For 1,976 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 5.5 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
Average review score: 65
Highest review score: 100 Schultze Gets the Blues
Lowest review score: 0 Vegas Vacation
Score distribution:
1,976 movie reviews
    • 57 Metascore
    • 75 David Sterritt
    A romantic kung-fu comedy with a good heart.
    • 57 Metascore
    • 50 David Sterritt
    Moviegoers deserve more than the racism, sexism, and all-purpose mayhem on view here - failings that offset the razor-sharp action and technical brilliance also visible.
    • 57 Metascore
    • 75 David Sterritt
    Kevin Spacey gives a richly nuanced performance as the accused killer, and director Clint Eastwood makes the sometimes sordid story less sensationalistic than it might have seemed in less accomplished hands.
    • 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.
    • 57 Metascore
    • 50 David Sterritt
    The movie's moral messages are all on target. Too bad the movie is much, much too long and Jackson gives one of his dullest performances ever.
    • 57 Metascore
    • 75 David Sterritt
    Gently filmed, quietly thoughtful, sometimes almost heartbreaking.
    • 57 Metascore
    • 50 David Sterritt
    Good acting and understated filmmaking turn off-putting material into a mildly engrossing drama, if not a particularly compelling one.
    • 57 Metascore
    • 100 David Sterritt
    The story has old-fashioned characters and situations, and Haas has sensibly filmed it in an old-fashioned way, stressing visual appeal rather than the story's sordid undertones. The acting is excellent, too.
    • 57 Metascore
    • 50 David Sterritt
    The picture almost overwhelms you with sheer niceness. Unfortunately, this effect doesn't last; eventually the movie goes too far and overdoses on its own saccharine. [2 May 1989, Arts, p.11]
    • 57 Metascore
    • 75 David Sterritt
    Socially alert drama.
    • 57 Metascore
    • 75 David Sterritt
    It gains a major charge of dramatic energy from Kurt Russell's ferocious acting, almost certainly the best of his career.
    • 57 Metascore
    • 50 David Sterritt
    Interesting for its historical content.
    • 57 Metascore
    • 67 David Sterritt
    Unlike the first ''Back to the Future,'' though, the sequel doesn't stay fresh and surprising all the way through. After a few good scenes, the plot gets too tricky, and the filmmakers keep walloping us with one chase scene after another. [4 Dec. 1989, p.10]
    • 57 Metascore
    • 75 David Sterritt
    The comedy is frantic and tasteless in the usual Waters mode, but it takes telling potshots at the Hollywood establishment, which isn't nearly so open about the tackiness of its products.
    • 57 Metascore
    • 75 David Sterritt
    A wide range of concert and media clips lend vigor and variety to the documentary.
    • 57 Metascore
    • 50 David Sterritt
    Fans of ultraviolent sword-and-sorcery nonsense will have a good time; others will head for the exit. [19 Feb 1993, Arts, p.10]
    • 57 Metascore
    • 50 David Sterritt
    The story gets off to a slow start after its riveting documentary-style introduction, but heartfelt acting and unexpected plot twists eventually give it solid dramatic impact.
    • 57 Metascore
    • 50 David Sterritt
    Much of the historical horrorfest is more frenetic than fascinating. Look out for bursts of over-the-top violence.
    • 57 Metascore
    • 50 David Sterritt
    Much of the acting is solid, but earnest performances can't give the picture all the bite and excitement it sorely needs.
    • 56 Metascore
    • 75 David Sterritt
    At its best it's as refreshing as it is daring. Superbly acted.
    • 56 Metascore
    • 50 David Sterritt
    This tragicomic tale doesn't have the supercharged brilliance of "Run Lola Run," which it occasionally resembles, but it's certainly fast-moving and action fans should enjoy it.
    • 56 Metascore
    • 75 David Sterritt
    The action is light and lively all the way, poking inventive fun at everything from nosy little brothers to clueless hotel managers and romantic Romans who aren't as glamorous as they claim to be.
    • 56 Metascore
    • 75 David Sterritt
    It's so clean a film, you could bring your grandmother.
    • 56 Metascore
    • 50 David Sterritt
    Every single frame of this film is as cute, slick, and snappy as the adorable little mice who end the movie with a gag right out of "Babe: Pig in the City."
    • 56 Metascore
    • 50 David Sterritt
    Pierce Brosnan has mastered every smidgen of 007 schtick, making the role more thoroughly his own than any actor since Sean Connery -- still the best of the batch -- decided to call it quits.
    • 56 Metascore
    • 50 David Sterritt
    Bassett and Diggs are appealing as the slightly odd couple, but the movie rambles on too long.
    • 56 Metascore
    • 50 David Sterritt
    The humor is more childish than raunchy, but it's interesting to see that becoming a big-time Broadway impresario hasn't led Waters to sell out his affection for gross-out gags.
    • 56 Metascore
    • 50 David Sterritt
    (Kerrigan) remains an insightful stylist with impressively high artistic standards.
    • 56 Metascore
    • 50 David Sterritt
    Forgettable fun.
    • 56 Metascore
    • 75 David Sterritt
    Extremely goodhearted, if not exactly original or exciting.
    • 56 Metascore
    • 75 David Sterritt
    Good acting and pungent dialogue.
    • 56 Metascore
    • 100 David Sterritt
    Traveling from the tragic to the comic, this multifaceted film is richly acted and imaginatively directed.
    • 56 Metascore
    • 50 David Sterritt
    Pierce Brosnan wisecracks his way through the starring role with more aplomb than credibility.
    • 56 Metascore
    • 50 David Sterritt
    Informative, but very slow going.
    • 56 Metascore
    • 50 David Sterritt
    Doesn't develop enough momentum to justify its too-long running time.
    • 56 Metascore
    • 75 David Sterritt
    Paltrow's performance in Sylvia doesn't have Oscar- worthy depth, but it's a solid, sincere portrayal that captures enough sides of Plath's complex personality to enrich the movie, directed with impressive visual power by New Zealand filmmaker Christine Jeffs.
    • 56 Metascore
    • 50 David Sterritt
    At least Dennis Hopper plays the bad guy with wildness and wit. Costner's stolid hero seems a washout by comparison.
    • 56 Metascore
    • 75 David Sterritt
    Excellent acting and a finely tuned screenplay spark this genuinely offbeat melodrama.
    • 56 Metascore
    • 50 David Sterritt
    CQ
    Coppola's satirical debut movie is too ambitious for its own good. The cast is good, though, and ambition isn't the worst fault a fledgling filmmaker can have.
    • 56 Metascore
    • 75 David Sterritt
    Has undertones of serious commentary on American violence, thanks to the screenplay by Larry Cohen, who often uses horror-film plots to explore cracks and contradictions in society.
    • 56 Metascore
    • 50 David Sterritt
    It's insulting when such savvy filmmakers expect us to laugh automatically at four-letter words, bathroom humor, and caricatures as crude as they are unoriginal. At its best, The Ladykillers soars above its own worst instincts, especially when Hanks and Hall take over the action.
    • 56 Metascore
    • 75 David Sterritt
    In sum, this is hardly an "Iliad" adaptation for the ages. But if you're hankering for sand, sandals, and swordplay, this could be the movie for you.
    • 56 Metascore
    • 50 David Sterritt
    Gooding and De Niro bring their characters to vivid life despite the unsubtle screenplay and hyperactive music score.
    • 56 Metascore
    • 50 David Sterritt
    The first half packs some clever surprises, but eventually you'll wish you'd signed up with another movie.
    • 56 Metascore
    • 50 David Sterritt
    The cast works hard, but Jordan's directing is too ponderous and slow to build dramatic energy.
    • 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.
    • 56 Metascore
    • 25 David Sterritt
    The acting ranges from adequate (Jared Leto, R. Lee Ermey) to awful (Lindsay Crouse and everyone else).
    • 56 Metascore
    • 100 David Sterritt
    Max
    Reveals a key aspect of fascism's cynical use of art and architecture to mesmerize a weak and vulnerable society.
    • 56 Metascore
    • 50 David Sterritt
    Harrowing and imaginatively made.
    • 55 Metascore
    • 50 David Sterritt
    Mostly just another exercise in snappy editing and over-the-top mayhem that will leave most grown-up movie- goers cold.
    • 55 Metascore
    • 75 David Sterritt
    Ferocious satire.
    • 55 Metascore
    • 75 David Sterritt
    This atmospheric story unfolds through leisurely shots that invite us not just to watch the characters, but to live and breathe along with them.
    • 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.
    • 55 Metascore
    • 75 David Sterritt
    It's often beautiful to watch, although it's more interested in visual style than philosophical depth.
    • 55 Metascore
    • 75 David Sterritt
    This leisurely, transfixing movie is much more interested in nostalgic atmosphere than "educational" facts.
    • 55 Metascore
    • 75 David Sterritt
    Yes
    The results are visually striking, but conceptually they oscillate between poetic, pretentious, and philosophically dubious.
    • 55 Metascore
    • 75 David Sterritt
    Harris and Heche make an interesting team--- and the picture reaps the benefit of their creative performances
    • 55 Metascore
    • 50 David Sterritt
    The delayed release of this 1975 drama provides an interesting view of her (Breillat) early development as a world-class filmmaker.
    • 55 Metascore
    • 50 David Sterritt
    The stars are appealing and the filmmaking is imaginative at times, but the picture never builds much dramatic momentum.
    • 55 Metascore
    • 38 David Sterritt
    John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]
    • 55 Metascore
    • 50 David Sterritt
    Sincere acting lends the film a measure of dramatic dignity.
    • 55 Metascore
    • 50 David Sterritt
    The action of this South Korean melodrama is fast and furious, but its emotions and ideas don't manage to keep up.
    • 55 Metascore
    • 50 David Sterritt
    Livelier, more absorbing, and generally better acted than "Dangerous Liaisons," which arrived a year ago. But it runs out of inspiration long before it runs out of plot twists, and we've seen the twists too many times before.
    • 55 Metascore
    • 100 David Sterritt
    The material is right up Schrader's alley, and while his vision of the first "Exorcist" chapter isn't a masterpiece, it's far superior to the Renny Harlin prequel to "The Exorcist" released last year.
    • 55 Metascore
    • 75 David Sterritt
    Chalk this razzle-dazzle chase picture up as effective Friday-night entertainment, not the heart-stirring romantic thriller it might have been. That's the real truth about "Charlie."
    • 55 Metascore
    • 75 David Sterritt
    The offbeat screenplay turns even the corny bits in unpredictable directions, and it's rare indeed to see such consistently superb ensemble acting.
    • 55 Metascore
    • 75 David Sterritt
    Vigorously directed by Joel Schumacher, the film is closer to a suspense thriller than a journalistic report.
    • 55 Metascore
    • 25 David Sterritt
    The movie is a mish-mash of action-adventure clichés, book-ended with lame attempts at psychological interest. Written, directed, and acted with ham-fisted heaviness.
    • 55 Metascore
    • 25 David Sterritt
    A romantic comedy-drama has to make sense, though, and Love Actually doesn't, actually.
    • 55 Metascore
    • 50 David Sterritt
    [The Coen Brothers] sweat and strain to deliver more of the same cinematic ingenuity, but the result seems more nervous than inspired. Relax, fellas! [13 Mar 1987]
    • 55 Metascore
    • 50 David Sterritt
    The title characters are wittily crafted by Messrs. Stiller and Wilson, and Snoop Dogg is a riot as Huggy Bear.
    • 55 Metascore
    • 50 David Sterritt
    David O. Russell hasn't yet developed enough filmmaking savvy to juggle so many intellectual, emotional, and narrative elements. He's clever and ambitious, but perhaps too much so.
    • 55 Metascore
    • 50 David Sterritt
    Sir Walter Scott's novel is turned inside-out by Michael Caton-Jones's movie, which transforms the title character from an elusive rogue into a conventional hero who swaggers across the screen from beginning to end.
    • 55 Metascore
    • 75 David Sterritt
    It's great to see so many smart girls in a Hollywood movie!
    • 55 Metascore
    • 50 David Sterritt
    This disaster film has action from the get-go; but its awesome special effects hide a laughably corny plot, and for a picture about terror from the depths, its characters are ridiculously shallow.
    • 55 Metascore
    • 50 David Sterritt
    The material is familiar and the ending is corny, but Huston's acting and directing keep the comedy-drama likable if not very imaginative.
    • 55 Metascore
    • 50 David Sterritt
    The title refers to the commercialization of just about everything in modern society, and Ferrara brings touches of his ornery filmmaking imagination to bear on the pessimistic parable.
    • 55 Metascore
    • 50 David Sterritt
    The story is unmemorable, but the characters are engaging and their predicaments are all too recognizable.
    • 55 Metascore
    • 50 David Sterritt
    The facts of this true-life story are highly dramatic, and they'd have much more power without the sappy sentimentality Beresford needlessly adds to the movie.
    • 55 Metascore
    • 75 David Sterritt
    Hicks doesn't always keep the story clear and compelling, but Hopkins is in top form.
    • 55 Metascore
    • 63 David Sterritt
    If the film is too similar to Ritchie's first movie, "Lock, Stock and Two Smoking Barrels" with its multiple story lines, complex plotting, and double-crossing antics, it's at least colorfully told with dialogue that shines with the inventive slang of Ritchie's screenplay.
    • 55 Metascore
    • 75 David Sterritt
    The sensationalistic beginning and needless mumbo-jumbo ending aside, this is a female buddy film with bite.
    • 55 Metascore
    • 75 David Sterritt
    Gentle and life-affirming, if too sentimental in the end.
    • 55 Metascore
    • 75 David Sterritt
    The screenplay is overwrought at times, but the acting is superb by any standard.
    • 55 Metascore
    • 50 David Sterritt
    The adventure is well-acted by Mira Sorvino and Giancarlo Giannini, among others, and imaginatively directed by Guillermo Del Toro, who gives a new twist to old science-fiction effects.
    • 55 Metascore
    • 75 David Sterritt
    It tells its story crisply, and it doesn't hesitate to exlore the seamy side - i.e., the money side - of the racing game, along with the usual stuff about galloping to glory.
    • 55 Metascore
    • 50 David Sterritt
    While it roots the heroine's compassion in her Christian beliefs, it suggests Indian occultism is equally powerful. And the last third is a lackluster barrage of stalking, shooting, and fighting. Too bad the movie doesn't ride into its own sunset about an hour earlier.
    • 55 Metascore
    • 50 David Sterritt
    Less a heart-stirring historical study than a nostalgic fantasy, built on a foundation no firmer than Cruise's superstar persona.
    • 55 Metascore
    • 75 David Sterritt
    Smart and surprising.
    • 55 Metascore
    • 75 David Sterritt
    Kicks off the Oedipus theme that gallops through the story.
    • 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.
    • 55 Metascore
    • 75 David Sterritt
    The movie is a star vehicle at heart, aimed more at marketing Pitt's popularity than probing complexities of empire-building and cultural clash that trouble the Tibetan region to this day.
    • 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.
    • 54 Metascore
    • 50 David Sterritt
    Many will welcome the movie's interest in spirituality, but some may wonder why it's couched in a celebration of sensual pleasures ranging from sex to cigarette smoking.
    • 54 Metascore
    • 63 David Sterritt
    Fine family entertainment.
    • 54 Metascore
    • 75 David Sterritt
    The film treats realistic subjects in a stylized way, putting its main energy into exploring ideas rather than building emotional power. [13 Jan 1995, p.B]
    • 54 Metascore
    • 75 David Sterritt
    Always energetic and sometimes cockamamie enough to be genuinely fun, Hulk is the blockbuster to beat this season.
    • 54 Metascore
    • 50 David Sterritt
    But the drama's attack on racism would be more persuasive if it rejected vigilante justice and recognized that hatred and violence of all kinds must be condemned if evils like bigotry are ever to be eradicated.
    • 54 Metascore
    • 50 David Sterritt
    The acting is solid, but the story builds less drama and suspense than its high-stakes subject might lead you to expect.
    • 54 Metascore
    • 50 David Sterritt
    Besson's account of the Maid of Orleans presents itself as a celebration of a martyr's faith but shows more interest in the violence and hatred that surrounded her life.
    • 54 Metascore
    • 75 David Sterritt
    The analytical discussions don't run very deep, but eyes will shine and toes will tap whenever this picture is shown.
    • 54 Metascore
    • 75 David Sterritt
    This sensitive, sometimes troubling family drama is one of the rare movies dealing with intelligent adults tackling lifelike problems.
    • 54 Metascore
    • 50 David Sterritt
    The end result smacks more of Hollywood melodrama than true compassion for the suffering poor.
    • 54 Metascore
    • 50 David Sterritt
    Oliver Stone's imaginative style runs rings around John Ridley's idiotic screenplay.
    • 54 Metascore
    • 50 David Sterritt
    You might expect "Seabiscuit" meets "Lawrence of Arabia," but overall, it's a big, beautiful bore.
    • 54 Metascore
    • 50 David Sterritt
    Unnecessary profanity for PG, a little slow for grown-ups, but good for laughs and promoting sibling peace.
    • 54 Metascore
    • 75 David Sterritt
    This is closer to an Allen comeback than anything else he's made recently. Maybe he'll achieve it with his next movie, "Match Point," due this year.
    • 54 Metascore
    • 50 David Sterritt
    The story raises challenging moral and legal questions but loses energy in a miscalculated romantic subplot.
    • 54 Metascore
    • 63 David Sterritt
    Deathtrap falls short of the classic potential it would obviously like to have. Still, it's a jaunty entertainment, by and large.
    • 54 Metascore
    • 25 David Sterritt
    The picture goes for sentimentality rather than substance every chance it gets, and the cast falls right into its syrupy trap.
    • 54 Metascore
    • 75 David Sterritt
    The movie works well as a straight-out horror yarn, proving that the Hughes Brothers are more versatile than their previous "ghetto pictures" suggest.
    • 54 Metascore
    • 50 David Sterritt
    The story matters less than the style, full of swooping camera movements, rapid-fire editing, and color-drenched displays of violence the Hong Kong school is famous for.
    • 54 Metascore
    • 50 David Sterritt
    Although this "Moonstruck" knockoff is diverting to watch, it's basically a low-budget loaf of Italian-American movie clichés.
    • 54 Metascore
    • 100 David Sterritt
    Feisty, funny, and smart.
    • 54 Metascore
    • 50 David Sterritt
    With the exception of a few laughs - including a hysterical footsie scene and another that involves Saran Wrap - this one's a no-brainer.
    • 54 Metascore
    • 50 David Sterritt
    Nicely acted and capably directed, but hardly memorable.
    • 54 Metascore
    • 63 David Sterritt
    Striking photography, period detail, screen-filling crowd scenes, and veteran composer Morricone's score make this one worth seeing, but the sheer nastiness of the town's people drags it down.
    • 54 Metascore
    • 50 David Sterritt
    Impressively filmed but not dramatic enough to justify its length.
    • 54 Metascore
    • 50 David Sterritt
    Written and directed by Mark Waters, who strives for David Mamet-style punchiness but doesn't develop the quirky momentum that would carry the deliberately out-of-kilter story past its implausibilities.
    • 54 Metascore
    • 50 David Sterritt
    The story's can-do attitude and moments of soaring music make it a must-see for moviegoers seeking positive visions on the screen.
    • 54 Metascore
    • 100 David Sterritt
    Take a chance on Gerry. It's only a movie, and you'll get out alive no matter what happens on the screen. You might even find you've had a rare adventure.
    • 54 Metascore
    • 75 David Sterritt
    The results are ragged, disjointed, and endearing.
    • 54 Metascore
    • 75 David Sterritt
    The acting is excellent, and the movie has a good-natured spirit to match its ultimate faith in the hero's deep-down goodness.
    • 54 Metascore
    • 50 David Sterritt
    It's all energetically filmed, but I miss the cool, modest clarity of the first version. Bigger isn't always better, even at the movies.
    • 54 Metascore
    • 50 David Sterritt
    Bland, amiable, innocuous.
    • 54 Metascore
    • 50 David Sterritt
    The acting is capable and the suspense is effective at times, but the gore is grisly and the climax is surprisingly hokey.
    • 53 Metascore
    • 50 David Sterritt
    Would have benefited from more flamboyant film clips and fewer folksy conversations with the garrulous old-timers it focuses on.
    • 53 Metascore
    • 75 David Sterritt
    Pacino's performance in People I Know is the best thing he's done in ages.
    • 53 Metascore
    • 50 David Sterritt
    Rowlands is superb, as usual, and Garner partners her with the grace of a dancer. Cassavetes's directing style is slow and stilted, though, indicating yet again that his notion of moviemaking is the opposite of everything his father, the great John Cassavetes, stood for.
    • 53 Metascore
    • 100 David Sterritt
    Riveting and revealing whatever views you have on the partisan issues involved.
    • 53 Metascore
    • 100 David Sterritt
    Stranger than fiction, indeed.
    • 53 Metascore
    • 50 David Sterritt
    McDonald and Montgomery are fun to watch in this mildly amusing Irish romantic comedy.
    • 53 Metascore
    • 50 David Sterritt
    The plot is predictable, and the humor is uncreative and often crude. The heroine, however, is endearing in her quirkiness.
    • 53 Metascore
    • 75 David Sterritt
    Davison gives one of his many bravura performances in this 1977 adaptation of Miguel Pinero's hard-hitting play.
    • 53 Metascore
    • 50 David Sterritt
    The movie has a broader range of emotions and visual effects than any "Star Wars" installment since "The Empire Strikes Back," but the writing and acting are as stiff as R2-D2's metal torso.
    • 53 Metascore
    • 50 David Sterritt
    Dark, eccentric, silly.
    • 53 Metascore
    • 75 David Sterritt
    Manages to seem fresh, funny, and original from start to finish.
    • 53 Metascore
    • 50 David Sterritt
    The movie teeters on a slippery dividing line between realism and fiction. It gains power from the mercurial nature of its improvised acting and split-screen camera work, though.
    • 53 Metascore
    • 50 David Sterritt
    Would have more heft if the filmmakers had been supplied with talented stars, original ideas, and a barely adequate budget.
    • 53 Metascore
    • 75 David Sterritt
    If you're not in the mood for "The Texas Chain Saw Massacre" meets "Last House on the Left," stay very far away. Horror fans will find what they're looking for, though.
    • 53 Metascore
    • 100 David Sterritt
    Superbly acted.
    • 53 Metascore
    • 50 David Sterritt
    The dramatic situations aren't intense or knotty enough to match the moral issues behind them, however.
    • 53 Metascore
    • 100 David Sterritt
    The movie is remarkably touching and engrossing, with Kline's spot-on acting and realistically second-rate singing balancing Judd's one-note performance as his wife.
    • 53 Metascore
    • 50 David Sterritt
    What's missing from this Vanity Fair is the sense of plucky, anything-goes adventurousness that abounds in Thackeray's novel.
    • 53 Metascore
    • 100 David Sterritt
    Like all this adventurous filmmaker's work, it's truly one of a kind.
    • 53 Metascore
    • 75 David Sterritt
    A diverting dramatic comedy.
    • 53 Metascore
    • 75 David Sterritt
    Maybe the movie does so much dawdling and meandering so we'll have more time to bask in their presence; in any case, the otherwise pleasant picture uses up its ideas long before it uses up its running time.
    • 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.
    • 53 Metascore
    • 63 David Sterritt
    The comedy has moments of great humor and terrific visual appeal. It's a solid achievement for Joel Coen, who directed; Ethan Coen, who produced; Sam Raimi, who wrote the screenplay with the brothers. [25 Mar 1994, p.A]
    • 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.
    • 53 Metascore
    • 75 David Sterritt
    The result would be an important drama if the screenplay (based on an early Arthur Miller novel) didn't lapse into preachiness and imprecision at times.
    • 53 Metascore
    • 50 David Sterritt
    Amiable, though much too long.
    • 53 Metascore
    • 50 David Sterritt
    The story is an odd mixture of preachiness and paranoia, but the stars provide sizzling performances and the action moves at a lively clip.
    • 53 Metascore
    • 75 David Sterritt
    Very well acted and directed, if overlong.
    • 53 Metascore
    • 50 David Sterritt
    You don't see such feisty acting very often.
    • 53 Metascore
    • 100 David Sterritt
    Content and style dovetail superbly in this offbeat drama, where images continually change in size and shape, evoking the story's message that human experience is always a pathway, not a destination.
    • 53 Metascore
    • 50 David Sterritt
    The psychology of the story is shallow, but the action scenes pack a good visual punch.
    • 53 Metascore
    • 25 David Sterritt
    Action freaks may enjoy the chasing and chomping, but there's no hint of human interest or moviemaking imagination.
    • 53 Metascore
    • 38 David Sterritt
    The message of the film is that life isn't neat and predictable like a well-arranged business trip; yet everything in the picture is so calculated that there's no life to it. [23 Dec 1988, A& L, p.19]
    • 53 Metascore
    • 75 David Sterritt
    The film's power grows from its dark-toned portrayal of the World War II era and from its evocative use of flashbacks, which show more interest in the characters' emotional lives than in story devices like surprise and suspense.
    • 52 Metascore
    • 75 David Sterritt
    The movie is well acted, deeply moving, and unlike some love stories, it doesn't feel forced or contrived.
    • 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.
    • 52 Metascore
    • 50 David Sterritt
    Too bad the action scenes rarely rise above standard kung-fu comedy, diluting the film's otherwise considerable entertainment value.
    • 52 Metascore
    • 50 David Sterritt
    The film actually deserves four stars for its imaginative style and astonishing suspense, zero stars for its shameless exploitation of violent shocks and loveless sensuality.
    • 52 Metascore
    • 50 David Sterritt
    The primary impression is lots of moping and mooning, plus a song at the beginning with some of the worst lyrics you've ever heard.
    • 52 Metascore
    • 50 David Sterritt
    There's something relentlessly superficial about the movie, and in one area that cries out for sensitivity - the treatment of racial differences among the characters - it falls down badly. [22 Aug 1990, Arts, p.11]
    • 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!
    • 52 Metascore
    • 50 David Sterritt
    There are lots of plot twists and romantic angles. What's lacking is laughs.
    • 52 Metascore
    • 50 David Sterritt
    As a story, Wild at Heart is even less coherent than “Blue Velvet,'' to the point where whole characters and subplots disappear into a murky haze at the end. [17 Aug 1990, Arts, p.11]
    • 52 Metascore
    • 50 David Sterritt
    Its main value is the prolonged look it gives of the late artist Basquiat.
    • 52 Metascore
    • 50 David Sterritt
    It's interesting to see a movie of this kind based on a single gospel, with no additions or interpolations from other sources. But except for a few scenes that evoke the reverent beauty of Renaissance painting, the filmmaking and acting are awfully stiff -- certainly not worthy of the timeless story being told.
    • 52 Metascore
    • 63 David Sterritt
    The plot is ''Pygmalion'' warmed over, but Michael Caine and Julie Walters give sparkling performances, and director Lewis Gilbert keeps the action humming along.
    • 52 Metascore
    • 75 David Sterritt
    But there's no denying the movie's frequent hilarity, abetted by Mel Smith's superbly laid-back directing and on-target performances by an excellent supporting cast.
    • 52 Metascore
    • 75 David Sterritt
    Merchant brings keen insight and rich humanity to this culturally revealing tale of psychological unease in a tense postcolonial world.
    • 52 Metascore
    • 50 David Sterritt
    The action is mild enough for fairly young children, and grownups may enjoy its old-fashioned spirit.
    • 52 Metascore
    • 50 David Sterritt
    The result can be viewed as an uproarious satire of science fiction in the "Independence Day" mold, or as a rehash of "Gremlins" without the novelty of the original.
    • 52 Metascore
    • 50 David Sterritt
    Well acted and ably directed, if not very probing about its subject of underclass youth.
    • 52 Metascore
    • 50 David Sterritt
    The story is as simple as the average football cheer, but the dialogue has amusing echoes of "Clueless," and Dunst and Bradford make a mighty cute couple.
    • 52 Metascore
    • 75 David Sterritt
    Rarely has a dance movie done so many cinematic pirouettes with such a graceful sense of audience-pleasing fun.
    • 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.
    • 52 Metascore
    • 50 David Sterritt
    Konchalovsky keeps the action reasonably quick, but sentimental storytelling eventually swamps the picture.
    • 52 Metascore
    • 50 David Sterritt
    This exceedingly romantic comedy begins with flair but lapses into clichés long before the sentimental (and predictable) finale.
    • 52 Metascore
    • 50 David Sterritt
    It's campy fun, but if you've seen the previous sequels, the plot grows tiresome and lacks shock value.
    • 52 Metascore
    • 50 David Sterritt
    The screenplay by Kevin Williamson ("Scream") keeps the lighting low and the tension high, though a bit more wit would have helped.
    • 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.
    • 52 Metascore
    • 50 David Sterritt
    The end product is so clunky, scattered, and all-around soggy that sometimes you can't help laughing. At least Connelly and Reilly give their all, and Tim Roth is terrific as a weird lawyer.
    • 52 Metascore
    • 50 David Sterritt
    Plenty of surprises, almost all of them nasty.
    • 52 Metascore
    • 50 David Sterritt
    Goes on much too long, stretching a modest story into a marathon that outlasts its welcome by about 30 minutes.
    • 52 Metascore
    • 75 David Sterritt
    Korine confirms his reputation as one of today's most experimentally minded filmmakers, helped by an inventive cast including German director Herzog in a surprisingly strong performance as the father.
    • 52 Metascore
    • 50 David Sterritt
    Ultimately more ambitious than enlightening.
    • 52 Metascore
    • 75 David Sterritt
    At a time when screen comedy has its own problems with anger management, Sandler's self-possessed style is as refreshing as it is funny.
    • 52 Metascore
    • 75 David Sterritt
    Smart and entertaining almost every step of the way.
    • 52 Metascore
    • 75 David Sterritt
    Less original than the first "Star Wars" and less resonant than "The Empire Strikes Back," but packed with fast-paced action and downright cuddly Ewoks.
    • 52 Metascore
    • 50 David Sterritt
    Much of the movie seems wired and overeager when it ought to be refreshing and relaxed. Everybody sweats and strains to be magical, and while they often succeed, the onslaught of so much aggressive charm is exhausting.
    • 52 Metascore
    • 75 David Sterritt
    The characters are hardly original...but Stone puts them into play with his usual fever-pitch gusto, producing what's probably the most heart-pounding gridiron movie ever made.
    • 52 Metascore
    • 50 David Sterritt
    A genuine PG, gentle and wholesome almost all the way through. It's not a great movie, but it should attract family audiences.
    • 52 Metascore
    • 75 David Sterritt
    Distinguished less by its elements of melodrama and psychodrama than by its intense acting and the vivid immediacy of Levring's powerful imagery.
    • 52 Metascore
    • 50 David Sterritt
    Araki graduates from his usual obsession with teenage angst in this neon-lighted comedy, but fails to hit the visual and verbal high notes he strains so hard to reach.
    • 52 Metascore
    • 50 David Sterritt
    The action is fast, furious, and as wacky as science fantasy gets.
    • 52 Metascore
    • 100 David Sterritt
    Imaginatively acted, endlessly atmospheric.
    • 52 Metascore
    • 50 David Sterritt
    Inherently stale.
    • 52 Metascore
    • 75 David Sterritt
    Isn't as funny as it wants to be, but it has a sheer pleasantness that stands out in this season of heavy-handed entertainments.
    • 52 Metascore
    • 50 David Sterritt
    Contains extremely graphic sex and many twists that are unpredictable but not very compelling.
    • 52 Metascore
    • 75 David Sterritt
    The real heroes are cinematographer Stephen H. Burum and editor Bill Pankow, who help the picture keep popping even when its plot and dialogue go into a slump.
    • 52 Metascore
    • 50 David Sterritt
    The story's celebration of honesty is commendable, even if the treatment of homophobia is no deeper than the hero's swimming pool.
    • 51 Metascore
    • 50 David Sterritt
    The message is plain: Men, especially rich men, have all the power. So be sure to do what they tell you, and maybe they'll treat you nicely… It's not one I like to hear. [27 Apr 1990, Arts, p.10]
    • 51 Metascore
    • 50 David Sterritt
    Its ambitious aims are commendable in themselves, but regrettable since they overinflate what might have been a simpler and better film.
    • 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.
    • 51 Metascore
    • 100 David Sterritt
    Gilliam has rarely been more inventive, energetic, or just plain funny.
    • 51 Metascore
    • 50 David Sterritt
    The story is stylishly filmed and acted with high spirits, but there's not much going on in many of its colorful shots.
    • 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.
    • 51 Metascore
    • 50 David Sterritt
    Paul Verhoeven's movie takes more action than ideas from Robert A. Heinlein's 1959 novel, which is just as well, considering the book's goofy suggestion that military veterans should control society from top to bottom.
    • 51 Metascore
    • 50 David Sterritt
    Directed by Joel Schumacher with occasional gestures toward social commentary, and enough spectacle to mask the movie's deep down emptiness.
    • 51 Metascore
    • 75 David Sterritt
    Patrick McGrath's novel provides a solid and suspenseful story, even if it loses much of its bite in Mackenzie's hands.
    • 51 Metascore
    • 50 David Sterritt
    The story is hardly original, but this well-directed Taiwanese drama paints an intermittently vivid portrait of life on the Chinese mainland in the 1930s era.
    • 51 Metascore
    • 75 David Sterritt
    No masterpiece, but that shouldn't dissuade moviegoers from giving it a whirl as a flavorful alternative to the summer's more gimmicky fare.
    • 51 Metascore
    • 75 David Sterritt
    This teenage "Pygmalion" is predictable and a bit gawky, and some won't like its flashes of gross-out humor. The cast is appealing, though, and there are a few hilarious jokes tucked in around the edges of the plot. [05 Feb 1999: 14]
    • 51 Metascore
    • 100 David Sterritt
    This deliciously offbeat Canadian comedy gets its charm from marvelous acting and from a screenplay bursting with ideas. Great fun.
    • 51 Metascore
    • 50 David Sterritt
    The drawn-out, lowbrow humor is either "love it" or "hate it," so it may not be your bag, baby.
    • 51 Metascore
    • 50 David Sterritt
    The package would be more enticing if it didn't fall so squarely into overused Hollywood formulas.
    • 51 Metascore
    • 50 David Sterritt
    The drama has compelling moments and touches of imagination, but it relies more on sentiment than sense in conveying its messages about faith, family, and tradition.
    • 51 Metascore
    • 75 David Sterritt
    A few scenes indulge in overstated hokum or thriller clichés, but Pfeiffer is first-rate and several sequences are suspenseful enough to deserve that overused adjective, Hitchcockian.
    • 51 Metascore
    • 50 David Sterritt
    The film would work better if its story unfolded more swiftly and if its twists were more unexpected. The acting is solid, though.
    • 51 Metascore
    • 50 David Sterritt
    Where's the real 007 when we really need him? Or better yet -- Calling Inspector Clouseau!
    • 51 Metascore
    • 63 David Sterritt
    It boasts appealing performances, and it takes a reasonably tasteful approach to its subject, aside from a string of four-letter words that sound strangely out of place in this romantic comedy.
    • 51 Metascore
    • 100 David Sterritt
    The best is "Equilibrium" by Soderbergh, about a man being analyzed by a distracted shrink.
    • 51 Metascore
    • 50 David Sterritt
    Fantasy-style plot doesn't mesh easily with the unsettling psychological themes woven through it.
    • 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.
    • 51 Metascore
    • 25 David Sterritt
    Labors mightily to be a frolicsome entertainment, but the results are - well, labored. The dialogue isn't snappy, the story isn't surprising, there's little chemistry between the stars.
    • 51 Metascore
    • 100 David Sterritt
    It's all deliberately homemade and raggedy, and that's where its charm comes from, along with the delightful old-music score.
    • 51 Metascore
    • 75 David Sterritt
    The computer-driven effects are impressive, but the adventure is hampered by a flat screenplay, dull acting, and just a hint as to why the dark side of the Force will eventually transform cute little Anakin into the evil Darth Vader.
    • 51 Metascore
    • 75 David Sterritt
    The willingness to blend professionals and nonprofessionals is Duvall's most interesting directorial trademark. Most commercial filmmakers hesitate to use this technique, but he doesn't see it as risky.
    • 51 Metascore
    • 50 David Sterritt
    This sensationalistic tale doesn't delve very far into the issues it raises.
    • 51 Metascore
    • 75 David Sterritt
    Noe's despairing view of human nature is as thoughtful as it is grim, limning the most appalling aspects of earthly experience in terms recalling Dante and Bosh, among other apocalyptic artists.
    • 51 Metascore
    • 75 David Sterritt
    The material is vivid and harrowing, although the movie provides little analysis or larger-scale context.
    • 51 Metascore
    • 50 David Sterritt
    Gallo's earlier work suggests he has directorial talent, but here it's buried beneath too much ego to be detectible.
    • 50 Metascore
    • 50 David Sterritt
    Kevin Kline has some amusing moments, but Meg Ryan's acting runs out of energy, and Lawrence Kasdan's directing is too laid-back to help her out. [7 Jul 1995, p.13]
    • 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.
    • 50 Metascore
    • 50 David Sterritt
    Frances McDormand and Patti LuPone are solid as his girlfriend and ex-wife, respectively, and James Franco is just right as his wayward son. They're a talented team. Too bad the movie doesn't live up to their abilities.
    • 50 Metascore
    • 50 David Sterritt
    Laurence Fishburne and Tim Roth play the main characters with conviction, but Bill Duke's punchy filmmaking style banishes any hope of storytelling subtlety or psychological nuance.
    • 50 Metascore
    • 50 David Sterritt
    Burton is an imaginative director with a distinctive artistic vision, but his originality is nowhere to be seen in this by-the-numbers retread.
    • 50 Metascore
    • 25 David Sterritt
    The plot is a shameless plea for vigilante violence, and the dignity of the black hero is outweighed by the ethnically marked evil of his Hispanic antagonist. Beneath its crisp veneer, much of the movie is a high-energy hymn to hate.
    • 50 Metascore
    • 25 David Sterritt
    Most of the characters are one-dimensional, and Avary's over-the-top directing doesn't make them interesting for more than a few isolated moments.
    • 50 Metascore
    • 25 David Sterritt
    The consequences aren't remotely as comic as they're meant to be.
    • 50 Metascore
    • 50 David Sterritt
    The subject is likable and the story has possibilities, but why does every single performance sink into a self-indulgent mess of hammy overacting?
    • 50 Metascore
    • 50 David Sterritt
    The story is a retread of the old "Exorcist" and "Omen" formats, but it delivers as much action and spectacle as fans of the genre could want.
    • 50 Metascore
    • 50 David Sterritt
    The movie is just plain muddled - showing the Hoffa forces performing a heinous crime one minute, then glamorizing and sentimentalizing them as if the other stuff had never happened.
    • 50 Metascore
    • 50 David Sterritt
    Always is a nice try for Spielberg, and the cast gives it a game try... The movie's generally dull effect makes it clear, however, that Spielberg still has some maturing to do before he's ready to scan the depths of human - not to mention cosmic - psychology.
    • 50 Metascore
    • 75 David Sterritt
    The movie has enough color and spirit to make lively viewing.
    • 50 Metascore
    • 75 David Sterritt
    It's a unique blend of history and hysteria, and there's no escaping the dead-serious ideas that run beneath its flamboyant surface.
    • 50 Metascore
    • 25 David Sterritt
    Alas, the movie is less clever than its characters.
    • 50 Metascore
    • 50 David Sterritt
    Val Kilmer is fun as the mercurial hero, and Elisabeth Shue would be great as the physicist if she didn't waste so much time making googoo-eyes at her handsome new boyfriend.
    • 50 Metascore
    • 25 David Sterritt
    This noisy, disorganized story is riddled with clichés, stereotypes, and self-indulgence from beginning to end.
    • 50 Metascore
    • 75 David Sterritt
    Julia Roberts is brighter and spunkier than usual, and Rupert Everett steals the show.
    • 50 Metascore
    • 50 David Sterritt
    The characters of this Dutch comedy aren't very interesting or original, but it has a stylish look and spirited performances.
    • 50 Metascore
    • 100 David Sterritt
    The eerie tale is steeped in brooding atmosphere and psychological suspense thanks to Glazer's hugely imaginative visual style and creative use of music, sound, and silence.
    • 50 Metascore
    • 50 David Sterritt
    Well made, nice performances, very slowly paced.
    • 50 Metascore
    • 75 David Sterritt
    Solondz is a courageous social commentator and a canny provocateur at the same time. He'll never get to Hollywood if he stays on this track, but cinema will be a lot duller if he ever mends his incendiary ways.
    • 50 Metascore
    • 50 David Sterritt
    The first half is high-quality science fiction, the rest is a high-tech chase adventure with a gleeful yen for destructive thrills.
    • 50 Metascore
    • 50 David Sterritt
    The setting is cramped and the story is illogical, but it's suspenseful as long as you don't think about it very hard.
    • 50 Metascore
    • 75 David Sterritt
    Old-style animation slows down after a snappy start, but it's lively enough to keep kids from fidgeting too much.
    • 49 Metascore
    • 75 David Sterritt
    The Four Feathers ends on the same dubious note as "Black Hawk Down" and other recent war movies, suggesting that loyalty in the trenches -- not the reason for fighting in the first place -- is all that matters. Many will disagree.
    • 49 Metascore
    • 50 David Sterritt
    Moviegoers tired of ethnic humor will find plenty to complain about.
    • 49 Metascore
    • 75 David Sterritt
    Law is lively and Shyer keeps the action hopping with help from the movie's original gimmick of having Alfie keep up a running monologue to the audience.
    • 49 Metascore
    • 50 David Sterritt
    Newman's magnetic face isn't enough to raise this intermittently amusing thriller above the ordinary caper-comedy crowd.
    • 49 Metascore
    • 50 David Sterritt
    Certainly offbeat, but not on a level with director Kim's previous work about marginalized people.
    • 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.
    • 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.
    • 49 Metascore
    • 50 David Sterritt
    The story is as contrived as it is comical.
    • 49 Metascore
    • 100 David Sterritt
    Ingenious, eye-opening documentary.
    • 49 Metascore
    • 50 David Sterritt
    Tamer than tame in every respect, which makes it great for little kids, if not for the grownups who bring them.
    • 49 Metascore
    • 75 David Sterritt
    Gries and Morris act up a storm as the optimistically named Sunny Holiday and his long-suffering manager.
    • 49 Metascore
    • 50 David Sterritt
    The story never gathers much dramatic momentum despite an impressive cast and a lot of dank Middle Ages atmosphere.
    • 49 Metascore
    • 50 David Sterritt
    What keeps The Mosquito Coast from being a great movie is too much caution.
    • 49 Metascore
    • 50 David Sterritt
    This sort of cinema is as dehumanizing as the aliens who serve as its intergalactic bad guys.
    • 49 Metascore
    • 75 David Sterritt
    Lounguine tells the story with more discipline than you'll find in his earlier films, painting a crowded portrait of a society moving toward a future it can neither confidently predict nor look forward to with anything but nervous anticipation.
    • 49 Metascore
    • 100 David Sterritt
    Supercharged with an energy and ingenuity that "Run Lola Run" once had a patent on.
    • 49 Metascore
    • 75 David Sterritt
    It's an impressive movie, pointing to Howard as a promising new director.
    • 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.
    • 49 Metascore
    • 75 David Sterritt
    Mel Gibson and Julia Roberts contribute major star power to the uneven tale, but it never becomes as convincing as a real conspiracy theory should.
    • 49 Metascore
    • 75 David Sterritt
    Furtado's comic thriller is a telling commentary on modern avarice in Brazil and elsewhere, which touches on everything from "The Simpsons" to "Rear Window" along the way. Too bad it runs out of ideas before the overlong story is over.
    • 49 Metascore
    • 50 David Sterritt
    Quite funny and eye-catching.
    • 49 Metascore
    • 75 David Sterritt
    The first half of this freewheeling comedy-drama finds Toback at his imaginative best. The second half sinks into silliness.
    • 49 Metascore
    • 50 David Sterritt
    The movie makes a commendable effort to celebrate bravery and underscore the terrors of war, but its melodramatic approach is more spectacular than insightful.
    • 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.
    • 49 Metascore
    • 50 David Sterritt
    Moderately amusing sequel, which is best when it relies on dead-pan acting by the stars, worst when it drags in summer-movie stupidities like an incessantly talking dog.
    • 49 Metascore
    • 50 David Sterritt
    Takes a humane look at an episode in recent history that's received little attention.
    • 49 Metascore
    • 50 David Sterritt
    Coogan and Broadbent are agile and expressive, but too much time goes to Chan's silly stunts. A colorful disappointment.
    • 49 Metascore
    • 75 David Sterritt
    The story seems awfully far-fetched when real people play the characters, but the canines are cute and Glenn Close was born to play Cruella De Vil, the monstrous magnate who sets the plot in motion.
    • 49 Metascore
    • 50 David Sterritt
    Carrey gives an awesome comic performance.. Look out for huge amounts of deliberately disgusting, gross-out humor, though.
    • 49 Metascore
    • 50 David Sterritt
    AT once an old-fashioned adventure and a postmodern pastiche, The Quick and the Dead walks a slim tightrope with impressive skill and humor. Its main reference point is the work of Sergio Leone, the Italian maestro whose "spaghetti westerns" reinvigorated the genre during its last major phase about 30 years ago. [13 Feb 1995, p.13]
    • 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.
    • 49 Metascore
    • 25 David Sterritt
    If a mildly magical story is what you're after, it'll be worth the price of admission. Otherwise save your milk money for something more substantial.
    • 49 Metascore
    • 50 David Sterritt
    At a time when much public education is in a state of perilous decay, one wonders whether this sentimental ode to old-school dignity and privilege is in touch with today's pressing realities.
    • 49 Metascore
    • 50 David Sterritt
    The drama is long on 1950s atmosphere and complicated feelings, short on emotional depth and real psychological insight.
    • 49 Metascore
    • 75 David Sterritt
    Thanks to director Zucker, this is by far the best installment yet -- there's less bathroom humor and more "Airplane!"-type lunacy.
    • 49 Metascore
    • 50 David Sterritt
    More cautionary than titillating...some of it (is) deliberately disturbing.
    • 49 Metascore
    • 100 David Sterritt
    The movie is woven with care and complexity, again confirming von Trotta's place as one of the world's greatest female filmmakers.
    • 49 Metascore
    • 75 David Sterritt
    It's refreshing to see a cartoon that looks like a cartoon -- and a lovingly drawn one -- rather than a conglomeration of computer-generated bits and bytes.
    • 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?