For 429 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 4.3 points higher than other critics. (0-100 point scale)

David Rooney's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Capote
Lowest review score: 10 Boat Trip
Score distribution:
  1. Negative: 33 out of 429
429 movie reviews
    • 49 Metascore
    • 60 David Rooney
    A flawed and overlong but ultimately affecting account of one man's struggle to regain control of his life.
    • 58 Metascore
    • 60 David Rooney
    The material is at heart an intimate allegorical fairy tale about rarefied philosophical concerns.
    • 49 Metascore
    • 60 David Rooney
    An ultimately moving drama about a displaced people. But its emotional kick is muffled by long-windedness, sentimental overkill and an overpopulated character gallery.
    • 73 Metascore
    • 60 David Rooney
    While devotees expecting Moretti's wry worldview may feel shortchanged, others will find this a profoundly moving experience, giving it fuel to cross borders into the arthouse niche.
    • 55 Metascore
    • 60 David Rooney
    Despite some hazy plot points, the tough, compelling drama comes together quite satisfyingly, standing alongside 1996's "The Funeral" as perhaps the most controlled and cohesive of Ferrara's uneven work of recent years.
    • 51 Metascore
    • 60 David Rooney
    While it plays more like stage or TV sketch-comedy shtick than film material, this modest, visually unimposing production remains entertaining thanks to its ironic observations and winning sense of folly.
    • 54 Metascore
    • 60 David Rooney
    Modest but engaging.
    • 48 Metascore
    • 60 David Rooney
    A fairly sustained barrage of broad undergraduate humor and gross-out gags that should tickle young auds looking for unsophisticated laughs.
    • 67 Metascore
    • 60 David Rooney
    Lapses into melodramatic self-importance and gratuitous stylistic flourishes that take the audience out of the action -- are outweighed by the steadily amplified emotional power of this ultimately moving drama.
    • 43 Metascore
    • 60 David Rooney
    Jolie is even hotter, faster and more commanding than last time around as the fearless heiress/adventuress, plus a little more human. The less welcome news is that most of the same shortcomings that cramped the first installment are still dogging the sequel, which delivers on action but dawdles through downtime.
    • 41 Metascore
    • 60 David Rooney
    The broad comedy is somewhat strained and obvious, and the hyper-real atmosphere encourages the cast to slice the prosciutto a little thickly. But the film's sweet-natured ingenuousness proves reasonably contagious.
    • 70 Metascore
    • 60 David Rooney
    Ambitiously structured in non-chronological fragments that form a fascinating puzzle, this raw drama about grief, guilt and redemption becomes ultimately overextended and overwrought in its final stretch.
    • 45 Metascore
    • 60 David Rooney
    Despite its crude, willfully naive style, this comedy of transgression, judgment and revenge becomes steadily more appealing as it progresses.
    • 45 Metascore
    • 60 David Rooney
    While the premise has possibilities for some creepy, pulpy fun, writer-director Robert Parigi brings too little style or humor, instead going a more obvious, overwrought route.
    • 39 Metascore
    • 60 David Rooney
    Superficial but entertaining new pic offers equal parts freshness and kitsch appeal set to a pulsating Latin soundtrack.
    • 38 Metascore
    • 60 David Rooney
    Largely overcomes key cast weaknesses to deliver a jazzy, darkly textured rendering of the ghetto pulp of late African-American ex-con author Donald Goines.
    • 62 Metascore
    • 60 David Rooney
    Sensitive direction and a touching performance from Emile Hirsch in the title role help counter some dramatic naivete and awkward, at times unintentional, humor in The Mudge Boy.
    • 56 Metascore
    • 60 David Rooney
    Frequently hilarious but ultimately is a protracted one-joke affair that strays into undisciplined chaos.
    • 57 Metascore
    • 60 David Rooney
    The film's transitions between periods are not entirely seamless and its discourse often becomes didactic. However, the depth and intelligence it brings to issues of black politics and sexuality could help carve an appreciative theatrical audience in upscale gay and/or urban niches.
    • 55 Metascore
    • 60 David Rooney
    Signals a talented newcomer in writer-director John Simpson and boasts a gripping central performance from popular British comedian Lee Evans.
    • 53 Metascore
    • 60 David Rooney
    The film sways awkwardly back and forth between prickly humor and pathos, rarely ringing true in either register.
    • 56 Metascore
    • 60 David Rooney
    Middleton's polished writing and amusing observations about the anxieties most people encounter when definitively farewelling their youth help compensate for her standard-issue direction.
    • 52 Metascore
    • 60 David Rooney
    While the director's penchant for extended silences and stagy character positioning make it all seem rather studied, the drama nonetheless is compellingly unsettling.
    • 51 Metascore
    • 60 David Rooney
    What might have been a cinephile's wet dream turns out instead to be seductive, stimulating and sodden, in that order, in the three-chapter reflection on love and desire.
    • 53 Metascore
    • 60 David Rooney
    Like the symmetrical word that supplies its title, the mordant comedy-drama recovers ground to become a boldly intriguing if not entirely satisfying subversion of American family values.
    • 63 Metascore
    • 60 David Rooney
    Strikingly crafted but rather empty drama.
    • 37 Metascore
    • 60 David Rooney
    This oddball tale of a small-town gangster's troubled girlfriend hovers uncertainly on the edge of an absurdist universe.
    • 44 Metascore
    • 60 David Rooney
    While Second Best is mildly engaging thanks largely to an appealingly self-effacing turn from Joe Pantoliano, writer-director Eric Weber's script could have used an extra polish or two.
    • 65 Metascore
    • 60 David Rooney
    The film goes more and more off-kilter, with its jumble of black comedy and bloodshed and its mild-mannered protagonist embroiled in violent crime making it an unsophisticated foray into Coen brothers territory.
    • 63 Metascore
    • 60 David Rooney
    Starts out bracingly but gradually loses focus. Ecuadorian writer-director Sebastian Cordero's screenplay trades in underdeveloped conflicts and blank characters, hinting far too early at the killer's probable identity.
    • 68 Metascore
    • 60 David Rooney
    Ambling drama shows an exasperating lack of economy and a weakness for diatribe dialogue, but becomes progressively more involving after a laborious start.
    • 53 Metascore
    • 60 David Rooney
    Director Chris Columbus has pasted the grungy "La Boheme" update onto film with slavish respect for the original material but a shortage of stylistic imagination and raw emotions.
    • 71 Metascore
    • 60 David Rooney
    A bigscreen feature executed with a cookie-cutter small-screen sensibility, this often charming but untextured fact-based period piece is buoyed along by the redoubtable Judi Dench.
    • 54 Metascore
    • 60 David Rooney
    While it tips its hat to screwball comedy, Puccini for Beginners owes more to contemporary sitcom. It also has way more in common with "Sex and the City" than "The L Word." None of that is entirely a bad thing in a film that never really soars but has enough breezy humor.
    • 59 Metascore
    • 60 David Rooney
    As an eco-political inquiry, the film is compelling even if its grounding in scientific fact could be more solid.
    • 57 Metascore
    • 60 David Rooney
    A dynamic breakout performance from Gina Rodriguez helps this rap-infused drama about a young Los Angeles Latina overcome its patchy storytelling.
    • 37 Metascore
    • 60 David Rooney
    Only God Forgives is a hypnotic fugue on themes of violence and retribution, drenched in corrosive reds.
    • 35 Metascore
    • 60 David Rooney
    Sleek and engrossing, though awfully drawn out and short on psychological complexity, this is a straight-up police action thriller that adheres to a very familiar Hollywood template.
    • 69 Metascore
    • 60 David Rooney
    A stylishly made but unyielding drama.
    • 57 Metascore
    • 60 David Rooney
    The film is absorbing on a scene-by-scene basis. But it connects the dots of Raymond’s life in a perfunctory way, without locating a fluid through-line or gaining emotional access to its elusive subject.
    • 53 Metascore
    • 60 David Rooney
    There are simply too many characters jostling for attention and too many competing plot strands in a not-quite-seamless marriage of hard-edged social realism with a lyrical novelistic overlay. That said, the film is rich in poignant moments and negotiates its frequent shifts from violence to gentleness to sorrow with sensitivity.
    • 50 Metascore
    • 60 David Rooney
    Dramatically, Child of God is hit or miss; some scenes are ferociously captivating while others are given clumsy handling, almost to the point of indifference.
    • 46 Metascore
    • 60 David Rooney
    The unapologetically derivative sci-fi outing doesn’t have the scripting muscle to deliver on its early promise. But the solid cast keeps it reasonably gripping nonetheless.
    • 71 Metascore
    • 60 David Rooney
    The non-linear structure works extremely well, making the drama a bracing emotional roller coaster of feel-good/feel-bad turns.
    • 53 Metascore
    • 60 David Rooney
    If De Palma’s version was one part adolescent dream, three parts nightmare, with a sly streak of satire running through it, Peirce’s is a more earnest yet still engrossing take on the story that should connect with contemporary teens. At the very least it might send fledgling horror buffs scurrying to their Netflix queues to watch a vintage masterpiece of the genre.
    • 54 Metascore
    • 60 David Rooney
    Audiences willing to tune in to its blend of surreal fantasy, droll comedy and poignancy will be rewarded.
    • 66 Metascore
    • 60 David Rooney
    To Be Takei follows multiple threads without pulling any one of them satisfyingly into focus, making it amusing and even poignant, though not quite the window into its subject's life that it might have been with a more penetrating observer.
    • 66 Metascore
    • 60 David Rooney
    Shot in a woozy handheld style and laced with fussy visual affectations, the story mixes ripe sensuality with brooding menace in a tranquil pastoral setting. It’s not uninteresting but too self-consciously arty to rank Decker as a mature filmmaking voice.
    • 61 Metascore
    • 60 David Rooney
    Karim Ainouz has always been more attentive as a filmmaker to the creation of atmospheric and emotional texture than to story or character, and that bias inhibits this visually seductive drama from fully engaging beyond the aesthetic level.
    • 59 Metascore
    • 60 David Rooney
    [Marquardt's] film sustains tension and is arrestingly lit and shot, exhibiting a sharp eye for expressive compositions and a persuasive feel for the sheer alienating physical density of New York City life.
    • 63 Metascore
    • 60 David Rooney
    While the film carries no writer credit, the accompanying voiceover commentary from all five band-members feels canned, short on off-the-cuff spontaneity and hindsight perspective. Still, even if it has not much more depth than a VH1 Behind the Music special, the doc holds ample pleasures for '80s cultists.
    • 66 Metascore
    • 60 David Rooney
    While it's well acted and has strong moments on a scene-by-scene basis, the film lacks an emotional center, keeping the impact cool and diffuse where it should be affecting.
    • 56 Metascore
    • 60 David Rooney
    While it's uneven, A Perfect Day builds to a nice melancholy conclusion. It underscores with gentle strokes the frustration and disillusionment of self-sacrificing workers confronted on a daily basis with feelings of futility in the face of corruption and compromise.
    • 62 Metascore
    • 60 David Rooney
    The intense, uncomfortable drama’s downbeat nature is offset to a degree by the sensitivity of its observation, but the film serves primarily as a showcase for the emotionally raw lead performance of Rory Culkin.
    • 62 Metascore
    • 50 David Rooney
    Not quite a documentary, it's more like a musical travelogue that doesn't quite sustain feature length and seems ideally suited to a shorter TV version for music webs.
    • 30 Metascore
    • 50 David Rooney
    Young male auds should warm to its cool criminal ethos, sharp dialogue, charismatic cast and wry humor.
    • 40 Metascore
    • 50 David Rooney
    While the direction is a little anonymous and could use some verve, the comedy-drama gets by thanks to a solid script, witty dialogue and engaging performances.
    • 51 Metascore
    • 50 David Rooney
    This supposed comedy of manners about Americans in Paris feels artificial at every turn, its characters so devoid of backstory and nuance their behavior often makes little sense.
    • 79 Metascore
    • 50 David Rooney
    Whatever valid points are being explored are hopelessly clouded by the film's unwavering earnestness as it descends into silliness and excess.
    • 60 Metascore
    • 50 David Rooney
    An unexpected departure off the map, flinging together elements of Alpine musical, ghoulish Jan Svankmajer-style claymation and a family portrait so hokey it makes the Brady Bunch look hip.
    • 61 Metascore
    • 50 David Rooney
    As lethargic as the characters it portrays, the film requires greater staying power than many audiences will possess.
    • 42 Metascore
    • 50 David Rooney
    An affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer's previous collaboration, "Miss Congeniality."
    • 70 Metascore
    • 50 David Rooney
    Philip Seymour Hoffman and John Hurt give compelling performances... But the coldly unrewarding drama is as distant and joyless as its protagonist, representing a disappointment for director Richard Kwietniowski.
    • 52 Metascore
    • 50 David Rooney
    Stars Zellweger and McGregor are too knowingly nudge-wink in their performances, too much contrived constructs to become real characters, let alone fuel the romantic comedy engine and make an audience care much whether they end up together.
    • 36 Metascore
    • 50 David Rooney
    Choreographed by long-term Li collaborator Corey Yuen, the martial arts confrontations supply plenty of spark, though they lack the more exhilarating stylistic flourishes of those in "Romeo."
    • 66 Metascore
    • 50 David Rooney
    While staccato dialogue and edgy confrontations have always been the wordsmith's forte, the precision-tooled mechanics of an elaborate crime caper have not, and the physical direction here could use some muscle.
    • 62 Metascore
    • 50 David Rooney
    Meandering melodrama about gay relationships, friendship, loneliness and the elastic notion of family is considerably overlong and hampered by too many superfluous scenes.
    • 41 Metascore
    • 50 David Rooney
    Although amusing as often as not, the material remains more comedy-sketch fodder than a fully developed feature.
    • 62 Metascore
    • 50 David Rooney
    The whole spirit of rebellion, passion and protest that should be a driving force for the characters plays more like a cultivated affectation.
    • 53 Metascore
    • 50 David Rooney
    The glue that holds the sweet teen-fantasy together is star Anne Hathaway, who continues to evolve into a luminous young lead.
    • 36 Metascore
    • 50 David Rooney
    The story rarely gets fired up to "maximum thrust," to use the rocket-speed parlance of its heroes.
    • 58 Metascore
    • 50 David Rooney
    The film lacks the accompanying media spotlight that boosted the Moore release and therefore appears unlikely to reach beyond a liberal audience with an already vehement aversion to Fox News' partisan coverage.
    • tbd Metascore
    • 50 David Rooney
    A moderately successful attempt to ape the standard Hollywood teen movie.
    • 61 Metascore
    • 50 David Rooney
    This visually impressive yet emotional frigid fable could perhaps more accurately be tagged "The Bipolar Express."
    • tbd Metascore
    • 50 David Rooney
    An elegant but empty and frustrating meditation on desire, obsession, love and possession, The Captive intellectualizes those subjects almost beyond the level of art-film parody.
    • 50 Metascore
    • 50 David Rooney
    A well-meaning but schematic drama about three generations of Chinese women in America.
    • 33 Metascore
    • 50 David Rooney
    David Duchovny scores considerably higher as director than as screenwriter.
    • 53 Metascore
    • 50 David Rooney
    A disjointed story of self-discovery, courage and redemption somewhat incongruously billed as a salute to Akira Kurosawa.
    • 49 Metascore
    • 50 David Rooney
    While it has about as much depth and nuance as the bubblegum Sino-pop tunes that pepper its soundtrack, Formula 17 is a fresh, sweet-natured affair with an attractive young cast that should play to the gay-teen niche.
    • 54 Metascore
    • 50 David Rooney
    Despite a soulful leading performance from Max Minghella, pic feels insubstantial, echoing without equaling both the coolly ironic edge and heart of "Ghost World" and the incisive art-world outsider portrait of the director's docu feature, "Crumb."
    • 51 Metascore
    • 50 David Rooney
    Aiming for unsettling atmosphere over character definition, the dawdling mystery thriller manages to flatten two protagonists that had far more depth in the novel.
    • 36 Metascore
    • 50 David Rooney
    Underproduced and compromised by an uneven script and a tendency to descend into melodrama, the DV-lensed feature nonetheless is well acted and directed with confidence.
    • 52 Metascore
    • 50 David Rooney
    A drama that steadily succumbs to self-conscious artiness, drunk on its own sense of contrived poetry and cloudy existential reflection.
    • 46 Metascore
    • 50 David Rooney
    A bland road movie running on empty. It's depressing to see a deluxe cast wasted on such by-the-numbers material -- from predictable plot to fabricated Hallmark sentiment to strenuous milking of warm-and-fuzzy laughs from the irrepressible spirit of three women whose youth is behind them.
    • 48 Metascore
    • 50 David Rooney
    The whimsical ugly-duckling fable becomes more uneven as it proceeds, straining too hard to manufacture its quirky charms.
    • 47 Metascore
    • 50 David Rooney
    Humor is inconsistent, and the film suffers from lack of shape and fluidity, playing more like a series of disjointed sketches. But there are more than enough high points to compensate.
    • 69 Metascore
    • 50 David Rooney
    The film is shocking and upsetting, but never truly gets under the skin the way this kind of material often can. Whatever reservations are prompted by Haneke's approach, his direction is controlled and edgy. [20 May 1997, p.52]
    • Variety
    • 52 Metascore
    • 50 David Rooney
    LUV
    Even if some of them are playing hackneyed gangster-film types, the strength of the actors makes it almost possible to forgive the formulaic plotting and artificially movie-ish developments. Candis and Justin Wilson's screenplay stretches credibility thinner and thinner as the story advances.
    • 55 Metascore
    • 50 David Rooney
    Sanders and DeMicco’s script doesn’t have the robust plotting, consistent wit or flavorful character development of the best family animation. And some of the voice actors have too little to work with.
    • 54 Metascore
    • 50 David Rooney
    Too much of what happens as the characters undergo their various brushes with failure and redemption feels predetermined, slapping what aims to be a much savvier film with a debilitating touch of the formulaic.
    • 60 Metascore
    • 50 David Rooney
    It’s not bad, but it’s ineffectual -- shuffling from one semi-satirical vignette to the next and then veering into soul-searching territory while generating only mild engagement.
    • 61 Metascore
    • 50 David Rooney
    The real defeat in this ambling fairy tale of hardship, abandonment and resilience is that two potentially winning central characters -- and the tender young actors who play them -- are let down by a programmed screenplay that’s short on narrative muscle.
    • 59 Metascore
    • 50 David Rooney
    The Railway Man is well-acted and handsomely produced, but its honorable intentions are not matched with sustained emotional impact or psychological suspense.
    • 66 Metascore
    • 50 David Rooney
    Shamelessly contrived in the manner of most jukebox musicals, and more than a wee bit precious, the movie has little use for emotional shadings as it flogs its feel-good charms.
    • 51 Metascore
    • 50 David Rooney
    The doc is slickly packaged, but it suffers from the pat reality-TV feel of manicured sound bites where greater candor and fly-on-the-wall observation might have been welcome.
    • 48 Metascore
    • 50 David Rooney
    The delicate drama is sweet and sincere but a tad thin to resonate.
    • 71 Metascore
    • 50 David Rooney
    Less time spent fetishizing his own image and more on building credible character dynamics and psychological complexity might have helped make this film the dramatic equal of its technical craftsmanship.
    • 55 Metascore
    • 50 David Rooney
    The actors' raw honesty and the unvarnished authenticity of the Southeast Texas environment lend weight to this slow-burn drama about responsibility, even if its storytelling is unrelentingly downbeat and lacks muscularity.
    • 52 Metascore
    • 50 David Rooney
    An obvious labor of love, this hand-crafted film is beautifully made – photographed, scored and edited with a grubby lyricism that makes its shortage of plot momentum all the more frustrating.
    • 56 Metascore
    • 50 David Rooney
    While there’s much to enjoy here – particularly in the touching performance of Hiam Abbass – there’s also plenty that is cliched and forced.
    • 40 Metascore
    • 50 David Rooney
    Restrained and elegant to a fault, this first feature from co-directors Tom Dolby and Tom Williams is too muted in its catharsis and too overcrowded with superfluous characters to be fully satisfying, but the delicate central performance keeps it watchable.
    • 52 Metascore
    • 50 David Rooney
    As gratifying as it would be to report that the effortless touch, the livewire rhythms and the sparkling wit remain in evidence, those qualities prevail only intermittently in this strained though mildly enjoyable ensemble comedy.
    • 62 Metascore
    • 50 David Rooney
    What might have looked intriguing on paper appears to have been largely pared away in the artsy mannerisms and loaded silences of Brit director Daniel Barber’s self-consciously elliptical treatment.
    • 51 Metascore
    • 50 David Rooney
    Winslet’s mix of grace, gumption and private sadness is the chief reason to keep watching, but she deserves a more dynamic film.
    • 60 Metascore
    • 50 David Rooney
    The problem is that the romance as depicted is just not interesting enough to sustain realistic treatment. It's sweet but a tad dull. The two characters lack dimension, and their stereotypical situations seem entirely generic.
    • 60 Metascore
    • 50 David Rooney
    It was a given that this meeting of two iconoclastic directors would yield something far more unfettered and instinctive than conventional bio-drama. But the result borders on incoherence, providing few startling insights for aficionados and minimal illumination for the uninitiated.
    • 54 Metascore
    • 50 David Rooney
    Laura Wade’s adaptation of her hit play, Posh, has sacrificed much of its savage comedy en route to the screen, and while the dark drama is never dull, its portrait of upper-crust entitlement run amok is seldom surprising either.
    • 56 Metascore
    • 50 David Rooney
    Both Chastain and Farrell are resourceful, intelligent actors who can be riveting together moment to moment. But the disconcerting thing about Ullmann’s blandly handsome movie is that neither of these key characters comes fully into focus.
    • 73 Metascore
    • 50 David Rooney
    Sifting the pieces of a broken lesbian relationship, the slender, seemingly autobiographical film has its share of neurotic charms and funny one-liners, but it’s too tentative about digging into its identity conflicts -- sexual or cultural.
    • 66 Metascore
    • 50 David Rooney
    Despite its sharp visuals and evocative sense of place, the unevenly acted film never quite builds enough atmospheric dread to distract from its characters' somewhat implausible behavior.
    • 47 Metascore
    • 50 David Rooney
    performances from Saoirse Ronan and Cynthia Nixon keep Stockholm, Pennsylvania intense and absorbing, but Nicole Beckwith's initial impulse to tell her confinement story as a stage play feels as if it might have been a sounder choice.
    • 61 Metascore
    • 50 David Rooney
    Despite a number of trenchant scenes and some startling depictions of sexual degradation, the film has little that's particularly original or enlightening to say about living with a chemical, genetic or emotional imbalance, making its primary function as a showcase for the lead actress to stretch her range.
    • 62 Metascore
    • 50 David Rooney
    The film mostly grasps for unearned emotions.
    • 48 Metascore
    • 50 David Rooney
    Wavering between wry humor and frank tenderness without fully committing to either, the film ends up stranded in an innocuously sweet middle ground. That’s a disappointment, especially since the movie gets off to an amusing start.
    • 47 Metascore
    • 50 David Rooney
    While there's some novelty in using genre conventions to contemplate the sin of taming a wild frontier, the reverential film takes itself far too seriously; it ends up being neither sufficiently inventive nor revisionist to surmount its archetypal cliches.
    • 30 Metascore
    • 40 David Rooney
    This kind of episodic chain of interlocking encounters has become a formulaic favorite in American indie cinema, and Mattei's take on the genre is narrow and schematic.
    • 68 Metascore
    • 40 David Rooney
    Problematically structured, overly protracted and lacking in narrative fluidity.
    • 57 Metascore
    • 40 David Rooney
    Has a patched-together feel, and its aims as human drama, social documentary and vigilante movie are never quite reconciled.
    • 16 Metascore
    • 40 David Rooney
    The unfocused writing makes the film increasingly less convincing as it stumbles toward an awkwardly structured resolution -- closing on a conga line that makes "My Big Fat Greek Wedding" seem cutting-edge.
    • 45 Metascore
    • 40 David Rooney
    A bland romance that suffers from choppy development, dramatic overload and dearth of personality.
    • 36 Metascore
    • 40 David Rooney
    Plays like an aggressively heart-tugging, exceedingly vanilla Disney telemovie.
    • 11 Metascore
    • 40 David Rooney
    The spirit of the late Federico Fellini -- with whom Benigni talked of doing the project together -- surfaces repeatedly. But that spirit fails to enliven a film substantially lacking in personality, energy, magic and humor.
    • 50 Metascore
    • 40 David Rooney
    Somewhere along the line, the comedy turned from dark and playful to mean-spirited and sophomoric. A waste of the considerable appeal and comic talents of leads Ben Stiller and Drew Barrymore.
    • 38 Metascore
    • 40 David Rooney
    Hampered by thinly developed characters and pedestrian plotting.
    • 37 Metascore
    • 40 David Rooney
    With less than five minutes of screen time but with more humor and sassy attitude than the remaining cast combined, Missy Elliott separates hip-hop royalty from riff raff in the otherwise lackluster Honey.
    • 62 Metascore
    • 40 David Rooney
    A one-joke affair about conjoined twins that feels like it bypassed the scripting stage and was filmed directly from the pitch, the comedy remains resoundingly unfunny.
    • tbd Metascore
    • 40 David Rooney
    Spanish writer-director Cesc Gay and Argentine co-director Daniel Gimelberg cook up one or two agreeably tart episodes in this uneven pic, but ultimately, it plays like "Four Rooms" without a budget.
    • 45 Metascore
    • 40 David Rooney
    An appealing female cast gives the hollowly formulaic Mona Lisa Smile more dignity than it perhaps deserves, yet it's Julia Roberts in an ill-suited starring role that represents one of the film's chief shortcomings.
    • 43 Metascore
    • 40 David Rooney
    While it's stylishly designed and shot in startling colors on digital high-definition cameras, this feels like yesterday's futuristic news, and it's more likely to surface as a video/DVD curiosity than a theatrical draw.
    • 37 Metascore
    • 40 David Rooney
    Hoge shows no particular directorial style, bringing a bland, anonymous look to the generic Southern California suburban locations.
    • 44 Metascore
    • 40 David Rooney
    It takes chutzpah to borrow from comedy maestros Billy Wilder and Blake Edwards, and Nia Vardalos would seem an unlikely candidate to get away with it unpunished.
    • 46 Metascore
    • 40 David Rooney
    Not sufficiently compelling.
    • 27 Metascore
    • 40 David Rooney
    The lure of Halle Berry as the leather-clad feline should help this mangy misfire claw out a decent opening before a quick slink to DVD.
    • 45 Metascore
    • 40 David Rooney
    Land gives the drama some poignancy, revealing the pain, anger, envy and longing of a girl burdened by life's imbalances. But her character exists in a vacuum, surrounded by stock figures and unconvincing actors.
    • 34 Metascore
    • 40 David Rooney
    This obsessive love story about a guy seeking closure after being dumped by his Latino boyfriend awkwardly juggles screwball and noir elements with macabre black comedy in a mix that calls for a far lighter, more stylish touch than the obvious one at work here.
    • 47 Metascore
    • 40 David Rooney
    As both political satire and noirish murder mystery, this Newmarket pickup may be too meandering and unemphatic for wide consumption.
    • 64 Metascore
    • 40 David Rooney
    Occupies wavelengths too remote to be tuned in by audiences other than diehard Asian esoterica enthusiasts.
    • 39 Metascore
    • 40 David Rooney
    But behind its slick veneer and the glibness of its preposterous premise and dark twists, there's a yawning absence of charm or substance in this London-set love triangle, as well as a lack of chemistry between its three leads.
    • 75 Metascore
    • 40 David Rooney
    Dramatically pallid and unconvincing. Despite being written for her, the director's "Irma Vep" muse Maggie Cheung seems oddly miscast here and is ill-served by an emotionally underpowered screenplay that rarely gets beneath the surface of the character's problems.
    • 46 Metascore
    • 40 David Rooney
    Much of the film plays awkwardly, its tone veering undecidedly between volatile drama and contemplative psychological study.
    • 47 Metascore
    • 40 David Rooney
    Brit filmmaker Sue Clayton's muddled feature bow is full of intriguing ideas and incidental charms that fail to come together into a cohesive whole.
    • 63 Metascore
    • 40 David Rooney
    It has hypnotic visual style and a dense, driving soundscape. But it’s also too monotonous and thematically empty to be seriously provocative.
    • 77 Metascore
    • 40 David Rooney
    Tonal inconsistency, lethargic pacing and a shortage of fresh insight dilute the storytelling efficacy of this quartet of loosely interconnected episodes involving ordinary people pushed over the edge.
    • 37 Metascore
    • 40 David Rooney
    Solid performances are undercut by lack of storytelling integrity in this plodding biopic.
    • 57 Metascore
    • 40 David Rooney
    A lot of banality gets passed off here as profound thought. That and the somewhat self-conscious actors make it difficult to engage much with either character.
    • 58 Metascore
    • 40 David Rooney
    The wistful pleasures are stretched awfully thin at almost two hours in a film that blurs the line separating self-irony from tiresome self-consciousness.
    • 47 Metascore
    • 40 David Rooney
    Paltrow shows a capable hand with the actors... However, the characters only intermittently engage our interest.
    • 61 Metascore
    • 40 David Rooney
    There’s a crucial shortage of heart here, from the messy storytelling to the hit-or-miss humor and unattractive visuals.
    • 56 Metascore
    • 40 David Rooney
    The mix of limpid naturalism with lyricism that has often distinguished David Gordon Green's indie films slides into sentimentality, or worse yet, whimsy in Manglehorn.
    • 54 Metascore
    • 40 David Rooney
    Almereyda puts together a slick-looking, well-paced package. But the central conceit simply doesn’t hang together well enough to create credible dramatic stakes, yielding an underpowered mashup of Sons of Anarchy with Game of Thrones.
    • 47 Metascore
    • 40 David Rooney
    With nary a likable character in sight until the late arrival of some unearned emotion in the closing scenes, this is a posey, abrasive drama, though one that's stylishly made and acted with more conviction than the script merits.
    • 30 Metascore
    • 40 David Rooney
    This derivative smoothie appears to have been made by putting Quentin Tarantino, Robert Rodriguez and the Coen Brothers into a blender along with Martin McDonagh’s Seven Psychopaths. The brash result squanders a talented cast, sharp visuals and spectacular locations on a grisly trail of mayhem that rarely yields much mirth.
    • 45 Metascore
    • 40 David Rooney
    The fragile film’s bid for poignancy is so aggressive and its sensitivity so studied that it eventually drowns in syrupy banality.
    • 38 Metascore
    • 40 David Rooney
    Despite the director's frequently stated mission to liberate the poetry in his material by excavating what he has described as "ecstatic truth," this is a literal, rather flat epic that keeps telling us in voiceovers of its spiritual dimension, without actually generating much evidence of it.
    • 51 Metascore
    • 40 David Rooney
    While Helen Mirren elevates the material with her usual aplomb and the events being depicted inevitably are stirring, this is a stodgy crusade-for-justice drama, directed and written with minimal flair.
    • 57 Metascore
    • 40 David Rooney
    Techine's last screen retelling of a sensational tabloid case, The Girl on the Train, was sly, illusive and seductive. This one is just inert.

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