David Sterritt
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For 1,981 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.8 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Thin Blue Line
Lowest review score: 0 Half Baked
Score distribution:
1,981 movie reviews
    • 24 Metascore
    • 25 David Sterritt
    How could such a high-octane cast produce such low-octane horror?
    • 65 Metascore
    • 25 David Sterritt
    Rarely have Gibson's tears seemed more fictional than in this supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment.
    • 61 Metascore
    • 25 David Sterritt
    Eventually you realize the whole movie has been about young showoffs who think it's uproarious to gross out neighborhood grownups.
    • 35 Metascore
    • 25 David Sterritt
    Carpenter pulls out all the action-adventure stops, but he and coscripter Larry Sulkis forgot to write dialogue the audience could listen to without howling in disbelief.
    • 57 Metascore
    • 25 David Sterritt
    The animation is deft but the screenplay is stilted, the voice-performances are unimaginative, and the whole project is surprisingly clumsy in its efforts to please young and old alike. A major disappointment.
    • 21 Metascore
    • 25 David Sterritt
    Not even veteran talents like Dukakis and Scheider can surmount the artificial dialogue, arbitrary plot twists, and wan humor of this disappointing comedy-drama.
    • 33 Metascore
    • 25 David Sterritt
    Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.
    • 56 Metascore
    • 25 David Sterritt
    The picture is effectively made, but viewers will want to erase the horrific violence that erupts in scene after scene, leading to an unusually mean-spirited finale.
    • 35 Metascore
    • 25 David Sterritt
    How did a dignified pro like Duvall get stuck in this fender-bender?
    • 46 Metascore
    • 25 David Sterritt
    Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.
    • 32 Metascore
    • 25 David Sterritt
    Suffers from a lack of chemistry.
    • 57 Metascore
    • 25 David Sterritt
    Shots of blood and naked bodies clash bizarrely with Coppola's more quaint and engaging notions; the result may be intended as a dialectical encounter, but seems more like a head-on collision.
    • 38 Metascore
    • 25 David Sterritt
    Great premise, but the ensuing trials and tribulations - not to mention hapless attempts at comedy - are as off-key as a karaoke scene in which Hudson sounds worse than any audition Simon Cowell has ever had to sit through.
    • 27 Metascore
    • 25 David Sterritt
    The blend of live action and animation is competently done, but the subtly mean-spirited screenplay has more sour meows than hearty laughs.
    • 38 Metascore
    • 25 David Sterritt
    The film has enough wild driving to satisfy any "French Connection" fan or "Bullitt" buff, but there's precious little for anyone else to enjoy. 2 foolish + 2 flashy = 4 get it!
    • 64 Metascore
    • 25 David Sterritt
    Almost entirely devoted to combat violence and sentimental interludes.
    • 49 Metascore
    • 25 David Sterritt
    In short, this movie is exactly the kind of starry-eyed escapist fantasy that Dr. Powell suspects Prot of having. It's harmless enough, since we can be cured just by leaving the theater.
    • 61 Metascore
    • 25 David Sterritt
    I doubt if the results would have satisfied Kahlo, whose originality in matters of life, art, and ideas was vastly more far-reaching.
    • 52 Metascore
    • 25 David Sterritt
    Nicolas Cage, Ving Rhames, and Steve Buscemi are among the few performers who emerge with a shred of dignity at the end.
    • 43 Metascore
    • 25 David Sterritt
    Whatever novelty this series ever possessed has gone down the proverbial tube. The actors are on autopilot, and Adam Herz's screenplay panders to its immature target audience so cravenly and relentlessly that it verges on incompetence.
    • 35 Metascore
    • 25 David Sterritt
    This low-budget drama tries very hard to convey messages of tolerance and compassion, but it's too weakly acted and directed to have much impact.
    • 52 Metascore
    • 25 David Sterritt
    The problem with Possession isn't that it's filmed in a lackluster way, but that it shouldn't have been filmed at all. Byatt's novel is an adventure in language, telling its story through a kaleidoscopic array of Victorian-style poetry and prose, alongside gripping accounts of the characters' activities and escapades.
    • 42 Metascore
    • 25 David Sterritt
    Serial killing and other insanity in the French countryside, with ineptly dubbed English dialogue.
    • 47 Metascore
    • 25 David Sterritt
    The kind of comedy that aims at "edginess" and "sassiness" without managing to be edgy or sassy for a second.
    • 67 Metascore
    • 25 David Sterritt
    Some scenes paint a convincing portrait of Stern as a witty opponent of stuffiness, prudery, and hypocrisy. Others mix gross-out humor with nasty doses of racism, sexism, and homophobia that reveal a dark side to Stern's professional personality.
    • 31 Metascore
    • 25 David Sterritt
    A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy.
    • 39 Metascore
    • 25 David Sterritt
    This belated "reimagining" is as beguiling as a dried-out palm tree.
    • 54 Metascore
    • 25 David Sterritt
    It has a degree of sociological interest, but it would be more effective if the material were shaped into a more coherent form.
    • 37 Metascore
    • 25 David Sterritt
    A director of Frankenheimer's stature deserves less sensationalistic material, and so does his audience.
    • 46 Metascore
    • 25 David Sterritt
    Even MacLachlan's surprisingly witty performance can't compensate for the trite screenplay and Mistry's lack of charisma.
    • 38 Metascore
    • 25 David Sterritt
    As a movie, it's mediocre.
    • 55 Metascore
    • 25 David Sterritt
    A romantic comedy-drama has to make sense, though, and Love Actually doesn't, actually.
    • 27 Metascore
    • 25 David Sterritt
    Repetitious teen-targeted fluff.
    • 53 Metascore
    • 25 David Sterritt
    Action freaks may enjoy the chasing and chomping, but there's no hint of human interest or moviemaking imagination.
    • 38 Metascore
    • 25 David Sterritt
    Poor writing and directing are the culprits - and whatever possessed the gifted Moore to make her role a nonstop Diane Keaton imitation? There oughta be a law!
    • 62 Metascore
    • 25 David Sterritt
    Goldmember comes after years of escalating vulgarity have thrown the need for caution -- and cleverness -- out of fashion.
    • 33 Metascore
    • 25 David Sterritt
    There's nothing special about this movie -- it's just business as usual for today's debased action-movie genre.
    • 53 Metascore
    • 25 David Sterritt
    Add a megadose of bombastic James Horner music and a perfunctory love-affair subplot and you have a movie that's its own worst enemy.
    • 59 Metascore
    • 25 David Sterritt
    The film is as tricky and superficial as its low-life characters, using visual flimflam to mask its lack of substance.
    • 46 Metascore
    • 25 David Sterritt
    An interesting cast is wasted in this misanthropic thriller.
    • 40 Metascore
    • 25 David Sterritt
    It soon gets down to its real business: fights, face-offs, and showdowns mired in the shallowest sort of Hollywood machismo.
    • 51 Metascore
    • 25 David Sterritt
    For a movie about people with hugely complicated inner lives, this sadly unconvincing drama stays resolutely on the surface, rarely hinting at anything like an insight or idea.
    • 48 Metascore
    • 25 David Sterritt
    It's hard to enjoy this when you're barraged by bathroom humor, animal stunts, and gags about a character whose memory loss is so bad he's called Ten-Second Tom.
    • 58 Metascore
    • 25 David Sterritt
    Like the nuclear sub it's named after, the picture is big, shiny, and expensive. It's also cold, hard, and cumbersome, and lacking the barest hint of emotional or psychological depth. [9 Mar 1990, Arts, p.10]
    • Christian Science Monitor
    • 48 Metascore
    • 25 David Sterritt
    What's the point of the picture, except to allow Kutcher fans occasional peeks at acting talent he usually keeps hidden?
    • 32 Metascore
    • 25 David Sterritt
    As dopey as its heroes, and the cast's admirable energy isn't enough to keep the story punching through the final round.
    • 22 Metascore
    • 25 David Sterritt
    One thing is certain: It's a bomb trying to be a hit, and at that it'll never succeed.
    • 57 Metascore
    • 25 David Sterritt
    Davis contributes his usual dignity -- not easy when you're playing a character who thinks he's John F. Kennedy dyed black -- but it's not enough to save this silly thriller-comedy.
    • 38 Metascore
    • 25 David Sterritt
    The star's over-the-top energy isn't enough to make this hopelessly vulgar, numbingly repetitious farce worth watching.
    • 43 Metascore
    • 25 David Sterritt
    The story is irresponsible and the filmmaking is awful.
    • 33 Metascore
    • 25 David Sterritt
    Romano tries hard, but it takes real big-screen talent to draw laughs and emotions from material as flimsy and formulaic as the script.
    • 30 Metascore
    • 25 David Sterritt
    So vulgar and incoherent that even Hackman's gifts can't score a touchdown.
    • 35 Metascore
    • 25 David Sterritt
    In sum, Van Helsing is yet another video game disguised as a wide-screen epic. Here's hoping the box office drives a firm wooden stake through its hokey Hollywood heart.
    • 27 Metascore
    • 25 David Sterritt
    The film tries to revive the sort of good-hearted optimism associated with Frank Capra classics of the 1940s era, but pictures like "It's a Wonderful Life" and "Mr. Smith Goes to Washington" were never so simplistic, syrupy, or tedious to sit through.
    • 26 Metascore
    • 25 David Sterritt
    Surely it couldn't be meant as dramatic realism! But it is. And amazingly, the movie gets worse as it goes along.
    • 49 Metascore
    • 25 David Sterritt
    Talking dogs were cute, once. It's a tad disconcerting, however, when a canine starts lip syncing to the voice of Carl Reiner so it can complain about flatulence.
    • 15 Metascore
    • 25 David Sterritt
    Downright awful.
    • 19 Metascore
    • 25 David Sterritt
    8MM
    A private eye enters a horrific world of degrading sex and bottom-feeding pornographers.
    • 52 Metascore
    • 25 David Sterritt
    A total lack of chemistry between the stars -- neither of whom is particularly good at romantic comedy in the first place -- and you have a promising package that grows steadily less lovable as it goes along. Down with this movie!
    • 61 Metascore
    • 25 David Sterritt
    Creepy.
    • 23 Metascore
    • 25 David Sterritt
    Violent and vapid, but the visual jolts may please horror buffs.
    • 18 Metascore
    • 25 David Sterritt
    The junior Giannini, who has inherited Giancarlo's handsome looks, portrays his mercurial character with energy and flair. Madonna doesn't. Indeed, it's hard to remember the last time a certified celebrity gave a performance so monotonous, unimaginative, and all-around tiresome to watch.
    • 38 Metascore
    • 25 David Sterritt
    This fact-based drama is very well-meaning but also cloying, sentimental, and simplistic. Gooding's fake-toothed grin deserves an Oscar for best makeup, though.
    • 55 Metascore
    • 25 David Sterritt
    Stiller strives to be a wild and wacky villain, Vaughn endeavors to be a likable and average hero, and both fall flat on their faces, like everything else in this unspeakably stupid comedy.
    • 59 Metascore
    • 25 David Sterritt
    This movie has promising ingredients. But you'll leave wanting much, much more.
    • 47 Metascore
    • 25 David Sterritt
    In short, it's dull, derivative, and as lifelike as a heap of historical figurines. Few will remember this Alamo for long.
    • 46 Metascore
    • 25 David Sterritt
    Like a nincompoop version of "The Usual Suspects."
    • 52 Metascore
    • 25 David Sterritt
    The filmmakers seem well in control of their chaotic material, but what can be said when the movie features wall-to-wall teenage alcohol abuse.
    • 72 Metascore
    • 25 David Sterritt
    I found much of it as emotionally rigged as a crooked horse race.
    • 62 Metascore
    • 25 David Sterritt
    The concept of dueling negotiators has strong dramatic potential, but Gray seems more interested in gimmicks and gunshots than in the psychological face-off between sharp-witted foes.
    • 36 Metascore
    • 25 David Sterritt
    The action is snappy and quick, but why does this youth-targeted adventure pit white male heroes against a trio of villains comprising a black man, an Asian man, and an ugly woman?
    • 50 Metascore
    • 25 David Sterritt
    This noisy, disorganized story is riddled with clichés, stereotypes, and self-indulgence from beginning to end.
    • 16 Metascore
    • 25 David Sterritt
    Hop away from this one fast!
    • 29 Metascore
    • 25 David Sterritt
    Breillat is a smart, serious observer of sexuality's often disruptive role in human life, but this existential drama is sadly pretentious.
    • 61 Metascore
    • 25 David Sterritt
    South Korean melodrama uses a unique location, dominated by fishermen's floating huts, as the background for an overheated story that grows steadily more grotesque and unpleasant as it proceeds.
    • 32 Metascore
    • 25 David Sterritt
    Muddled screenwriting and uninspired directing.
    • 19 Metascore
    • 25 David Sterritt
    A lovestruck Californian kidnaps a neighbor's dog as a way of getting her attention.
    • 47 Metascore
    • 25 David Sterritt
    The violent story is long on nastiness, short on credibility.
    • 18 Metascore
    • 25 David Sterritt
    The slasher-movie genre may never die, but can't its perpetrators think up variations more clever than this by-the-numbers rehash?
    • 42 Metascore
    • 25 David Sterritt
    Brody has offbeat charisma, but it's no match for the corny dialogue he's given here, not to mention the "Wild at Heart" snakeskin jacket he wears.
    • 25 Metascore
    • 25 David Sterritt
    The movie has a well-meaning message about love and loyalty being the bedrock of real family values, but its good intentions sag as the story trades its air of mischievous comedy for trite sentimentality, arbitrary plot twists, and enough maudlin melodramatics to sustain a tabloid TV series.
    • 50 Metascore
    • 25 David Sterritt
    The story is mildly entertaining in its hackneyed way, but there's no excusing the picture's exploitative treatment of almost all the female characters.
    • 53 Metascore
    • 25 David Sterritt
    The rest of Franco Zeffirelli's latest Shakespearean outing is so eager to be cinematic, with its peripatetic camera and souped-up screenplay, that it forgets to make sense.
    • 21 Metascore
    • 25 David Sterritt
    Shallow and sentimental in the sappiest Hollywood tradition.
    • 15 Metascore
    • 25 David Sterritt
    So stupid you'll wish you'd brought a duffel bag of your own.
    • 16 Metascore
    • 25 David Sterritt
    Adam Sandler's creative songs and silly expressions on "Saturday Night Live" may have turned him into a celebrity, but this movie based solely on his antics doesn't work.
    • 18 Metascore
    • 25 David Sterritt
    This boatload of clichés is strenuously unfunny.
    • 45 Metascore
    • 25 David Sterritt
    Spoiled by its simplistic portrait of people from the Mideast as incorrigibly violent and untrustworthy.
    • 47 Metascore
    • 25 David Sterritt
    What remains discomforting is their sheer failure to be funny.
    • 44 Metascore
    • 25 David Sterritt
    Fiction and fantasy to evade reflection on the world we actually live in.
    • 33 Metascore
    • 25 David Sterritt
    The story is inspirational in a superficial way, but the filmmakers focus so exclusively on their attractive heroine that the picture loses any real connection with Africa.
    • 25 Metascore
    • 25 David Sterritt
    The plot is predictable, the characters are cliches, and all the actors look and sound like refugees from a movie Martin Scorsese would have made vastly better three decades ago.
    • 39 Metascore
    • 25 David Sterritt
    It's astounding that the ingenious creator of "JFK" and "Wall Street" could make an epic on war and empire that's so utterly simplistic and unreflective.
    • 36 Metascore
    • 25 David Sterritt
    It seems to have had the opposite effect on the director's taste, as she strives for new levels of raunchiness.
    • tbd Metascore
    • 25 David Sterritt
    The results are unbelievably tedious, but Mansfield buffs may find it intermittently worthwhile.
    • 64 Metascore
    • 25 David Sterritt
    Crass and soulless.
    • 74 Metascore
    • 25 David Sterritt
    Perhaps they truly believe war is an inescapable aspect of human life. If so, why make movies that rub our faces in its horror? If artists have no antidote to war's evil or insight into the suffering it brings, their motive in depicting it must be merely to sensationalize its terrors and make money from the morbid fascination it holds for audiences. We deserve better.
    • 48 Metascore
    • 25 David Sterritt
    Khouri's new picture takes all this talent and turns it into the kind of manipulative mush that Hollywood used to market under the condescending label "woman's picture" years ago.
    • 33 Metascore
    • 25 David Sterritt
    There are a few clever lines and Cleese has some sensational moments, but that's not enough to make the farce seem fresh.
    • 19 Metascore
    • 25 David Sterritt
    What ensues is a Halloween-style blood bath accompanied by graphic sex scenes.
    • 44 Metascore
    • 25 David Sterritt
    Philippe Rousselot's carefully shaded cinematography looks great, but the screenplay is pretentious and there's little to applaud in the top-heavy acting by John Malkovich and Julia Roberts.
    • 30 Metascore
    • 25 David Sterritt
    The movie's one good performance is given by the house, full of ominous inscriptions, inscrutable chambers, and fiendish machines. The human characters are played with various degrees of manic overacting.
    • 55 Metascore
    • 25 David Sterritt
    As he showed in the recent "Catch Me if You Can," also a Hanks vehicle, Spielberg has little talent for emotional realism, not to mention psychological suspense. He should scurry back to "Jurassic Park" as soon as the next flight leaves.
    • 28 Metascore
    • 25 David Sterritt
    The film means well, but each scene gets clobbered by sappy screenwriting.
    • 59 Metascore
    • 25 David Sterritt
    It's encouraging to see Hollywood tackle themes of faith and religion, but here, too, Shyamalan is timid, reducing them to fuzzy New Age clichés. Add wooden acting, stilted dialogue, and a faux-arty style, and you have a thudding disappointment.
    • 16 Metascore
    • 25 David Sterritt
    Everyone works hard, but the results are sadly short of style and personality or irony and intelligence.
    • 59 Metascore
    • 25 David Sterritt
    The gimmick behind the screenplay is clever, but the filmmakers don't rise to the challenge they've set themselves, merely spinning two unimaginative stories for the price of one.
    • 16 Metascore
    • 25 David Sterritt
    Preposterous plot, bad acting, and dialogue that provokes more laughs than shivers.
    • 34 Metascore
    • 25 David Sterritt
    Travolta and Jackson have some effective scenes, but Nielsen is lacking in charisma, and James Vanderbilt's screenplay ought to be court-martialed.
    • 46 Metascore
    • 25 David Sterritt
    The animals are cute and Murphy gives a lively performance, but as with his remake of "The Nutty Professor," the original is still the best.
    • Christian Science Monitor
    • 43 Metascore
    • 25 David Sterritt
    Has amusing bits of social satire, but they're crowded out of the stable by lots of bathroom and barnyard humor.
    • 32 Metascore
    • 25 David Sterritt
    Strains to be shockingly original but winds up as cheap and cheesy as its characters.
    • 35 Metascore
    • 25 David Sterritt
    So sloppily made that it's barely coherent.
    • 57 Metascore
    • 25 David Sterritt
    In short, this isn't a poignant drama about courage and imagination -- it's a contrived fantasy about courage and imagination.
    • 61 Metascore
    • 25 David Sterritt
    Amanda Plummer is even more weirded-out than usual as a serial killer wandering through England with her sadly befuddled girlfriend. [10 May 1996, p.13]
    • Christian Science Monitor
    • 48 Metascore
    • 25 David Sterritt
    The nasty, sometimes violent story was written by Christian Forte, a newcomer who is clearly under Quentin Tarantino's unpleasant spell, and directed by Kevin Spacey, an unusually gifted actor who doesn't yet show any special talent for filmmaking.
    • 43 Metascore
    • 25 David Sterritt
    Uninspired thriller-comedy.
    • 34 Metascore
    • 25 David Sterritt
    The comedy isn't quite as crude as it sounds, but there's not much of value here beyond a little lively acting.
    • 22 Metascore
    • 25 David Sterritt
    Its main message is that everyone should believe and behave in exactly the same way. Groupthink wins again!
    • 27 Metascore
    • 25 David Sterritt
    Cartoonish effects and overacting make this more corn than catnip.
    • 49 Metascore
    • 25 David Sterritt
    Moves at a lumbering pace, peppered with ungainly gags and dramatic moments with little emotional power. The ironic commentary on show-biz superficiality is sabotaged by Niccol's failure to make his own story seem real.
    • 38 Metascore
    • 25 David Sterritt
    The special effects are extra special. The screenplay is idiotic, though, and Diesel speaks his dialogue like a Sylvester Stallone clone who never finished third grade.
    • 20 Metascore
    • 25 David Sterritt
    Cumming's antic acting is the only asset of this boisterous comedy.
    • 70 Metascore
    • 25 David Sterritt
    The movie is designed to show off Liotta's acting skills, but pointless mayhem and sheer nastiness crowd out any virtues it might have had.
    • 34 Metascore
    • 25 David Sterritt
    Crash-lands as disastrously as the heroes and never quite recovers its wits.
    • 32 Metascore
    • 25 David Sterritt
    The dialogue is dumb ('zilla has the best lines, "arrrrrggh" and "maaroarrr"), New York is waterlogged, and Godzilla isn't on screen enough.
    • 37 Metascore
    • 25 David Sterritt
    The overlong comedy has few laughs and flirts far too much with racist, homophobic humor. A waste of a fine cast.
    • 19 Metascore
    • 25 David Sterritt
    Sordid and sleazy, although the lead performances are hard to fault.
    • 27 Metascore
    • 25 David Sterritt
    The bad thing about A Guy Thing isn't the talent of its stars but the warmed-over triteness of the material they're forced to work with.
    • 25 Metascore
    • 25 David Sterritt
    Even the delightful Duff disappoints.
    • 62 Metascore
    • 25 David Sterritt
    Norton's high-energy acting is the only element that saves the picture from being a total loss.
    • 24 Metascore
    • 25 David Sterritt
    The plot is hamstrung by trite formulas, and there's too much violence and family tension for very young viewers. Shaquille O'Neal is likable as the title character, though.
    • 37 Metascore
    • 25 David Sterritt
    Let's look at the bright side. If this movie bombs as it deserves to, we won't have to sit through "Analyze Those" a few years from now!
    • 24 Metascore
    • 25 David Sterritt
    Strenuously unfunny sequel.
    • 18 Metascore
    • 25 David Sterritt
    Perry and Hurley don't have much chemistry, and the story is so dumb you might want to sue it for stupidity.
    • 62 Metascore
    • 25 David Sterritt
    I hate to sound per-Snickety, but this lemon of a movie is a sadly unfortunate event.
    • 47 Metascore
    • 25 David Sterritt
    This sexually explicit South Korean drama aims more to jolt than to illuminate, but it illustrates an aspect of Asian cinema that globally minded moviegoers should know about as films from that region take on more international prominence.
    • 44 Metascore
    • 25 David Sterritt
    Weak acting, even by Hoffman. Aniston is so far above this material she should never, ever have signed on.
    • 51 Metascore
    • 25 David Sterritt
    This is a great subject for a movie, but Hollywood has squandered the opportunity, using it as a prop for warmed-over melodrama and the kind of choreographed mayhem that director John Woo has built his career on.
    • 36 Metascore
    • 25 David Sterritt
    It will be interesting to see whether audiences embrace Mr. Diesel's barely controlled vigilante as warmly as they embraced Clint Eastwood's swaggering "Dirty Harry" and Charles Bronson's nasty "Death Wish" characters a few decades ago.
    • 42 Metascore
    • 25 David Sterritt
    The film contains so many endings that it's hard to tell what impressions the filmmakers want us to leave the theater with. Buy a copy of the book instead. It remains an excellent read.
    • 33 Metascore
    • 25 David Sterritt
    House of D, arrives in theaters this week, after debuting at the Tribeca Film Festival last year. I'm sorry to report it's the opposite of impressive.
    • 33 Metascore
    • 25 David Sterritt
    Viewers of that age may overlook the contrived situations and the awful acting, which consists mainly of frozen grins. Nobody else will.
    • 47 Metascore
    • 25 David Sterritt
    David Cronenberg's movie is a chilly meditation on this theme, carrying some cinematic interest but surprisingly dull given the story's outrageous subject.
    • 43 Metascore
    • 25 David Sterritt
    The dialogue is utterly inane, but the high-tech effects deliver the sort of thrills that disaster-film connoisseurs expect.
    • 72 Metascore
    • 25 David Sterritt
    The film is a disappointment, and at more than two hours' running time, a very long disappointment.
    • 41 Metascore
    • 25 David Sterritt
    The repetitious script -- cobbled together by no fewer than five writers -- shows interest in nothing beyond action-centered plot gimmicks and tame romantic shenanigans.
    • 41 Metascore
    • 25 David Sterritt
    If the Warner Bros. wizards have it right, what a girl wants is to see as much of Amanda Bynes as she possibly can...It's not so great for the rest of us, since the film has nothing else to offer.
    • 59 Metascore
    • 25 David Sterritt
    Can a mild-mannered toxicologist and an eccentric Alcatraz veteran stop him before it's too late? Learning the answer means sitting through more than two hours of violence, vulgarity, and all-around excess, served up with high-tech trimmings by director Michael Bay.
    • 39 Metascore
    • 25 David Sterritt
    Mostly trite and tacky despite Robin Williams's strenuous acting.
    • 47 Metascore
    • 25 David Sterritt
    The plot pants so hard -- that it makes less sense than the average pet-food commercial.
    • 26 Metascore
    • 25 David Sterritt
    The acting is solid and the heroine's quirky dialogue is amusing for a while. But repetitious writing and a weakly constructed story turn the promising premise into a disappointing mishmash of crime, politics, and show business.
    • 68 Metascore
    • 25 David Sterritt
    The basic plot of Thomas Hardy's great novel "Jude the Obscure" comes through accurately enough, but its sublime irony and sardonic wit apparently got lost in the misty English countryside.
    • 36 Metascore
    • 25 David Sterritt
    Plenty of mad moviegoers will put this in their diaries as one of the worst pictures in ages.
    • 46 Metascore
    • 25 David Sterritt
    The movie gives us a Round Table and a flashing Excalibur but no magic, no mystery, no mythic resonance. Mostly there's a lot of slashing swordplay that should appeal to the picture's target audience of young males.
    • 43 Metascore
    • 25 David Sterritt
    MESSAGE Nuclear blackmail is a horrible crime but can be defeated by vigilant and courageous authorities.
    • 49 Metascore
    • 25 David Sterritt
    Barry Levinson's filmmaking style is often imaginative. The story contains horrific scenes of sexual torture as well as sadistic killings and other disturbing material, though.
    • 47 Metascore
    • 25 David Sterritt
    Tries to be daring and iconoclastic but winds up seeming as spoiled and childish as its main characters.
    • 24 Metascore
    • 25 David Sterritt
    This is fatuous twaddle with a nasty, misogynistic edge.
    • 47 Metascore
    • 25 David Sterritt
    A perfectly funny idea -- call it "Ms. Ditz Goes to Washington" -- that's never allowed to take on real comic life. I laughed exactly once.
    • 49 Metascore
    • 25 David Sterritt
    Sadly it's been botched. Guess Who serves up such flat dialogue and stilted situations that it's hard to sit through.
    • 37 Metascore
    • 25 David Sterritt
    Audiences may want their own speedy divorce from this irritating collection of stale jokes, pointless vulgarities, and warmed-over clichés.
    • 50 Metascore
    • 25 David Sterritt
    Alas, the movie is less clever than its characters.
    • 51 Metascore
    • 25 David Sterritt
    Een fans of Jay and Silent Bob may find the story too slender and the jokes too repetitive to be much fun.
    • 29 Metascore
    • 25 David Sterritt
    Santa Claus's bag couldn't hold as many clichés as the screenplay dishes out.
    • 39 Metascore
    • 25 David Sterritt
    The movie's real spectacle is the sight of so many talented people slogging through such idiotic material.
    • 47 Metascore
    • 25 David Sterritt
    Falls flat, with more "sound design" than delicious music, more slick film editing than graceful ballroom gliding.
    • 63 Metascore
    • 25 David Sterritt
    Imagine a movie where every character is more self-centered than Ted Baxter in "The Mary Tyler Moore Show" of old, add a caboodle of idiotic jokes, and you have some idea of this ugly, unfunny farce.
    • 48 Metascore
    • 25 David Sterritt
    The result is a quickly paced, slickly filmed entertainment that's also as crude and rude as the PG-13 rating will allow. It's mighty mean-spirited too, aiming "satirical jibes" at everyone from black illiterates to white rednecks, from breakers of the law to enforcers of the law, from society's elites to society's dregs.
    • 36 Metascore
    • 25 David Sterritt
    This superficial treatment makes so many dubious decisions - oversimplifying issues, for instance, so there'll be more time for high-flying emotion - that 1960s veterans may be moved to protest rather than praise.
    • 31 Metascore
    • 25 David Sterritt
    The comedy is shamelessly stupid and flagrantly vulgar by turns.
    • 30 Metascore
    • 25 David Sterritt
    Opium- addicted Allan Quatermain becomes none other than Sean Connery. At least he gives a real movie-star performance, which is more than the other gentlemen manage. Extraordinary? Balderdash!
    • 60 Metascore
    • 25 David Sterritt
    Ron Shelton's romantic comedy has no more visual excitement than a televised golf tournament, but the climax is truly surprising, and there's solid acting by Don Johnson and Cheech Marin.
    • 31 Metascore
    • 12 David Sterritt
    A dark comedy about a bachelor party gone awry, it is excessively violent, ghoulish, and gory. Very Bad Things is lack-of-taste taken to the extreme.
    • Christian Science Monitor
    • 36 Metascore
    • 12 David Sterritt
    Arnold Schwarzenegger fights an outer-space monster in a third-world jungle. The monster never has a chance. Neither does the jungle. Neither does the audience. [19 June 1987, Arts & Leisure, p.23]
    • Christian Science Monitor
    • 16 Metascore
    • 0 David Sterritt
    Paying homage to drug comedies of the '70s, Half Baked is high on getting high and low on laughs.
    • 27 Metascore
    • 0 David Sterritt
    This romantic comedy is so awfully misjudged and ineptly executed in every department that, while it isn't quite a contender for the "so bad it's good" category, this critic was nonetheless dabbing tears of laughter from his eyes.
    • 33 Metascore
    • 0 David Sterritt
    Frankly, it's excruciating to watch.
    • 1 Metascore
    • 0 David Sterritt
    Pauly Shore is less a comedian than a class clown, and his dim-witted mugging makes Jim Carrey's antics seem creative triumphs by comparison. Vapid, vulgar, and more to the point, not funny.
    • 40 Metascore
    • 0 David Sterritt
    Numbingly violent action.
    • 20 Metascore
    • 0 David Sterritt
    The Griswalds drive to Las Vegas "because half the fun is getting there," but the fun never begins in this disappointing sequel to the Vacation slapstick comedies.

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