickey
    At its best, the movie is a catalog of doggy stunts.
    • 39 Metascore
    • 50 Carrie Rickey
    The film is completely forgettable, frequently funny and weirdly satisfying in a Jersey Loser Gets Respect kind of way.
    • 38 Metascore
    • 50 Carrie Rickey
    The film's recycled nature is most evident in director P.J. Hogan's attempt to marry the farcical hijinks of an "I Love Lucy" episode to an addiction scenario that would not be out of place in "The Lost Weekend."
    • 45 Metascore
    • 50 Carrie Rickey
    The 3D effects are of a gimmicky 1956 vintage, with hands thrusting from the screen to give the illusion of reaching out and touching the audience.
    • 50 Metascore
    • 50 Carrie Rickey
    Though there are chases galore and stampeding dinos aplenty, Dawn of the Dinosaurs is a nicely rendered travelogue without storytelling. There is little to bring an audience along for the ride.
    • 39 Metascore
    • 50 Carrie Rickey
    So little time is devoted to developing characters that it's hard to share their hopes and fears.
    • 55 Metascore
    • 50 Carrie Rickey
    Visually immersive but emotionally uninvolving.
    • 36 Metascore
    • 50 Carrie Rickey
    More strident than funny, the film illustrates that old French proverb, "Marriage is like a cage; one sees the birds outside desperate to get in, and those inside desperate to get out."
    • 48 Metascore
    • 50 Carrie Rickey
    It's a parable as timely today as when it was written. But except for Paymer as the boss who ultimately expresses empathy for Bartleby's pain, the performances are so stylized as to be drained of human emotion.
    • 37 Metascore
    • 50 Carrie Rickey
    This is a movie that both parodies "The Sopranos" and aspires to its mordant humor. I don't think anyone -- not Tony Soprano, not Paul Vitti -- can have it both ways.
    • 34 Metascore
    • 50 Carrie Rickey
    Suggests that one way women can fight male violence is by using the weapons of the alpha male: Marking one's territory and firing upon anyone who trespasses.
    • 30 Metascore
    • 50 Carrie Rickey
    It's a fun gimmick -- the sartorial equivalent of those red shoes in the fairy tale that made an ordinary girl dance like Terpsichore -- if not an altogether fun movie.
    • 40 Metascore
    • 50 Carrie Rickey
    Preposterous, if diverting, revenge fantasy that rivals Rambo in sheer narrative chutzpah and vigilantism.
    • 64 Metascore
    • 50 Carrie Rickey
    A haunting allegory about the rise and fall of a figure who possesses powerful charisma, if weak karma.
    • 36 Metascore
    • 50 Carrie Rickey
    Perry and Campbell are charming despite this straitjacket plot.
    • 66 Metascore
    • 50 Carrie Rickey
    To the delight of gadgetheads and the dismay of the rest of us, Spy Kids' paraphernalia is better developed and considerably more fun than its story.
    • 46 Metascore
    • 50 Carrie Rickey
    Between Owen's quiet intensity and Mirren's showy color, they make a complementary pair for screen or garden.
    • 58 Metascore
    • 50 Carrie Rickey
    However charming Kingsley and Shaw are as the lovestruck pawns and Sorvino as the advancing queen, the premise is less playful than played-out.
    • 49 Metascore
    • 50 Carrie Rickey
    The good news is that it sees what a jihad looks like from both sides. The bad news is that it's not a very good movie, with three fine performances and two great sequences.
    • 46 Metascore
    • 50 Carrie Rickey
    A curious screwball "noir," doesn't so much bend established genres as blend them into an unappetizing cocktail, where they curdle before pouring.
    • 40 Metascore
    • 50 Carrie Rickey
    Duets is to movies what karaoke is to pop: a spirited attempt by non-pros.
    • 51 Metascore
    • 50 Carrie Rickey
    Quickly devolves into a violent thriller that resolves itself in sadomasochistic romance.
    • 37 Metascore
    • 50 Carrie Rickey
    Bad Company would just be another silly, intermittently funny, buddy comedy (Anthony Hopkins is Rock's training agent) were it not for a plot unlaughably close to current events.
    • 52 Metascore
    • 50 Carrie Rickey
    Watching the film is like getting hooked by a fearful angler who can't successfully reel you in.
    • 33 Metascore
    • 50 Carrie Rickey
    The lead performances are very strong -- few actors possess as much sheer physical presence as this pair -- but their dialogue is stilted, as though lost in transit from a Victorian hothouse.
    • 34 Metascore
    • 50 Carrie Rickey
    It stars the striking Moss, that fierce beauty from "The Matrix," as the sternest, sexiest babe in space since Sigourney Weaver's Lieutenant Ripley.
    • 48 Metascore
    • 50 Carrie Rickey
    Not a movie, it's a museum catalog of gorgeously rendered portraits and landscapes. What a crashing disappointment.
    • 45 Metascore
    • 50 Carrie Rickey
    Fortunately, even when star and story are ineffectual, Fears' supporting players are all thrilling, especially Morgan Freeman.
    • 31 Metascore
    • 50 Carrie Rickey
    This invitation to look down upon the stupidity of numskulls is one that should be declined as swiftly as a call to poke fun at Special Olympians.
    • 27 Metascore
    • 50 Carrie Rickey
    This is a star vehicle that stalls.
    • 49 Metascore
    • 50 Carrie Rickey
    Don't blame Kline. This most thoughtful of actors is trapped behind the lectern of a film that spouts contradictory lessons it can't reconcile.
    • 34 Metascore
    • 50 Carrie Rickey
    Less the blistering satire it imagines itself than a blustering, bloody, blundering melodrama about bottom feeders nibbling each other.
    • 45 Metascore
    • 50 Carrie Rickey
    Clark denies his audience the catharsis, resolution and renewal of classical tragedy. The film reduces its viewers to helplessness, and I'm not sure that's its intent.
    • 47 Metascore
    • 50 Carrie Rickey
    Ultimately, this movie cowritten by Shelton and former L.A. police detective Robert Souza has more laughs than suspense, but not enough of either.
    • 49 Metascore
    • 50 Carrie Rickey
    It's a stylish package with not much inside.
    • 34 Metascore
    • 50 Carrie Rickey
    Peppy, painless and -- happily -- not altogether brainless.
    • 27 Metascore
    • 50 Carrie Rickey
    If only I liked The Majestic half as much as I liked Carrey in it.
    • 47 Metascore
    • 50 Carrie Rickey
    Just as a fistful of drooping stalks does not a bouquet make, director Charles Herman-Wurmfeld's random collection of think-pink gags, canine couture and smart/dumb blonde jokes does not a comedy make.
    • 50 Metascore
    • 50 Carrie Rickey
    Although it would be understatement to call their characters unsympathetic, Van Der Beek and Sossamon play their parts with such doomed passion that they have some affecting moments.
    • 35 Metascore
    • 50 Carrie Rickey
    She may not be the most cinematic of film artists, but Heckerling will make you smile.
    • 54 Metascore
    • 50 Carrie Rickey
    If it were a landscape painting, Gerry would deserve a place in the National Gallery. But as a movie...deserves its own wing in The Old Curiosity Shop.
    • 20 Metascore
    • 50 Carrie Rickey
    You haven't heard anything until you've heard "Play That Funky Music" on the accordion.
    • 35 Metascore
    • 50 Carrie Rickey
    Essentially, the film functions as a holiday catalog, introducing fans to a new Pokemon whose effigy they can collect in trading cards.
    • 45 Metascore
    • 50 Carrie Rickey
    There is no shape or pacing to Daniel Petrie's movie. It's like a bottle of soda left uncapped. So thus a story that promised effervescence ends up being flat.
    • 43 Metascore
    • 50 Carrie Rickey
    On the plus side are engaging performances by Jason Biggs and Christina Ricci. On the minus side is . . . everything else.
    • 29 Metascore
    • 50 Carrie Rickey
    Snow Dogs? "Snow Job" is more like it.
    • 39 Metascore
    • 50 Carrie Rickey
    Most parents will find the movie has the familiar feeling of one of those kid birthday parties where the little ones are on chocolate highs and the adults run out of scheduled activities after 20 minutes.
    • 38 Metascore
    • 50 Carrie Rickey
    Two of its youthful actors, although adorable, are not skilled enogh to carry their parts.
    • 29 Metascore
    • 50 Carrie Rickey
    Driven is in both its script and its execution a paint-by-numbers affair.
    • 33 Metascore
    • 50 Carrie Rickey
    A raunchy spoof of the disaster-movie lampoon Airplane! - does everything to get the laugh. And in the way that a broken watch is right twice a day, a shotgun comedy like this one occasionally hits its target.
    • 42 Metascore
    • 50 Carrie Rickey
    Warrior has the underwritten, overproduced bluster of "Conan the Barbarian."
    • 52 Metascore
    • 50 Carrie Rickey
    The extent to which The Princess Diaries succeeds is the result of how pretty Hathaway at first mimics, then internalizes, Andrews' essential majesty.
    • 48 Metascore
    • 50 Carrie Rickey
    Suffers from "Bridget Jones" Syndrome but without that movie's charms.
    • 53 Metascore
    • 50 Carrie Rickey
    If the shrill Italian melodrama Remember Me, My Love were a television soap opera, it would be called The Not-So-Young and the Restless.
    • 52 Metascore
    • 50 Carrie Rickey
    It's not fresh and irreverent, qualities we admire in Allen. It is recycled and irrelevant.
    • 39 Metascore
    • 50 Carrie Rickey
    Iridescent as each of the actors is, the result is like a handful of beads without the connecting string.
    • 52 Metascore
    • 50 Carrie Rickey
    What's on screen is a hash, though it may very well be the most comprehensive catalog of male erotic fantasies in one single film.
    • 58 Metascore
    • 50 Carrie Rickey
    Because the movie is about addictive behavior dulling the pain of grief rather than in the larger drama of dealing with grief, the movie reduces the scope of Hoffman's performance.
    • 30 Metascore
    • 50 Carrie Rickey
    However insulting the script is to the formidable talents of Clayburgh and Tambor, they turn in Shinola performances.
    • 31 Metascore
    • 50 Carrie Rickey
    Is there a limit to this incessant princessitude?
    • 34 Metascore
    • 50 Carrie Rickey
    The humor here is overcooked to the point of limpness.
    • 52 Metascore
    • 50 Carrie Rickey
    Contrived and schematic, Peter Chelsom's film is a mechanical bird that never takes wing.
    • 43 Metascore
    • 50 Carrie Rickey
    A gagfest that makes viewers gag at least twice as often as they giggle, American Wedding -- third in the American Pie trilogy -- whipsaws the audience between gross-out and guffaw.
    • 32 Metascore
    • 50 Carrie Rickey
    A raunchy romp through the peeping-Tomism, potty humor, raging hormones and social humiliation that are standard issue in the Hollywood high-school sex comedy.
    • 28 Metascore
    • 50 Carrie Rickey
    Like most Lee films, She Hate Me is gasp-worthy, with something to offend everyone. I will not say that I liked it. I will say that like "Bamboozled," it exasperates and resonates.
    • 61 Metascore
    • 50 Carrie Rickey
    A movie that by turns is wincingly awful and heartbreakingly fine. It boasts an unforgettable performance by Björk.
    • 42 Metascore
    • 50 Carrie Rickey
    The miscast (or misdirected) Hilary Swank's Jeanne takes so little pleasure in coquetry and manipulation.
    • 48 Metascore
    • 50 Carrie Rickey
    If there's going to be a "Rush Hour 3," the filmmakers need more of the Ziyi/Sanchez women warriors to punch up the sagging cross-cultural buddy humor of the Chan-Tucker partnership.
    • 26 Metascore
    • 50 Carrie Rickey
    The result is a movie that is both laugh-out-loud funny and cringe-worthily silent.
    • 33 Metascore
    • 50 Carrie Rickey
    That a detente between the cliques is unthinkable, that they could never eat at the same table, is one of many assumptions that makes Sleepover such a downer.
    • 49 Metascore
    • 50 Carrie Rickey
    Sadly, the combination of gauzy photography and cheesy music gives the film the aura of a fragrance commercial.
    • 57 Metascore
    • 50 Carrie Rickey
    A creepy, oozy, dopey remake of the stylish 1998 Japanese thriller, "Ringu."
    • 38 Metascore
    • 50 Carrie Rickey
    For those who want nothing more than a thorough scare, Gothika is effective. But for those of us who want some psychological insight with our frightfests, the film is sadly lacking.
    • 25 Metascore
    • 50 Carrie Rickey
    While Stealing Harvard may be a chucklehead comedy, Lee is oddly touching and funny. Mostly because, unlike Green, he's not aggressively trying to make us laugh.
    • 64 Metascore
    • 50 Carrie Rickey
    Over-orchestrated and underdeveloped interpretation of Jeffrey Hatcher's play.
    • 61 Metascore
    • 50 Carrie Rickey
    Filmmaker Roger Michell doesn't so much adapt Ian McEwan's fine novel Enduring Love, a surgically precise anatomy of romance and obsession, as eviscerate it and wave its entrails before the audience.
    • 34 Metascore
    • 50 Carrie Rickey
    Basically, it's a muddle.
    • 37 Metascore
    • 50 Carrie Rickey
    By no means is this a good movie, but it's warmed by the solar energy of its star, who surely deserves better than this formula empowerment flick.
    • 38 Metascore
    • 50 Carrie Rickey
    What Raising Helen doesn't offer is a competent (never mind compelling) performance from Hudson, who is as cute as lace pants and has approximately as much acting skill.
    • 52 Metascore
    • 50 Carrie Rickey
    Edgeless as a marshmallow and twice as syrupy.
    • 49 Metascore
    • 50 Carrie Rickey
    Not even Chan's imaginative fight choreography redeems this folly.
    • 30 Metascore
    • 50 Carrie Rickey
    At its best, Queen is campy fun like the Vincent Price horror classics of the '60s. At its worst, it implodes in a series of very bad special effects.
    • 27 Metascore
    • 50 Carrie Rickey
    Director Tim Story's film has two speeds: pedal-to-metal and screeching halt. The former is guaranteed to make the audience carsick, the latter to give it whiplash.
    • 65 Metascore
    • 50 Carrie Rickey
    Half enjoyable goof, half an uncomfortable panorama of urban terrorism that just doesn't sit well after Sept. 11.
    • 48 Metascore
    • 50 Carrie Rickey
    Where Finding Nemo suggested that under-the-waves adventure was limitless, Shark Tale suggests that this sea is over-fished. The krill is gone.
    • 30 Metascore
    • 50 Carrie Rickey
    Harmless, mindless and shameless.
    • 28 Metascore
    • 50 Carrie Rickey
    This mostly vulgar, but never explicit, comedy resolves itself surprisingly, revealing depth just when you think it's going to continue its skip across the shallows. In other words, Just Married might not be good, but it's just good enough.
    • 38 Metascore
    • 50 Carrie Rickey
    Not to say that it isn't fun, only to say that it is more about sensation than sense.
    • 32 Metascore
    • 50 Carrie Rickey
    My advice: Skip Beyond Borders and write a check to the Red Cross or Doctors Without Borders.
    • 47 Metascore
    • 50 Carrie Rickey
    Too much Good Friday and not enough Easter Sunday. Emphasizing Jesus' agony over His ecstasy, Gibson has delivered a blood-drenched epic more stunning for its brutal violence than for its depiction of the calvary.
    • 59 Metascore
    • 50 Carrie Rickey
    Either an airless allegory about opportunistic Americans or another one of the director's parables of female persecution. OK, maybe it's both. But life is too short for three hours of misanthropy and misogyny.
    • 53 Metascore
    • 50 Carrie Rickey
    Too bad the filmmakers didn't trust the material. For Ella doesn't need music and references to other, better, movies to cast its unique spell.
    • 25 Metascore
    • 50 Carrie Rickey
    A mostly charmless affair.
    • 69 Metascore
    • 50 Carrie Rickey
    Structurally and narratively amputated, Volume 1 retains head and guts but loses its heart and gams to the second installment. Maybe Tarantino figured that Thurman's legs, as long as the Mississippi, were sufficient to carry this half of a movie.
    • 53 Metascore
    • 50 Carrie Rickey
    It's rare that a movie is so graceful and so gross.
    • 23 Metascore
    • 50 Carrie Rickey
    Mazel tov, Adam, for having three movies released in five months. You should maybe spend more time on the next one?
    • 36 Metascore
    • 50 Carrie Rickey
    The film is intermittently funny and strangely intermittent.
    • 50 Metascore
    • 50 Carrie Rickey
    Despite lovely songs from k.d. lang and Bonnie Raitt (written by Beauty and the Beast composer Alan Menken), this range is about as serene as a hen party.
    • 55 Metascore
    • 50 Carrie Rickey
    Overstocked farce.
    • 47 Metascore
    • 50 Carrie Rickey
    Fails as drama but succeeds as a "When bad things happen to good firemen" procedural. It's sensitivity training for civilians.
    • 44 Metascore
    • 50 Carrie Rickey
    A script with the most underdeveloped characters and spectacularly realized visuals since "Titanic."
    • 42 Metascore
    • 50 Carrie Rickey
    Only Close, in a majestically, maniacally brittle demonstration of Stepford overdrive, has the courage to show how nutty the pursuit of domestic perfection is. In this mess of a film, she is perfection.
    • 33 Metascore
    • 50 Carrie Rickey
    A toothless political satire set in a Maine coastal village. It plays like six subplots in search of a sitcom.
    • 64 Metascore
    • 50 Carrie Rickey
    The twist of Harold & Kumar Go to White Castle, a laugh-out-loud if not-exactly-good stoner comedy, is that its heroes, an entry-level investment banker and a brainiac pre-med student, are not dimwits.
    • 27 Metascore
    • 50 Carrie Rickey
    However terrific Murray is, if Antonio Banderas, mellifluous voice of Puss-in-Boots in "Shrek 2," went paw to claw with Garfield, Puss would definitely triumph.
    • 46 Metascore
    • 50 Carrie Rickey
    Much as I adore Martin and Hunt, whose matching tongue-in-cheek delivery and finite patience make them seem more like siblings than spouses, their movie is indistinguishable from an Afterschool Special.
    • 43 Metascore
    • 50 Carrie Rickey
    Whenever Andrews - that incarnation of the sensible and the sensitive - glides on screen, PD2 sparkles.
    • 64 Metascore
    • 50 Carrie Rickey
    So deadpan a film is Napoleon Dynamite, the story and the name of a gangly high school misfit in Preston, Idaho, that I can't say whether it was intended as a character study or a comedy.
    • 38 Metascore
    • 50 Carrie Rickey
    What redeems the film...is that for every nonstop explosion, there's a hilarious burst of Reynolds' nonstop patter.
    • 30 Metascore
    • 50 Carrie Rickey
    As doggy movies go, this one gets two paws out of four.
    • 34 Metascore
    • 50 Carrie Rickey
    Cutesy and formulaic and has the approximate depth of a cookie sheet.
    • 54 Metascore
    • 50 Carrie Rickey
    Despite a terrific performance from Shane West, who bears an uncanny resemblance to Crash, Secret is a chronology, not a biopic.
    • 62 Metascore
    • 50 Carrie Rickey
    It is diverting but insubstantial.
    • 35 Metascore
    • 50 Carrie Rickey
    Alas, the conceit of a double-dating Grandson and Gramps does not produce a great many laughs in this cringeworthy film.
    • 47 Metascore
    • 50 Carrie Rickey
    All in all, a resonant theme, poorly played.
    • 45 Metascore
    • 50 Carrie Rickey
    Brosnan, who finds the truth in his character, is quite affecting. And Mulligan, gamely defining a surprisingly undefined young woman, is like a sunbeam piercing the gloom.
    • 20 Metascore
    • 50 Carrie Rickey
    Unfortunately, this all proceeds at a supersonic tempo, with Shyamalan's directorial finger stuck on the fast-forward button. Significant plot points whiz by in this movie equivalent of speed-dating.
    • 62 Metascore
    • 50 Carrie Rickey
    Tonally, the film from director Anurag Basu has more personalities than Sybil. Basu strictly observes the B-movie convention of giving the audience an embrace, explosion, or chase sequence at regular intervals. If you don't like the genre, wait three minutes.
    • 46 Metascore
    • 50 Carrie Rickey
    On the whole, the movie is more Cheez Whiz than wizardly.
    • 60 Metascore
    • 50 Carrie Rickey
    A movie where the action scenes feel like filler, the romantic leads have little magnetism, and, before long, its metaphysical underpinnings fall to pieces.
    • 59 Metascore
    • 50 Carrie Rickey
    The film whipsaws between hyperbolic character study and preachy account of the recent financial meltdown. The two story lines are not well-integrated.
    • 49 Metascore
    • 50 Carrie Rickey
    Her (Angela Ismailos) generic questions about the politics, economics, and aesthetics of film yield predictably generic responses from her subjects.
    • 22 Metascore
    • 50 Carrie Rickey
    The cast is full of fresh-faced unknowns ready for their close-ups. Most likely to succeed is Kayla Jackson, an almond-eyed dreamer, as Brittany, anchor of the Ovations and of her family.
    • 39 Metascore
    • 50 Carrie Rickey
    With pratfalls and teardrops, the film swings from sitcom to sit-dram.
    • 49 Metascore
    • 50 Carrie Rickey
    Legacy is a two-hour light show with a lot of flash, a little style, and not one byte of narrative originality.
    • 27 Metascore
    • 50 Carrie Rickey
    The million-dollar cast doesn't make the vulgar penny-ante jokes any funnier.
    • 57 Metascore
    • 50 Carrie Rickey
    A big fat geek kiss to the movies of Steven Spielberg and his fanboys, Paul is a mild, meandering comedy.
    • 45 Metascore
    • 50 Carrie Rickey
    Most gaspworthy is that this raunchy, transgressive comedy about would-be adulterers turns out to be a hot, wet reaffirmation of marriage.
    • 37 Metascore
    • 50 Carrie Rickey
    That this is a cautionary tale about any people who would wage war in order to win the spoils of oil and water? Your guess is as good as mine.
    • 31 Metascore
    • 50 Carrie Rickey
    Half-baked, both in plot and execution, this spoof's for adolescent boys who find Minotaur private parts amusing and Queen Amidala in a chastity belt sexy.
    • 28 Metascore
    • 50 Carrie Rickey
    Speechy and preachy and just a teeny-weeny bit naughty.
    • 36 Metascore
    • 50 Carrie Rickey
    To paraphrase one of its few laughs, it's a zombie movie directed by Vera Wang.
    • 44 Metascore
    • 50 Carrie Rickey
    Did I laugh? A handful of times. Did I cringe? For 101 minutes.
    • 39 Metascore
    • 50 Carrie Rickey
    Like the kids in detention, The Change-Up wants to offend your sensibilities. It sets new records for scatological humor and profanity.
    • 50 Metascore
    • 50 Carrie Rickey
    An airless, bilious, endless pageant of pseudohistory.
    • 57 Metascore
    • 50 Carrie Rickey
    Short, sour and scabrous, Bosses is that paradoxical thing: a situation comedy where neither situation nor comedy is particularly effective where nonetheless Jason Bateman is sidesplitting, as is Colin Farrell in a supporting role.
    • 35 Metascore
    • 50 Carrie Rickey
    In some scenes, Faris' sheer velocity gives the movie liftoff. In others, it doesn't hurt that Evans, who looks like the very young Alec Baldwin, and has the sonorous voice of Mark Feuerstein, is the film's sex object.
    • 54 Metascore
    • 50 Carrie Rickey
    While Scott's movie has a consistent aura, it lacks a consistent tone. What are we to make of the movie, gauzy as a mist-shrouded lake and brutal as "Lord of the Flies?"
    • 48 Metascore
    • 50 Carrie Rickey
    As in "An Education," Scherfig's settings are unshowy, imparting period flavor without overwhelming what is, ultimately, an underwhelming film.
    • 40 Metascore
    • 50 Carrie Rickey
    Throughout Flatley, now 52, is triumphal and indefatigable. There are two mysteries here: From whence comes Flatley's boundless energy? And why does it make me feel so tapped out?
    • 41 Metascore
    • 50 Carrie Rickey
    So although this multicharacter stew has a tasty morsel or two, in the aggregate it makes one long for the comparative complexity and subtlety of "Valentine's Day."
    • 37 Metascore
    • 50 Carrie Rickey
    Madonna the director deserves a script better than the one Madonna the screenwriter handed off to her. The movie is full of incidents that don't quite cohere into a story - kind of like a Power Point presentation without a throughline.
    • 33 Metascore
    • 50 Carrie Rickey
    By turns pleasant and preposterous, The Greening of Whitney Brown is a reverse Cinderella tale for tweens.
    • 59 Metascore
    • 50 Carrie Rickey
    Scafaria's movie never catches fire. The bad news: The end of the world comes with a whimper. Worse: And two wimps.
    • 55 Metascore
    • 50 Carrie Rickey
    The main distinction of this particular raunchfest, about the economic opportunities available to women in the phone-sex industry, is that it does not reconcile its slim narrative conflict with a big, fat wedding.
    • 43 Metascore
    • 50 Carrie Rickey
    Backwards - its title referring to the wisdom that life is lived forward but understood backward - has no forward propulsion.
    • 51 Metascore
    • 50 Carrie Rickey
    The script, which needs not just doctoring and could benefit from a spell in the critical-care ward, is full of dress-up and put-downs, and comes alive only when Prinze or Cook are on-screen. In short, She's All That aspires to be Clueless. It succeeds in being clueless.
    • 61 Metascore
    • 50 Carrie Rickey
    There is much of interest in Baumbach's pictures - the confident handling of actors, the introspection, the terra-cotta and teal-painted walls. But what do you call a comedy of manners that's not particularly funny? [19 June 1998, p.04]
    • 27 Metascore
    • 50 Carrie Rickey
    Every time Problem Child gets an interesting edge, it loses it.
    • 27 Metascore
    • 38 Carrie Rickey
    Here is a movie with everything going for it and nothing working.
    • 53 Metascore
    • 38 Carrie Rickey
    On the evidence of Palindromes, the most misanthropic, depressing, hopeless film in memory, I'd hazard that for Solondz, childhood is a problem without a solution.
    • 31 Metascore
    • 38 Carrie Rickey
    Monster-in-Law, where Bridezilla meets Godzilla, is a comedy so anemic, so toxic, that even Dracula wouldn't bite.
    • 47 Metascore
    • 38 Carrie Rickey
    A groaningly awful romantic comedy.
    • 51 Metascore
    • 38 Carrie Rickey
    It would seem that Allen and screenwriters John Quaintance and Jessica Bendinger couldn't decide between making a movie about the summer that 'tweens become teens or "Scenes From a Mal"l for the MTV set.
    • 57 Metascore
    • 38 Carrie Rickey
    If all you ask of a movie is that it have scenic stars and some scenery (here the Sierras of California substitute for the Rockies of Wyoming), then Flicka is adequate. Me, I expected some conflict, some resolution, and a horse that took me on a wild ride. This one really never gets out of the gate.
    • 31 Metascore
    • 38 Carrie Rickey
    Perfect Stranger is the Egg MacGuffin of whodunits, a cheesy affair that casts so many baited lures that they tangle each other and don't hook you.
    • 32 Metascore
    • 38 Carrie Rickey
    An abhorrent cyberthriller starring a compelling Diane Lane.
    • 29 Metascore
    • 38 Carrie Rickey
    No doubt conceived as an underwater version of "National Treasure," Andy Tennant's film plays like a Three Stooges movie with scuba gear.
    • 34 Metascore
    • 38 Carrie Rickey
    Tedious, ludicrous and harmless glimpse of the dawn of civilization.
    • 32 Metascore
    • 38 Carrie Rickey
    Judah Friedlander and Lindsay Lohan are striking, respectively, as a Lennon paparazzo and a fan creeped out by Chapman.
    • 41 Metascore
    • 38 Carrie Rickey
    A generic oven-stuffer that wants to be a stocking-stuffer, is a turkey, despite the foil wrapping and some artfully deployed tinsel.
    • 24 Metascore
    • 38 Carrie Rickey
    Like moussed hair and inverted-pyramid shoulder pads, this sloppy, sloppy slapstick is an artifact from the 1980s.
    • 28 Metascore
    • 38 Carrie Rickey
    Screenwriters Nicole Eastman and the "Blonde" team of Karen McCullah Lutz and Kirsten Smith provide dialogue that has the propriety of the locker room.
    • 36 Metascore
    • 38 Carrie Rickey
    Michael Lembeck directs with the subtlety of a sledgehammer, pounding every joke and cliche until they are flat, flat, flat.
    • 32 Metascore
    • 38 Carrie Rickey
    As an account of how for-profit big business literally rips a consumer's heart out, Repo Men is too graphic for me.
    • 22 Metascore
    • 38 Carrie Rickey
    Tennant aims for a contemporary version of "The Thin Man," wedding the banter of sparring spouses with sleuth work. To say that he falls short of the mark is understatement.
    • 29 Metascore
    • 38 Carrie Rickey
    So stupid, so stupefying, so stupendously bad.
    • 45 Metascore
    • 38 Carrie Rickey
    A casualty of its own clumsy storytelling.
    • 37 Metascore
    • 38 Carrie Rickey
    The "Golden Girls" with gats.
    • 24 Metascore
    • 38 Carrie Rickey
    Not only do they (Gere and Ryder) lack chemistry, they lack physics, zoology, botany and geology.
    • 28 Metascore
    • 38 Carrie Rickey
    The film's one realistic performance is that of Dakota Fanning as Lucy, whose child's shame, fear and resourcefulness ground the movie in recognizable behavior. She breathes air into this suffocating enterprise.
    • 56 Metascore
    • 38 Carrie Rickey
    A high-concept hostage drama of absolutely no value to anyone -- except maybe Bell Atlantic, whose titular street-corner pay phone is on screen for almost every agonizing frame.
    • 34 Metascore
    • 38 Carrie Rickey
    Ice Cube possesses real screen presence, and it's a shame to see him squander his talents here. He and Epps made me laugh in "Next Friday." They made me squirm here.
    • 40 Metascore
    • 38 Carrie Rickey
    Evolution devolves to the sight of a colossal alien expelling flatus over Arizona. So that's why this movie stinks. Play that flatulent music, white boy.
    • 21 Metascore
    • 38 Carrie Rickey
    If there were a truth-in-titling law, the movie would be called "3000 Bullets to Brain Death."
    • 62 Metascore
    • 38 Carrie Rickey
    To paraphrase one of the few memorable lines in the movie, "Even stink would say this stinks."
    • 29 Metascore
    • 38 Carrie Rickey
    Apart from Williams' presence, director Christopher Erskin's feature debut isn't worth the price of submission. It's not a road trip; it's a road trap.
    • 64 Metascore
    • 38 Carrie Rickey
    A high-end version of "The Texas Chainsaw Massacre" set in the rarefied bistros, boites and brokerages of Yuppie Manhattan in the 1980s.
    • 42 Metascore
    • 38 Carrie Rickey
    Has to be the sorriest excuse for a reprise since "Highlander — The Final Dimension."
    • 27 Metascore
    • 38 Carrie Rickey
    If Sweet November were a puppy, it would have rabies.
    • 32 Metascore
    • 38 Carrie Rickey
    It's hard to say with certainty whether it's insufficient plot or insufficient interpretation that's responsible for Travolta's waxwork performance.
    • 57 Metascore
    • 38 Carrie Rickey
    Maybe Waters set out to prove Karl Marx's observation that all great events happen twice, first as tragedy and the second time as farce.
    • 45 Metascore
    • 38 Carrie Rickey
    As artistic achievements go, Mona Lisa Smile is strictly a paint-by-numbers affair. No shading. Little in the way of perspective. To call it one-dimensional would be an act of charity.
    • 35 Metascore
    • 38 Carrie Rickey
    The execution is so dumbed-down, so dumbfounding, that sophisticated moviegoers might confuse it for outtakes from "Spy Kids 2" and "XXX."
    • 30 Metascore
    • 38 Carrie Rickey
    It may not be the worst war epic ever made - that probably would be "Battlefield Earth" -- but it's darn close to being an unqualified disaster of that magnitude.
    • 24 Metascore
    • 38 Carrie Rickey
    Verhoeven's most deeply disturbing film yet.
    • 56 Metascore
    • 38 Carrie Rickey
    At 116 minutes, this third installment lumbers along like a serial killer in shackles.
    • 54 Metascore
    • 38 Carrie Rickey
    Old School has all the ingredients of an uproarious campus comedy, but it lacks a boisterous short-order cook who could whip up a food fight or three.
    • 33 Metascore
    • 38 Carrie Rickey
    Plays like "Sixteen Candles" meets "Beetlejuice." Yet for all the film's frantic pace, this plot plods, even for 'tweens at whom this suburban-girls-take-Manhattan fantasy is obviously targeted.
    • 36 Metascore
    • 38 Carrie Rickey
    Looking for plausibility in a farce is like looking for a million dollars in a box of breakfast cereal, but elements of real life can make a comedy resonate instead of thud. Little Black Book does the latter.
    • 29 Metascore
    • 38 Carrie Rickey
    This so-called comedy is a frayed string of anxious jokes about whether male bonding is manly or sissy.
    • 40 Metascore
    • 38 Carrie Rickey
    Combines fingernails-on-blackboard audio agony with bamboo-under-fingernails physical torture.
    • 39 Metascore
    • 38 Carrie Rickey
    Hiring this sensitive fantasist (Gondry) to make the superhero saga The Green Hornet is like hiring satirist John Waters to make "Rambo." Hard to think of a more mystifying mismatch of filmmaker and material.
    • 39 Metascore
    • 38 Carrie Rickey
    What has Campbell wrought? An intermittently amusing, interminable affair that for sheer ugliness and a scenery-chewing performance by Peter Sarsgaard has a certain Camp appeal.
    • 45 Metascore
    • 38 Carrie Rickey
    It fails as a gripping home-invasion thriller.
    • 45 Metascore
    • 38 Carrie Rickey
    A case of when bad scripts happen to good actors. Given its similarities to a bygone sitcom, one might call it "Friends" without benefits.
    • 27 Metascore
    • 38 Carrie Rickey
    This saga of a former soccer star coaching his son's team in order to worm his way back into the heart of his ex-wife aims to be warm and funny. Alas, it is mechanical and exhausting, like a windup toy of a monkey crashing together cymbals for 106 minutes while incrementally winding down.
    • 25 Metascore
    • 25 Carrie Rickey
    An inert comedy starring Kristen Bell as a workaholic unlucky in love, When in Rome is a rom-bomb.
    • 44 Metascore
    • 25 Carrie Rickey
    Hostage may well be the first action flick cited both for child abuse and audience abuse. In a singularly sadistic and degrading way it has something to offend everyone.
    • 38 Metascore
    • 25 Carrie Rickey
    Alas, this joyless affair doesn't have a clou.
    • 52 Metascore
    • 25 Carrie Rickey
    Aja's stomach-churning remake (produced by Craven) follows the original with frightening fidelity, amping up the barbarity from a nine (on the 1-10 scale) to a 12.
    • 33 Metascore
    • 25 Carrie Rickey
    RV
    I would have told you that its title refers to recreational vehicle. Having seen it, I now know the initials stand for reeking vulgarity.
    • 28 Metascore
    • 25 Carrie Rickey
    Happily N'Ever After carjacks "Cinderella" and puts her wicked stepmother behind the wheel.