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 5.4 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
Average review score: 65
Highest review score: 100 La grande strada azzurra
Lowest review score: 0 Half Baked
Score distribution:
1,976 movie reviews
    • 48 Metascore
    • 50 David Sterritt
    Unabashed "Star Wars" clone.
    • 48 Metascore
    • 50 David Sterritt
    The story has inherent emotional power, but Jeremy Brock's formula-bound screenplay rarely soars beyond cliches.
    • 48 Metascore
    • 75 David Sterritt
    It has a good heart, though, and makes an amiable introduction to the integration battles of the '60s and '70s.
    • 48 Metascore
    • 50 David Sterritt
    All of the actresses are fun to watch, and as much attention appears to have been lavished on their outfits and hairdos as on their high-flying fight scenes.
    • 48 Metascore
    • 100 David Sterritt
    The movie's main contribution is its fresh look at the Vietnam War, being refought in the Kerry-Bush presidential campaign at the time of the film's release.
    • 48 Metascore
    • 50 David Sterritt
    Its screenplay veers in highly questionable directions before reaching a mean-spirited climax that outweighs Ron Howard's workmanlike filmmaking and the contributions of a star-powered cast.
    • 48 Metascore
    • 50 David Sterritt
    All the old Disney trademarks are here, except the wit and surprise that were once the studio's stock in trade. There's little appeal to grownups, but kids should enjoy it.
    • 48 Metascore
    • 100 David Sterritt
    A skeptical view of George W. Bush's chief political strategist, Karl Rove, using argumentative strategies common to agenda-driven documentaries.
    • 48 Metascore
    • 50 David Sterritt
    Ultimately more exasperating than rewarding.
    • 48 Metascore
    • 50 David Sterritt
    The result is hardly a subtle film, but it has a stronger sense of combat's real costs and consequences than more sensationalistic pictures like "Black Hawk Down" and "We Were Soldiers" provide.
    • 48 Metascore
    • 50 David Sterritt
    The story may be too slow and complicated for the youngest moviegoers.
    • 48 Metascore
    • 50 David Sterritt
    This likable comedy-drama gets most of its oomph from acting.
    • 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.
    • 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.
    • 48 Metascore
    • 50 David Sterritt
    Lively acting and an amiable comic atmosphere offer partial compensation for generally lackluster filmmaking.
    • 48 Metascore
    • 50 David Sterritt
    The movie has moments of breathtaking suspense, at least until it lapses into cartoonish implausibility in the second half. With good acting and good dialogue it might actually have been a good picture.
    • 48 Metascore
    • 50 David Sterritt
    Allen has fun with all his roles -- The rest of the acting is bland, but the movie's preteen target audience won't mind, and adults will find occasional grown-up jokes to chuckle at.
    • 48 Metascore
    • 50 David Sterritt
    Although this is a likable comedy-drama, it never quite balances its humanitarian message (disabled people fall in love like everyone else) with its standard-issue romantic angles.
    • 48 Metascore
    • 50 David Sterritt
    Long, bombastic, and violent, but fantasy fans may enjoy its fast-moving energy.
    • 48 Metascore
    • 50 David Sterritt
    As dull as it is to watch, "Star Trek" at least possesses a measure of intellectual pizzazz: not enough to provoke thought and discussion, exactly, but more than many "Star Wars" imitators have bothered to give us. [4 Jan. 1980, p.15]
    • 48 Metascore
    • 50 David Sterritt
    The story has possibilities, but you'll spot the big plot twists long before they happen, and the acting by Judd and Cavaziel is strictly by the numbers.
    • 48 Metascore
    • 50 David Sterritt
    Most of the time we see her through Hal's idealizing eyes, though -- no surprise, since Hollywood won't let glittery stars like Paltrow play down their sex appeal for long.
    • 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.
    • 48 Metascore
    • 75 David Sterritt
    Touching and sentimental.
    • 48 Metascore
    • 50 David Sterritt
    The story has charming and uplifting moments as well as strong performances by an impressive cast.
    • 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.
    • 48 Metascore
    • 50 David Sterritt
    The movie raises more interesting issues - often connected with the hazy lines between appearance and reality - than it's prepared to coherently explore.
    • 48 Metascore
    • 50 David Sterritt
    This uneven drama might have been more effective if someone with more on-screen charisma than writer-director Elster had played the main character.
    • 48 Metascore
    • 38 David Sterritt
    The combination of caveman dialogue, overcooked action, and anything-for-an-effect performances is maddeningly crude even by cop-movie standards. [22 May 1987, p.23]
    • 48 Metascore
    • 75 David Sterritt
    A lively portrait of contemporary painter George Condo.
    • 48 Metascore
    • 25 David Sterritt
    xXx
    The infuriating thing about XXX isn't that it delivers thrills and spills to moviegoers who don't know any better, but that its Hollywood hype reinforces the notion that brain-dead entertainment is what movies are all about.
    • 48 Metascore
    • 50 David Sterritt
    More emphasis on computer-generated gimmickry than on persuasive acting and ideas.
    • 48 Metascore
    • 50 David Sterritt
    The screenplay isn't remotely as funny as it tries to be, and the visual style is equally unexciting.
    • 48 Metascore
    • 75 David Sterritt
    Rambling, meandering, likable.
    • 47 Metascore
    • 50 David Sterritt
    The dialogue isn't quite as sparkling and the plot twists aren't quite as snappy as you want them to be. And the story keeps rambling on after its oomph runs wearisomely thin.
    • 47 Metascore
    • 50 David Sterritt
    Enough odd twists to be mildly interesting.
    • 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.
    • 47 Metascore
    • 75 David Sterritt
    The action is as perky as the main characters.
    • 47 Metascore
    • 75 David Sterritt
    Gripping.
    • 47 Metascore
    • 50 David Sterritt
    Runs out of good ideas long before it's over, falling below "Prizzi's Honor" and "The Freshman" in the dubious genre of contract-killer comedies.
    • 47 Metascore
    • 75 David Sterritt
    This energetically acted, creatively directed comedy-drama has every ingredient for success except a satisfying finale.
    • 47 Metascore
    • 50 David Sterritt
    This historical fantasy is too ambitious for its own good, but contains some striking imagery and likable performances.
    • 47 Metascore
    • 75 David Sterritt
    Figgis still deserves credit for taking more artistic chances than a dozen ordinary directors.
    • 47 Metascore
    • 50 David Sterritt
    Expertly made, thanks largely to Jim Caviezel's fervent portrayal of Jesus and Caleb Deschanel's skillful camera work. But the film contains little to learn from, unless one is unfamiliar with basic Christian history.
    • 47 Metascore
    • 50 David Sterritt
    Olyphant steals the show as a cheeky porn producer. The rest is gimmicky and predictable, except for a clever surprise near the end.
    • 47 Metascore
    • 50 David Sterritt
    Written and directed by the clever Wachowski brothers, this is a sequel that only a die-hard fan could love. But those fans will love it very, very much.
    • 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.
    • 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.
    • 47 Metascore
    • 75 David Sterritt
    Effective action, solid suspense, excellent Ribisi, plus enough clichés to equal the grains of Gobi sand that fill the screen.
    • 47 Metascore
    • 50 David Sterritt
    The trouble lies in its stereotypical style, its schmaltzy emotionalism.
    • 47 Metascore
    • 75 David Sterritt
    Worth viewing by anyone concerned about world events.
    • 47 Metascore
    • 50 David Sterritt
    Spacey is endearing, bringing his shy character to life despite glaring psychological gaps in the screenplay.
    • 47 Metascore
    • 50 David Sterritt
    Plunges energetically into the 16th-century religious rebel's activities and philosophies. It dodges some significant issues in Luther's life, however, reducing its value as an educational film.
    • 47 Metascore
    • 25 David Sterritt
    Falls flat, with more "sound design" than delicious music, more slick film editing than graceful ballroom gliding.
    • 47 Metascore
    • 50 David Sterritt
    All this amounts to a badly wasted opportunity, since global warming is a serious issue that deserves thoughtful treatment. So stay home and read a scientific journal instead. This is a disaster movie that lives up to its label.
    • 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.
    • 47 Metascore
    • 25 David Sterritt
    The violent story is long on nastiness, short on credibility.
    • 47 Metascore
    • 50 David Sterritt
    Wesley Snipes is terrific as the hero.
    • 47 Metascore
    • 75 David Sterritt
    The story is a mess, as usual with Toback's movies, but intricacies of contemporary urban culture are vividly illuminated by his insistence on blurring the boundaries between fiction and reality.
    • 47 Metascore
    • 75 David Sterritt
    Quite appealing, thanks to good-humored acting and to Martha Coolidge's quiet directing style. She lets romance and comedy bubble up from the characters instead of imposing gimmicky twists on the story.
    • 47 Metascore
    • 50 David Sterritt
    The first hour is sharply directed, character-driven drama that ranks with Scott's best work. Then he lapses into his usual mode - more a bombardier than an entertainer, filling the screen with sadistic violence and arbitrary plot twists. In all, a wasted opportunity.
    • 47 Metascore
    • 50 David Sterritt
    It's so slavishly similar to its predecessor - right down to the symbolic lettering on Marion's license plates - that there's little to spark fresh discussion except the acting.
    • 47 Metascore
    • 50 David Sterritt
    Bids for originality by focusing on an offbeat profession. Every other aspect is pretty stale, though, from the smart-alecky characters to the romantic-triangle plot.
    • 47 Metascore
    • 100 David Sterritt
    Leaving aside Huston's bland acting and a few other flaws, Sayles's politically charged drama raises a rousing number of issues and ideas, inviting us to ponder them and draw our own conclusions.
    • 47 Metascore
    • 50 David Sterritt
    Utterly predictable, but pleasant enough for its young target audience.
    • 47 Metascore
    • 50 David Sterritt
    This is standard plot material in most respects, and Kasdan has done little to make it seem new. Fans of time-tested formulas may applaud his fidelity to the genre, but others will wish he'd come up with a few original notions to energize this very long picture.
    • 47 Metascore
    • 25 David Sterritt
    What remains discomforting is their sheer failure to be funny.
    • 47 Metascore
    • 25 David Sterritt
    By the time it ended, I'd stopped caring. I suspect most moviegoers will do the same. Here's hoping Shelton scurries back to the athletic world in a hurry.
    • 47 Metascore
    • 25 David Sterritt
    The plot pants so hard -- that it makes less sense than the average pet-food commercial.
    • 47 Metascore
    • 50 David Sterritt
    The drama is as obsessive as its heroine. Crossword mavens may enjoy it, but it's too monomaniacal for comfort.
    • 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.
    • 47 Metascore
    • 75 David Sterritt
    Like its precursor, U.S. Marshals has lots of action and the Jones groupies are likeable. Though the overall picture isn't as fine-tuned or character driven, it still delivers what moviegoers want to see - a fast-paced and entertaining chase.
    • 47 Metascore
    • 100 David Sterritt
    An ingeniously scripted psychological thriller.
    • 47 Metascore
    • 25 David Sterritt
    Movie stars have tamed sassy kids in movies from "The Blackboard Jungle" to "Stand and Deliver," but it's hard to remember an example more patronizing or sentimentalized than this one.
    • 47 Metascore
    • 25 David Sterritt
    Tries to be daring and iconoclastic but winds up seeming as spoiled and childish as its main characters.
    • 47 Metascore
    • 50 David Sterritt
    Energetic acting helps compensate for a contrived script and directing that's sometimes as heavy as its cheerfully rotund characters.
    • 46 Metascore
    • 50 David Sterritt
    The story is spotty, but the acting is fine, especially when Walken is around.
    • 46 Metascore
    • 25 David Sterritt
    An interesting cast is wasted in this misanthropic thriller.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 David Sterritt
    Much of the acting is energetically good. Moviegoers familiar with "Fargo" and "Red Rock West" will find this adventure eerily familiar.
    • 46 Metascore
    • 75 David Sterritt
    Grim and sordid though it often is, the film has a steady flow of visually absorbing images. It's an art movie for the masses.
    • 46 Metascore
    • 75 David Sterritt
    Vladimir Nabokov's novel helped open society's eyes to the evils of pedophilia in the 1950s, and this pensive adaptation renews the warning for a later generation.
    • 46 Metascore
    • 75 David Sterritt
    One of the season's most watchable treats.
    • 46 Metascore
    • 50 David Sterritt
    Spacey is almost as swinging as Darin was, but his filmmaking leans toward tried-and-true formulas.
    • 46 Metascore
    • 75 David Sterritt
    Lively acting, eye-catching cinematography, and funny dialogue lift this fantasy a notch above the average until love-story cliches and horror-movie shocks bog it down.
    • 46 Metascore
    • 50 David Sterritt
    The subject is intriguing even if the dialogue is stilted and the acting is uneven.
    • 46 Metascore
    • 50 David Sterritt
    Desplechin wants to film an adventure of the human spirit in the manner of a Hitchcockian drama, but he doesn't have a solid enough grasp of English culture to equal the complexity of his French productions like "The Sentinel" and "The Life of the Dead."
    • 46 Metascore
    • 50 David Sterritt
    All so fast and frenetic.
    • 46 Metascore
    • 75 David Sterritt
    Romantic comedy about a bridegroom-to-be who gets sidetracked on the way to his wedding, especially by an unexpected traveling companion who's both free-spirited and beautiful.
    • 46 Metascore
    • 75 David Sterritt
    Depp gives a smart, subtle performance, and Turturro is terrific as a foe who's both exactly what he seems and exactly the opposite. Koepp's makes his (literally) corny tricks seemfresh and surprising.
    • 46 Metascore
    • 50 David Sterritt
    The results are more sleazy than insightful.
    • 46 Metascore
    • 75 David Sterritt
    Carrey is excellent, making the most of his comic gifts even in a cumbersome Grinch outfit, and the eye-spinning color scheme is dazzling to behold.
    • 46 Metascore
    • 75 David Sterritt
    Quite a time capsule, sampling various mid-century entertainment forms.
    • tbd Metascore
    • 100 David Sterritt
    Put Roeg's powerful cinematic style on the cultural map.
    • 46 Metascore
    • 50 David Sterritt
    The screenplay doesn't ultimately make much sense. Carrey is a unique comic talent, though, and Freeman and Aniston back him up with such sensitive supporting performances that the film almost works if you can suspend enough disbelief to swallow its fantastic premise.
    • 46 Metascore
    • 75 David Sterritt
    The movie is Allen's most successful in years, even if you don't see it as a self-made commentary on his own career. Credit goes less to the comic dialogue than to the razor-sharp performances of an excellent cast.
    • 46 Metascore
    • 25 David Sterritt
    Bataille was a serious philosopher as well as a sensation-seeking writer, but you'd never guess his provocative ideas from this updated version.
    • 46 Metascore
    • 75 David Sterritt
    Saw
    Horror fans will find plenty to shriek about. Everyone else should keep their distance.
    • 46 Metascore
    • 50 David Sterritt
    The story meanders, but the subject is timely and important.
    • 46 Metascore
    • 25 David Sterritt
    Like a nincompoop version of "The Usual Suspects."
    • 46 Metascore
    • 25 David Sterritt
    Even MacLachlan's surprisingly witty performance can't compensate for the trite screenplay and Mistry's lack of charisma.
    • 46 Metascore
    • 50 David Sterritt
    Virtually every person in the story is fabulously cute, picturesquely forlorn, adorably ditzy, or winsomely philosophical. In short, there's plenty of smooth storytelling but not a hint of reality here.
    • 46 Metascore
    • 75 David Sterritt
    Jack Nicholson and Anjelica Huston give mature performances as the bereaved parents, and David Morse brings an offbeat touch to the basically decent man who traumatized their lives.
    • 46 Metascore
    • 38 David Sterritt
    The director, Taylor Hackford, doesn't have the cinematic savvy to sustain so many tensions in a meaningful way; and the screenplay strays far over the line between incisive political comment and heavy-handed Red-baiting.
    • 46 Metascore
    • 25 David Sterritt
    The movie means well, but neither its emotions nor its performances ring very true.
    • 46 Metascore
    • 50 David Sterritt
    Sensitive acting by Morgan Freeman and stylish directing by Gary Fleder can't overcome the bottom-line pointlessness of the movie's melodramatic material, which never achieves the dark resonance that helped "The Silence of the Lambs" get under the skin of many moviegoers.
    • 46 Metascore
    • 38 David Sterritt
    The stagebound setting gets boring; the action doesn't build a steady momentum; and the characters do far too much hanging around until the camera's ready to point at them again.
    • 46 Metascore
    • 50 David Sterritt
    Soft, sentimental, and as unlike real family life as you can get.
    • 46 Metascore
    • 50 David Sterritt
    May find some fans among female teens. But even they may decide the project cares more about quick profits than real entertainment value, since the signs are hard to miss.
    • 45 Metascore
    • 50 David Sterritt
    Potter's trademark devices are all present, including the way characters burst into songs lip-synced to vintage recordings on the sound track.
    • 45 Metascore
    • 50 David Sterritt
    This variation on the "Rear Window" format works best when director Noyce gives free rein to Washington's thoughtful charm.
    • 45 Metascore
    • 75 David Sterritt
    The movie's somber message is worth heeding, and the acting is mostly excellent.
    • 45 Metascore
    • 50 David Sterritt
    Roberts brings a sense of personal conviction to her part -- she's quite a feminist herself -- and as much sense of humor as the corny screenplay allows.
    • 45 Metascore
    • 75 David Sterritt
    Strong acting and smartly tuned-in directing turn a run-of-the-mill detective story into a striking, sometimes harrowing blend of horror and suspense.
    • 45 Metascore
    • 75 David Sterritt
    There's heavy influence from the "Brave New World" brand of dystopian fantasy, but engaging performances and a stylized visual approach lend it originality.
    • 45 Metascore
    • 100 David Sterritt
    This strikingly unusual movie is at once an old-fashioned melodrama, a boldly stylized spectacle, and a very grim fairy tale, acted and directed with originality and flair.
    • 45 Metascore
    • 50 David Sterritt
    Director Claire Kilner and screenwriter Neena Beber don't walk the tightrope between comedy and drama skillfully enough to make either aspect work as well as it should.
    • 45 Metascore
    • 75 David Sterritt
    Violence Hitch would have found way beyond what's necessary. Horror fans will find effective shivers, though.
    • 45 Metascore
    • 50 David Sterritt
    A pleasant experience, if not the dazzling entertainment Lopez fans were hoping for.
    • 45 Metascore
    • 75 David Sterritt
    Much of the style strains too hard to be cute, but true romantics may shed copious tears of sympathy and empathy.
    • 45 Metascore
    • 50 David Sterritt
    For most of its two-hour running time it simply flings a barrage of horrors at the audience, enhanced with the most imaginative science-fiction atmospherics this side of "Dark City," which incidentally was a far more original picture.
    • 45 Metascore
    • 50 David Sterritt
    The pop-music star Prince makes his movie debut in this bizarre drama about a rock singer with a troubled career and a miserable home life.
    • 45 Metascore
    • 50 David Sterritt
    Colorful and cute. It would be better if it weren't quite so sitcommy and if it didn't outlast its ideas.
    • 45 Metascore
    • 50 David Sterritt
    It doesn't have a speck of authentic heart -- you can bet its Hollywood creators wouldn't move to Alabama if their lives depended on it -- but if you belong to the growing legion of Witherspoon worshippers, this is definitely the movie of the week.
    • 45 Metascore
    • 50 David Sterritt
    Slow, beautifully filmed, Nolte's Jefferson implausible.
    • 45 Metascore
    • 50 David Sterritt
    Eddie Murphy does his patented routines effectively, and the dialogue has some pungent moments, but the movie doesn't succeed as the "Mr. Smith Goes to Washington" update it would like to be.
    • 45 Metascore
    • 50 David Sterritt
    Resembles a fast-and-flashy variation on "The Sixth Sense," with touches of "The Matrix" as a bonus.
    • 45 Metascore
    • 50 David Sterritt
    Caine puts all his formidable talent into pulling this off, but Jewison's directing and Roland Harwood's screenplay (based on Brian Moore's novel) provide a regrettably shaky foundation for him to build on.
    • 45 Metascore
    • 50 David Sterritt
    Barrymore and Busey walk away with the acting honors, but no aspect of the picture is more than mildly entertaining.
    • 45 Metascore
    • 25 David Sterritt
    The movie is gorgeously filmed and contains some fascinating lore about life in northern climes. But the plot is tritely predictable and far-fetched. Julia Ormond, Gabriel Byrne, and Vanessa Redgrave are among the performers who deliver less than their best.
    • 45 Metascore
    • 50 David Sterritt
    A promising feature-film debut.
    • 45 Metascore
    • 50 David Sterritt
    The movie takes no particular stance on the controversies surrounding its heroine, seen by some as a self-serving egomaniac and others as a tireless champion of the poor. Nor can much insight be gleaned from Madonna's energetic but oddly impersonal performance.
    • 45 Metascore
    • 50 David Sterritt
    Intended as a parody of B-movie fantasies from the '50s, this satire more directly lampoons kiddie thrillers like "Captain Video," putting it perilously close to the pop-culture trash it aims to mock.
    • 45 Metascore
    • 50 David Sterritt
    Far from a great film, but it certainly stretches the envelope.
    • 45 Metascore
    • 50 David Sterritt
    Too bad the acting is uneven. And the ineptly done English subtitles will have you laughing in all the wrong places.
    • 45 Metascore
    • 50 David Sterritt
    True-blue golf buffs should find it a treat. For others it's no deeper than a tin cup on a putting green.
    • 45 Metascore
    • 75 David Sterritt
    Some scenes are just silly, others are dead-on uproarious. Ditka, a real-life football legend, is a real find as our hero's assistant.
    • 45 Metascore
    • 50 David Sterritt
    Hackman gives a powerful performance as the killer, and the storytelling is often gripping. But the film contains much extremely offensive language and gratuitous depictions of violence, some of it aimed at children, not needed to get the plot across.
    • 45 Metascore
    • 100 David Sterritt
    One of a kind, turning Foreman trademarks such as self-satirical acting and out-of-nowhere music into powerful elements of an outlandish story.
    • 45 Metascore
    • 75 David Sterritt
    The result is fine fantasy fun.
    • 45 Metascore
    • 75 David Sterritt
    Influenced by Billy Wilder's classic "Ace in the Hole," this dark comedy-drama rambles on too long and strains credibility at times.
    • 45 Metascore
    • 25 David Sterritt
    Spoiled by its simplistic portrait of people from the Mideast as incorrigibly violent and untrustworthy.
    • 45 Metascore
    • 50 David Sterritt
    Bird's keen visual imagination keeps the action grimly watchable.
    • 45 Metascore
    • 75 David Sterritt
    Solomon keeps the drama generally clear and interesting, though some touches make the film-noir plot seem too pretentious.
    • 45 Metascore
    • 50 David Sterritt
    Fans of Jacquelyn Mitchard's novel may find enough echoes of the book to justify the price of admission. But others can see this sort of thinly crafted melodrama in TV movies every week. For free.
    • 45 Metascore
    • 38 David Sterritt
    While the production is attractive in a calendar-photo sort of way, there's not a speck of genuine feeling in its glossy images.
    • 44 Metascore
    • 75 David Sterritt
    Taylor is utterly believable even when the screenplay (from an Anne Tyler novel) is too self-consciously quirky, and Pearce nicely portrays the guy she obsesses over.
    • 44 Metascore
    • 100 David Sterritt
    Polanski's directing is marvelously assured and Depp is always fun to watch.
    • 44 Metascore
    • 25 David Sterritt
    Fiction and fantasy to evade reflection on the world we actually live in.
    • 44 Metascore
    • 50 David Sterritt
    The movie is visually impressive, but Ishii's virtuoso style can't overcome the flatness of the comic-book story he's telling.
    • 44 Metascore
    • 75 David Sterritt
    The result is what you might call a mass-audience art film. It doesn't entirely succeed, but it's certainly a change from today's standard mysteries and horror movies.
    • 44 Metascore
    • 75 David Sterritt
    Boorman treats this moving, important subject with restraint, tact, and candid views of horrors suffered by the nation.
    • 44 Metascore
    • 50 David Sterritt
    There's interesting material about Soviet history, but searching for answers about the revolutionary's spouse turns out to be less than engrossing.
    • 44 Metascore
    • 50 David Sterritt
    Depardieu gives the story a firm center of gravity, aided by Joffé's eye for colorful settings and period detail.
    • 44 Metascore
    • 75 David Sterritt
    Bravo works too hard at extolling Castro -- The film's historical footage is compelling, though, and provides plenty to think about.
    • 44 Metascore
    • 50 David Sterritt
    The action is dynamically filmed and Willis is at his best. Suspense is soon hijacked by outright gore and grisliness, though.
    • 44 Metascore
    • 50 David Sterritt
    Funny dialogue, crisp black-and-white cinematography, and a well-chosen cast of mostly stage-trained actors raise this eccentric fantasy a notch above the ordinary.
    • 44 Metascore
    • 25 David Sterritt
    The suspense sequences are straight from the standard Hollywood blueprint, and the movie as a whole is so sloppily assembled that it's almost incoherent at times.
    • 44 Metascore
    • 50 David Sterritt
    Kitano's first major comedy is loose and likable.
    • 44 Metascore
    • 50 David Sterritt
    The best reason to see It Runs in the Family is the sight of unquenchable Kirk.
    • 44 Metascore
    • 50 David Sterritt
    The pace of this Bolivia/US coproduction is slower than that of a snail, but it gathers some interest as the themes of the vignettes dovetail near the end.
    • 44 Metascore
    • 50 David Sterritt
    The acting is endearing and the story has great charm before predictability and sentimentality eventually take over.
    • 44 Metascore
    • 50 David Sterritt
    I'd like Head of State better if it had less cartoonish violence, and if its gags weren't so predictable. Rock is in fine comic form, though, and his directing debut shows real promise.
    • 44 Metascore
    • 50 David Sterritt
    Much of the movie exploits its subject for low-grade laughs, but in the end it takes a foursquare stand against the sleazy business it portrays, exposing its capacity for decadence and degradation.
    • 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.
    • 44 Metascore
    • 75 David Sterritt
    Watts is wonderful, and the story's forsaken-child theme still has plenty of horrific power.
    • 44 Metascore
    • 50 David Sterritt
    More psychological realism and less showy cinema would have made this offbeat melodrama more memorable.
    • 44 Metascore
    • 75 David Sterritt
    Henderson steals the show as an elderly African-American man befriended by one of the main characters.
    • 44 Metascore
    • 50 David Sterritt
    This visually inventive fantasy paints the wide screen with colorful effects, but its psychological and spiritual ideas rarely rise above "new age" fuzziness.
    • 44 Metascore
    • 50 David Sterritt
    Shyamalan remains a stilted screenwriter, but Roger Deakins's cinematography is spooky, creepy, eerie all the way.
    • 44 Metascore
    • 50 David Sterritt
    The movie catches occasional fire when Bridget suddenly says what's really on her mind. The rest is silliness.
    • 44 Metascore
    • 50 David Sterritt
    Too chilly and distanced to build the emotional impact it would like to have.
    • 44 Metascore
    • 25 David Sterritt
    Falls flat on screen, weighed down by far-fetched plot twists.
    • 44 Metascore
    • 25 David Sterritt
    Weak acting, even by Hoffman. Aniston is so far above this material she should never, ever have signed on.
    • 43 Metascore
    • 50 David Sterritt
    Good acting and an effectively claustrophobic mood compensate for a story that doesn't add up to much in the long run.
    • 43 Metascore
    • 75 David Sterritt
    The comedy is often crass and crude, but it makes telling points about how much of "race" is more about the words and gestures we use than the actual colors of our skins.
    • 43 Metascore
    • 75 David Sterritt
    Harrelson hits just the right sardonic note in this self-mocking crime drama, but look out for grisly touches along the way.
    • 43 Metascore
    • 50 David Sterritt
    Like most movies aimed at the younger set, Racing Stripes has easily absorbable lessons to teach: Be yourself, never stop trying if your goal is worthwhile, and so forth.
    • 43 Metascore
    • 58 David Sterritt
    The fact remains that some Treks are better than others, and ''The Final Frontier'' doesn't have the surprising warmth of the very best. It's diverting, but forgettable. [19 June 1989, p.15]
    • 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.
    • 43 Metascore
    • 75 David Sterritt
    Lively acting and stylish directing make this an engaging comedy-drama, although its attitude toward guns and violence is disconcertingly romantic.
    • 43 Metascore
    • 25 David Sterritt
    Uninspired thriller-comedy.
    • 43 Metascore
    • 50 David Sterritt
    It's always hard to predict what Winterbottom will try next, but this experiment isn't worth repeating, the lively concert scenes notwithstanding. Be forewarned that the sexual scenes aren't simulated.
    • 43 Metascore
    • 25 David Sterritt
    The story is irresponsible and the filmmaking is awful.
    • 43 Metascore
    • 50 David Sterritt
    It delivers all the raunch and ribaldry its designated audience could hope for, but others may find it more deliberately disgusting than effervescently outrageous.
    • 43 Metascore
    • 50 David Sterritt
    The story is less original than its setting - it knocks off everything from "Lord of the Flies" to "The Blair Witch Project" -and its unromantic moods may make DiCaprio's countless "Titanic" fans want to swim in the opposite direction.
    • 43 Metascore
    • 50 David Sterritt
    This is a quintessential Allen comedy: squirmy relationships, dark Jewish humor, an assumption that everybody in Manhattan has money and a touch of glamour, and -- as with most of Allen's movies since the first few years of his career -- not nearly as many laughs as it gamely tries for.
    • 43 Metascore
    • 75 David Sterritt
    Although overlong, the picture has a fair measure of jolts and surprises.
    • 43 Metascore
    • 50 David Sterritt
    Woo's customary action-film pyrotechnics gather more substance than usual from the implausible but inventive plot, drawn from a Philip K. Dick story.
    • 43 Metascore
    • 50 David Sterritt
    Woody Harrelson, Randy Quaid, and Bill Murray give riotous performances, but be warned that the comedy is overloaded with gross-out humor from beginning to end.
    • 43 Metascore
    • 25 David Sterritt
    MESSAGE Nuclear blackmail is a horrible crime but can be defeated by vigilant and courageous authorities.
    • 43 Metascore
    • 50 David Sterritt
    This sentimental drama is wildly uneven as it switches between ballpark scenes, which are very involving, and romantic episodes, which are badly overplayed.
    • 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.
    • 43 Metascore
    • 75 David Sterritt
    Dumont's methods are radical, but there's a fascinating method to his seeming cinematic madness.
    • 43 Metascore
    • 50 David Sterritt
    The murder-mystery plot is told in rough-and-tumble style, full of sound and fury but signifying almost nothing in the end.
    • 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.
    • 43 Metascore
    • 50 David Sterritt
    Brest deserves credit for letting the story unfold at a thoughtful pace, but the drama falls apart in the last half-hour, gushing with exaggerated emotions and abandoning its fairy-tale premises for an unconvincing feel-good finale.
    • 43 Metascore
    • 50 David Sterritt
    The drama is likably low-key but builds little excitement, and Bowie's star billing says more about the power of his agent than the number of scenes he appears in.
    • 42 Metascore
    • 50 David Sterritt
    Alas, the movie isn't nearly as amusing as its premise, but it's refreshingly different from most run-of-the-mill teenage fare.
    • 42 Metascore
    • 25 David Sterritt
    If you want a movie time trip, the 1960 version is a far smoother ride.
    • 42 Metascore
    • 75 David Sterritt
    Wilson is the main reason to see The Big Bounce, where he's perfect as a reasonably smart guy who often seems to have no idea what he's getting into. The other reasons are a solid supporting cast.
    • 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.
    • 42 Metascore
    • 50 David Sterritt
    The story isn't nearly as funny or suspenseful as it would like to be, although the solid cast gives it occasional dashes of pizazz.
    • 42 Metascore
    • 75 David Sterritt
    Imagine a sexually charged "Heart of Darkness" by way of Denmark's bare-bones Dogme 95 and you'll have an idea of what this dark, moody melodrama is like.
    • 42 Metascore
    • 75 David Sterritt
    Bullock is cute. Grant is even cuter. They have the timing and panache of a first-rate comedy team.
    • 42 Metascore
    • 50 David Sterritt
    The screenplay is so stale that even fans of the previous "Jurassic" installments might think this is one clone too many.
    • 42 Metascore
    • 50 David Sterritt
    The movie has almost enough corny appeal to offset its lack of originality, though, and Walken is fun as Cagliostro, the court's great prognosticator and all-around weirdo.
    • 42 Metascore
    • 50 David Sterritt
    Kids may yawn at the movie's dawdling pace.
    • 42 Metascore
    • 50 David Sterritt
    The topic is thought-provoking, the flashback-based structure is interesting, and there are surprising twists near the end. But there's also an overdose of sentimentality that badly dilutes the picture's impact.
    • 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.
    • 42 Metascore
    • 38 David Sterritt
    Armageddon may sell tickets, thanks largely to a high-powered marketing machine that's been conducting its own countdown for the past several months. But it's not a pretty picture.
    • 42 Metascore
    • 75 David Sterritt
    At heart, this is an old-fashioned monster flick decked out with Hollywood's full battery of high-tech visual effects. It's as goofy as it is gory -- stay away if you don't like in-your-face mayhem.
    • 42 Metascore
    • 50 David Sterritt
    The filmmakers can't decide what sort of picture they're trying to cook up, so they keep oscillating among shallow psychological drama, high-tech action sequences, and comedy scenes that are themselves an uneasy mixture of sitcom-style dialogue and self-mocking campiness.
    • 42 Metascore
    • 50 David Sterritt
    Tries to be a new "Something Wild"; ends up being tamer than tame.
    • 42 Metascore
    • 25 David Sterritt
    Serial killing and other insanity in the French countryside, with ineptly dubbed English dialogue.
    • 42 Metascore
    • 50 David Sterritt
    The story has more violence than brains, but Hong Kong action star Chow makes an interestingly moody impression in his first Hollywood role.
    • 42 Metascore
    • 50 David Sterritt
    The story is slow and corny, but Whitaker gives commendable dignity to his everyday characters, and the acting is emotionally strong as long as the male romantic interest (Connick) isn't around.
    • 41 Metascore
    • 50 David Sterritt
    The idea of a Woody Allen movie about fame is enticing, but a meandering screenplay and uninspired acting make this one of his thinnest, tinniest films.
    • 41 Metascore
    • 50 David Sterritt
    A very uneven dark comedy.
    • 41 Metascore
    • 75 David Sterritt
    The movie is very small in scale, but the performances are appealing and Fernandez's screenplay casts an interesting light on the main characters' self-images as Latina women.
    • 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.
    • 41 Metascore
    • 75 David Sterritt
    The movie is as adolescent as it sounds, but Kahn keeps your eyes popping with truly nonstop action and some of the most outlandishly inventive effects you've ever seen. And of course Cube is so supercool it's worth the price of admission just to watch him.
    • 41 Metascore
    • 50 David Sterritt
    McClelland is a joy to watch, even when the story strains too hard for lovable whimsy, which happens much too often.
    • 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
    De Niro and Hoffman almost give comic life to this brainless, vulgar farce.
    • 41 Metascore
    • 75 David Sterritt
    John Turteltaub directed the drama, which lapses into medical jargon and new-age clichés near the end, but it scores telling points with its respect for intelligence and optimistic view of human potential.
    • 41 Metascore
    • 50 David Sterritt
    A deluge of funny, inane jokes.
    • 41 Metascore
    • 25 David Sterritt
    Lachow goes for cuteness and whimsy every chance he gets, missing a lot more often than he hits.
    • 41 Metascore
    • 50 David Sterritt
    Goodman's comic delivery gets maximum mileage from a few amusing situations, though.
    • 41 Metascore
    • 75 David Sterritt
    The picture repeats itself a lot, but Dash is a good sport in poking barbed fun at the PR machinations of today's music business.
    • 41 Metascore
    • 50 David Sterritt
    The more the picture reveals, the less interesting it gets, transforming its hero from an intriguing mystery man into a standard-issue screen vigilante -- and steadily upping the violence, complete with harrowing torture scenes, in a lame effort to keep our juices flowing.
    • 41 Metascore
    • 50 David Sterritt
    Christopher Hampton's film conveys the basic plot of Joseph Conrad's sinuous novel but loses the book's sardonic tone and psychological depth.
    • 41 Metascore
    • 50 David Sterritt
    Its most impressive aspect is its visual style, patterned to some degree on Sergio Leone westerns. A picture this long and dense should work harder to be cogent and coherent, though.
    • 41 Metascore
    • 100 David Sterritt
    At once dreamily surreal, acutely intelligent, and strikingly tough-minded, this pitch-dark dramatic comedy recalls David Lynch and "Donnie Darko" while remaining fresh and original to its core. A stunning directorial debut.
    • 41 Metascore
    • 75 David Sterritt
    As a frightfest it's better than today's average.
    • 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.
    • 40 Metascore
    • 50 David Sterritt
    It's a standard science-fantasy fable, but the visual effects are mighty impressive.
    • 40 Metascore
    • 50 David Sterritt
    Based on Bennett's own experiences, the movie has no penetrating insights to offer, but it's acted and directed in an improvisational spirit well-suited to its ultra-low budget and digital-video technology.
    • 40 Metascore
    • 75 David Sterritt
    This unevenly paced comedy is an amusing parody of monster movies from "Them!" to "Alien."
    • 40 Metascore
    • 0 David Sterritt
    Numbingly violent action.
    • 40 Metascore
    • 50 David Sterritt
    The acting and crooning are sadly uneven, making this a shaky comeback vehicle for the screen musical.
    • 40 Metascore
    • 50 David Sterritt
    It's fun to watch superheroes who aren't quite at ease with their abilities, but "The Incredibles" - last year's similarly themed animated film - is livelier and funnier.
    • 40 Metascore
    • 50 David Sterritt
    You'll enjoy this sentimental drama if you feel good intentions are their own reward, at least where movies are concerned; but it'll exasperate you if you want your entertainment to have some connection with the world we actually live in.
    • 40 Metascore
    • 50 David Sterritt
    The first hour is eloquent and true. Once the story takes its big turn toward tragedy, though, it becomes predictable and sentimental.
    • 40 Metascore
    • 50 David Sterritt
    The movie takes fascinating material and transforms it into a routine soap opera.
    • 40 Metascore
    • 50 David Sterritt
    Denis's pungent images create a nightmarish mood but don't bring full artistic coherence to her odd mix of gothic horror and postmodern reverie.
    • 40 Metascore
    • 50 David Sterritt
    The action is as grisly as it is surrealistic.
    • 40 Metascore
    • 50 David Sterritt
    Too crisp and calculated to match the moods of its wild and woolly characters, and its interwoven subplots lead to predictable outcomes.
    • 39 Metascore
    • 75 David Sterritt
    Although there's quite a bit of nudity and sex, the potentially sensationalistic story is acted with sincerity and directed with a creative eye.
    • 39 Metascore
    • 75 David Sterritt
    The movie is lively, funny, and endearing until melodramatics and sentimentality take over in the last few scenes.
    • 39 Metascore
    • 25 David Sterritt
    Mostly trite and tacky despite Robin Williams's strenuous acting.
    • 39 Metascore
    • 25 David Sterritt
    This belated "reimagining" is as beguiling as a dried-out palm tree.
    • 39 Metascore
    • 50 David Sterritt
    The comically tinged action is as lively as it is brainless, and it revels in violence a bit less eagerly than many thrillers of its ilk.
    • 39 Metascore
    • 25 David Sterritt
    The movie's real spectacle is the sight of so many talented people slogging through such idiotic material.
    • tbd Metascore
    • 50 David Sterritt
    Interesting as anthropology, although the subject won't appeal to many people.
    • 39 Metascore
    • 50 David Sterritt
    Too bad the clever bits are swamped by no-brainer gunfights, rescues, and chases galore.
    • 39 Metascore
    • 50 David Sterritt
    Murphy gives one of his more-restrained performances, which suits the mood of carefully contained mayhem established by Steve Carr, the director.
    • 39 Metascore
    • 75 David Sterritt
    The movie morphs into a deconstructed remake of "Indecent Exposure" and it's downright riveting, with Campbell doing her best acting to date.
    • 39 Metascore
    • 50 David Sterritt
    The screenplay provides enough cute one-liners and love-struck speeches to give the comedy intermittent charm.
    • 39 Metascore
    • 50 David Sterritt
    Its ideas are worth pondering, but as a movie it's less memorable than its interesting cast suggests.
    • 39 Metascore
    • 50 David Sterritt
    The story is likable if not memorable, and the Chinese settings lend the basically ordinary plot a touch of novelty.
    • 39 Metascore
    • 50 David Sterritt
    As featherweight as its title, but Lyonne gives a winning performance and the mischievous story packs a few good laughs.
    • 39 Metascore
    • 50 David Sterritt
    The story is so sentimental that even soap-opera buffs may feel it outwears its welcome.
    • 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.
    • 39 Metascore
    • 50 David Sterritt
    Annie turns out to be a reasonably entertaining movie.
    • 39 Metascore
    • 50 David Sterritt
    Petroni's directorial debut is too bittersweet and atmospheric for its own good, wrapping a potentially strong story in too many layers of misty emotion.
    • 38 Metascore
    • 50 David Sterritt
    This indirect rehash of "To Catch a Thief" trades Hitchcockian shrewdness for the slickest kinds of Hollywood glitz, gloss, and vulgarity.
    • 38 Metascore
    • 50 David Sterritt
    A lot more violent and a tad less creepy than the 1974 original, the much-changed remake delivers enough gory, belligerent mayhem to keep horror fans screaming.
    • 38 Metascore
    • 50 David Sterritt
    No amount of technical skill can substitute for genuine shivers, and in the fright department this picture rarely lives up to its hype.
    • 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.
    • 38 Metascore
    • 50 David Sterritt
    Nora Ephron's comedy tries to be sweet, hip, innocent, and sophisticated all at the same time, and it doesn't take long for these contradictory goals to cancel one another out.
    • 38 Metascore
    • 25 David Sterritt
    As a movie, it's mediocre.
    • 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.
    • 38 Metascore
    • 50 David Sterritt
    This throwback to the outmoded blaxploitation genre is skillfully filmed by Dickerson, but has little else to offer besides cheap, violent thrills.
    • 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.
    • 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!
    • 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.
    • 38 Metascore
    • 50 David Sterritt
    There are many tantalizing bits, but the overall result is a simplistic story wrapped in barely explained quantum physics and new-age sound bites. Fascinating and frustrating in about equal measure.
    • 38 Metascore
    • 50 David Sterritt
    The action is fast, furious, and occasionally quite funny.
    • 38 Metascore
    • 50 David Sterritt
    The movie has promise as a psychological thriller, but the filmmakers show far more interest in chases and shoot-outs than characters and ideas.
    • 38 Metascore
    • 75 David Sterritt
    If you're in the mood for razor-sharp satire, this is the most refreshingly outrageous movie of the season.
    • 38 Metascore
    • 75 David Sterritt
    Don't expect much from the scratch-and-sniff "odorama" gimmick; the mischievous John Waters set a higher standard for that novelty in "Polyester" (1981).
    • 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!
    • 38 Metascore
    • 50 David Sterritt
    Too many clichés and too much uneven acting dilute its impact.
    • 38 Metascore
    • 25 David Sterritt
    Stoner jokes, awful gags, and just stupid stuff equate to one bad movie.
    • 38 Metascore
    • 50 David Sterritt
    As clumsy as its title.
    • 38 Metascore
    • 50 David Sterritt
    Great cast, great atmosphere, little sense or first-rate suspense.
    • 38 Metascore
    • 50 David Sterritt
    Only part of it is in 3-D, but youngsters should enjoy pulling their special specs on and off at appropriate moments.
    • 37 Metascore
    • 25 David Sterritt
    A director of Frankenheimer's stature deserves less sensationalistic material, and so does his audience.
    • 37 Metascore
    • 50 David Sterritt
    This isn't a Ferrara classic like "King of New York," but even his less- memorable pictures carry an eccentric kick no other director could duplicate.
    • 37 Metascore
    • 75 David Sterritt
    Coil up with a tub of popcorn, get a stranglehold on your soda - this is a creepy, action-packed boat ride down a jungle river with lots of huge snakes dropping by for man-sized snacks.
    • 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.
    • 37 Metascore
    • 50 David Sterritt
    Filmmakers run out of ideas long before the final.
    • tbd Metascore
    • 50 David Sterritt
    Documentary about stock trading, with some vivid images but no clear perspectives or opinions on the material it presents.
    • 37 Metascore
    • 50 David Sterritt
    Most of the movie is standard action fare, but the political commentary is interesting when it's allowed to surface.
    • 37 Metascore
    • 50 David Sterritt
    It's fun to watch for a while. But the movie runs much too long, and a few funny bits aside, most of the comedy writing is lame.
    • 37 Metascore
    • 25 David Sterritt
    Tennant's featherweight comedy is clearly pitched at the date-movie crowd, and couples may enjoy it if they can get past the picture's simplistic ethnic stereotypes and its willingness to wish away every real-life family problem the characters will surely face after the feel-good finale.
    • 37 Metascore
    • 50 David Sterritt
    The screenplay aims high in terms of humanity and complexity, but director Hoge drains it of energy with listless meanderings that provide more yawns than insights.