Desson Thomson
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For 1,631 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.2 points lower than other critics. (0-100 point scale)

Desson Thomson's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Wings of Desire
Lowest review score: 0 The Devil's Own
Score distribution:
1,631 movie reviews
    • 69 Metascore
    • 60 Desson Thomson
    Had The Cooler stuck to its dark guns and not turned into a treacly, love-conquers-all fairy tale, this movie might have gone somewhere. In the end, you're only watching this with a sort of mercenary interest in the actors.
    • 57 Metascore
    • 60 Desson Thomson
    There are no dramatic peaks and valleys in this story line, just a uniform, dramatic flatness.
    • 73 Metascore
    • 60 Desson Thomson
    Makes for interesting, rather than emotionally compelling viewing.
    • 67 Metascore
    • 60 Desson Thomson
    Bridges can't be a whole movie. But he's the main reason to watch.
    • 48 Metascore
    • 60 Desson Thomson
    You're hard-pressed to dislike the film.
    • 71 Metascore
    • 60 Desson Thomson
    Making a film about mob violence while showing restraint and humanism is a difficult procedure. Singleton and screenwriter Poirier search for some gradations within the white ranks, but for the most part, every cracker's a psycho with a short, smoking fuse.
    • 33 Metascore
    • 60 Desson Thomson
    If you're not rolling in the aisles, you're definitely in the wrong theater.
    • 71 Metascore
    • 60 Desson Thomson
    Wuornos was unambiguous about one thing: She wanted to die. In the end, that's the only assurance the movie provides. It's an odd kind of closure for her and for us.
    • 55 Metascore
    • 60 Desson Thomson
    Thanks to screenwriter Alan Sharp's fast-moving scenario featuring a healthy array of rape, pillage, burning, deceit, swordfighting, treachery and murder, it's a watchable hoot.
    • 77 Metascore
    • 60 Desson Thomson
    Sunrise feels more like an absorbing experiment than a supple success.
    • 70 Metascore
    • 60 Desson Thomson
    As Benny (short for Bernadette), a big-boned, headstrong lass who strains winningly against the restrictions of family, religion and just plain growing up, [Driver's] a comedic breath of fresh air, easily the best thing about the movie.
    • 71 Metascore
    • 60 Desson Thomson
    As a satire on Tobacco Inc.'s outrageous ability to market carbon monoxide as the elixir of life, this movie should be packing more nicotine.
    • 74 Metascore
    • 60 Desson Thomson
    There's nothing "wrong" with this movie but it feels like warmed-over business as usual.
    • 62 Metascore
    • 60 Desson Thomson
    Doesn't connect with its audience in the one place that matters most: the heart.
    • 57 Metascore
    • 60 Desson Thomson
    Aims for the fun and sensation of being inside a video game, but not a whole lot more.
    • 55 Metascore
    • 60 Desson Thomson
    Ultimately, the movie's too uneven to be totally satisfying.
    • 53 Metascore
    • 60 Desson Thomson
    Myers, who created the original characters, has to make a feature film out of a teeny sketch. With cowriters Bonnie and Terry Turner, he fares better than you'd expect.
    • 55 Metascore
    • 60 Desson Thomson
    Ron Howard somehow makes a great movie and an awful movie, all at the same time.
    • 75 Metascore
    • 60 Desson Thomson
    Guerrilla' is an engaging film, but it's a documentary and nothing more.
    • 51 Metascore
    • 60 Desson Thomson
    The movie's about its own playfulness. But that playfulness, all too often, feels labored.
    • 63 Metascore
    • 60 Desson Thomson
    Although the movie adheres more closely to history than "Quills," it lacks dramatic punch and depth.
    • 63 Metascore
    • 60 Desson Thomson
    Has a refreshingly original attitude.
    • 60 Metascore
    • 60 Desson Thomson
    Brassed Off gets bogged down in sentimentality; and that political agenda is spread on thick.
    • 86 Metascore
    • 60 Desson Thomson
    The writer in Soderbergh proves the ultimate weak link. In sex, lies' last third, he seems seized with a compulsion to make sense of it all, bring everything to bear, give everyone their moral comeuppance, their screenplay payoff.
    • 59 Metascore
    • 60 Desson Thomson
    I can recommend the first two-thirds of this movie with great enthusiasm.
    • 68 Metascore
    • 60 Desson Thomson
    The first 60 minutes of this black comedy are brilliantly sustained, but then director and co-writer de la Iglesia loses his way.
    • 70 Metascore
    • 60 Desson Thomson
    Won't go down as Robert Altman's most memorable movie. But it's a pleasant affair, whose greatest assets are its unhurried, benevolent atmosphere and the quiet, gem-like moments that occur among its characters.
    • 60 Metascore
    • 60 Desson Thomson
    The more you lower your expectations, the more you'll learn to laugh.
    • 72 Metascore
    • 60 Desson Thomson
    It's doubtful that Depp's off-kilter interpretation will have any discernible effect on the movie's success. But it remains the movie's most disappointing aspect.
    • 76 Metascore
    • 60 Desson Thomson
    Engagement simply disappears inside its own enormous, intricate and ambitious design.
    • 57 Metascore
    • 60 Desson Thomson
    Even by its own dark standards, the movie's conclusion is as dramatically dissatisfying as it is disturbing.
    • 64 Metascore
    • 60 Desson Thomson
    It offers a sort of Chinese food poignancy, the kind that may seem satisfying at the time but ultimately leaves us hungering for more, for something authentic.
    • 44 Metascore
    • 60 Desson Thomson
    Castro remains the star of the show. You can't stop watching him.
    • 53 Metascore
    • 60 Desson Thomson
    Williams has to break out of a second-rate "Tootsie" imitation, ankles clamped in pathos and face covered in latex. He pulls it off in the end, but it's not pretty.
    • 56 Metascore
    • 60 Desson Thomson
    Never feels original, even though it's enjoyable to watch Kevin Spacey, Danny DeVito and newcomer Peter Facinelli going at it with snappy patter.
    • 67 Metascore
    • 60 Desson Thomson
    Like President Kennedy, director Donaldson (who made "No Way Out," another pretty good Washington-seat-of-power thriller) has found a perfect balance of often-opposing forces: between recorded history and the demands of plain old entertainment.
    • 61 Metascore
    • 60 Desson Thomson
    Beautifully filmed and very atmospheric in terms of evoking the sights and sounds of modern-day Beijing, this Chinese movie suffers a flat tire about halfway through.
    • 64 Metascore
    • 60 Desson Thomson
    Although the movie has its moments -- particularly when our hero finds himself surrounded by a gimlet-eyed circle of futuristic detectives -- it's never really successful.
    • 58 Metascore
    • 60 Desson Thomson
    Playful as it is, Clare Peploe's adaptation of Pierre Marivaux's romantic comedy coughs and sputters on its own postmodern conceit.
    • 54 Metascore
    • 60 Desson Thomson
    In the end, we don't know what we're watching, an art-house superhero film or a computer-generated "King Kong." By trying to please both sensibilities, the filmmakers have pleased neither.
    • 73 Metascore
    • 60 Desson Thomson
    How great can an epic be, when it takes 30 years, including a whole sequence devoted to World War I, for Jean to realize he could be a little nicer to his wife? This is for diehard Francophiles and literate-movie fans only.
    • 72 Metascore
    • 60 Desson Thomson
    With its zany daily episodes, "Groundhog" gets stuck in a non-progressive repetition.
    • 59 Metascore
    • 60 Desson Thomson
    The film's first half is easily the best and brightest. As the movie moves into the more saddening sections, however, it loses most of its power.
    • 35 Metascore
    • 60 Desson Thomson
    By its own deliriously rock-bottom standards, "Universal" ain't half bad. Of course, you have to be big on bloody slaughter, kickboxing, infrared gunning and impaired acting. But "Universal" executes its subtle-free mission with surprisingly watchable efficiency.
    • 64 Metascore
    • 60 Desson Thomson
    There's nothing beyond the bloodshed and gallows humor, just intellectually secondhand implications about materialism, conformity and misogyny.
    • 62 Metascore
    • 60 Desson Thomson
    Less-than-scintillating spin on "Life Is Beautiful."
    • 59 Metascore
    • 60 Desson Thomson
    Ironically, Alien is not a bad movie. In fact -- here's the rub -- it's too interesting to make an exciting summer flick.
    • 65 Metascore
    • 60 Desson Thomson
    At first blush, there's something vicariously liberating about Brosnan strutting through a lobby dressed only in Speedos and cowboy boots. But it also feels false. The actor seems to be theatrically slumming before his return to suave form.
    • 57 Metascore
    • 60 Desson Thomson
    Its strength is the documentary-textured depiction of Native Americans in their social environment. Its weakness is a story that's a patchy combination of soap opera, low-tech magic realism and, at times, ploddingly sociological commentary.
    • 59 Metascore
    • 60 Desson Thomson
    It suffers from a dreary middle section. Great movie, mediocre script.
    • 69 Metascore
    • 60 Desson Thomson
    Like the mysterious, bound package Goodman gives Turturro (the contents are never revealed), the Coens isolate a small area of interest, bind it with psycho-atmospheric finesse, then wait for something significant to emerge. Even after a second viewing of this movie, it doesn't.
    • 72 Metascore
    • 60 Desson Thomson
    This movie has all the same elements as other Grisham fare: raw young lawyer trying to make it in the South; helpless client treated badly; sleazy, star-chamber villains. Wake me up when the last-minute surprise witness comes out of her hidey hole to turn the case around.
    • 74 Metascore
    • 60 Desson Thomson
    The movie attempts to paint too large a canvas.
    • 69 Metascore
    • 60 Desson Thomson
    Sad, sobering film.
    • 64 Metascore
    • 60 Desson Thomson
    Vaughn can motormouth like a machine gun, spraying men, women and children with manic, rat-a-tat outbursts of toxic insincerity. It's often dirty, yes. But it's also manic and inspired.
    • 80 Metascore
    • 60 Desson Thomson
    For all its visual delights, however, Coraline remains more an engaging spectacle than a connective drama. That is chiefly because of the writing. Director-writer Henry Selick doesn't reach for the kind of universality that would enrich the movie.
    • 57 Metascore
    • 60 Desson Thomson
    Of all ironies, "Strangers" occasionally takes a step in the direction of the after-school specials it's trying to twit; you'll catch it trying to make you feel warm and fuzzy about Jerri.
    • 78 Metascore
    • 60 Desson Thomson
    You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced.
    • 55 Metascore
    • 60 Desson Thomson
    There's something diverting but not wildly stirring about this Italian drama.
    • 77 Metascore
    • 60 Desson Thomson
    I sat through "Courage" with interest, but I wasn't particularly moved or riveted with suspense.
    • 69 Metascore
    • 60 Desson Thomson
    Refreshingly free of the hyperbole of special effects...Ong-Bak will win no scriptwriting awards, but Jaa is definitely the real deal.
    • 63 Metascore
    • 60 Desson Thomson
    Although the movie is moving and even funny in many places, it's also overextended. And composer John Williams's syrupy score practically oozes from your ears on the drive home.
    • 72 Metascore
    • 50 Desson Thomson
    Instead of an originally conceived movie that reflects Nash's troubled but brilliant mind, we have one of those formulaically rendered Important Subject movies -- the kind that seem exclusively designed for Best Picture nominations.
    • 46 Metascore
    • 50 Desson Thomson
    Hoot may be warm and fuzzy with its adorable owls, triumphant kids and inviting Florida groves. But its forced, innocuous humor is unlikely to amuse anyone but the very young -- and the extremely forgiving.
    • 73 Metascore
    • 50 Desson Thomson
    Creepy and truly suspenseful in some places, unintentionally comic or plain awful in others.
    • 46 Metascore
    • 50 Desson Thomson
    This is a movie that knows its audience and realizes it doesn't need much of a story to hit that audience, literally, where it lives.
    • 53 Metascore
    • 50 Desson Thomson
    A British black comedy, saves its best for last -- and God bless Maggie Smith for, well, being Maggie Smith -- but that requires sitting through a frustrating, uneven hour of sluggish preamble.
    • 61 Metascore
    • 50 Desson Thomson
    In the end, we're treated to an overture of possibilities rather than a satisfying film.
    • 59 Metascore
    • 50 Desson Thomson
    The best element of the movie is a subplot involving Noah's spiritually obsessed teacher (Rainn Wilson) and his wacky girlfriend (Kathryn Hahn), whose bumbling eccentricities give the movie an emotional liveliness it otherwise lacks.
    • 70 Metascore
    • 50 Desson Thomson
    Its hackneyed themes prevent the sci-fi flick from feeling like anything more than well-directed mediocrity.
    • 58 Metascore
    • 50 Desson Thomson
    A great director's losing battle against a goofy script.
    • 57 Metascore
    • 50 Desson Thomson
    The movie Casanova, starring Heath Ledger, not only fetters the randy Venetian in political correctness, it condemns him to dwell inside the modern equivalent of a bad Shakespeare play.
    • 55 Metascore
    • 50 Desson Thomson
    Newton may not be a great actor, either, but she's full of life and charm. She's the only thing holding this movie together at all.
    • 65 Metascore
    • 50 Desson Thomson
    Fails to capture the spiritual hallelujah of the novel.
    • 64 Metascore
    • 50 Desson Thomson
    The only reason this dilemma has any import is thanks to Bardem, who almost single-handedly drags the film along.
    • 45 Metascore
    • 50 Desson Thomson
    It's too bad the movie's intriguing effect wears off (so to speak) about two-thirds through.
    • 67 Metascore
    • 50 Desson Thomson
    There's a problem: This romance isn't developed enough to be truly satisfying -- it's fat-free SnackWell's when you want Godiva. It's not the original story we signed up for -- or thought we did.
    • 36 Metascore
    • 50 Desson Thomson
    With the exception of a few enjoyable action scenes, such as when Aeon and fellow operative Sithandra (Sophie Okonedo) flip and backflip their way across a lethal garden of bullet-spewing trees and spikes disguised as blades of grass, Aeon Flux is surprisingly draggy.
    • 37 Metascore
    • 50 Desson Thomson
    If you're looking to take your children to something harmless, that doesn't embarrass anyone, this light comedy (a gentle parody of those "Behind the Music" specials on cable TV) is your next outing.
    • 62 Metascore
    • 50 Desson Thomson
    Director Phillip Noyce has made a serious movie that switches to almost popcorn entertainment.
    • 65 Metascore
    • 50 Desson Thomson
    Taxes the threshold of acceptable cuteness.
    • 56 Metascore
    • 50 Desson Thomson
    It's simultaneously arty, arcane and nasty.
    • 46 Metascore
    • 50 Desson Thomson
    This muttering boatman seems to have lost his old-time heroism. No longer is Rambo killing for a cause, but for kicks. And his portentous blather, even by Rambo standards, becomes unintentionally hilarious.
    • 62 Metascore
    • 50 Desson Thomson
    You leave Creatures with the unsettling sensation of being highly tickled yet greatly dissatisfied.
    • 65 Metascore
    • 50 Desson Thomson
    Even by the art film standards it apes, Solaris lacks conviction. And although it's meant to be restrained and free of emotional hysteria, the result is a movie that pretty much lies dead on the screen for an hour and a half.
    • 52 Metascore
    • 50 Desson Thomson
    In Lost Highway, David Lynch dabbles in spooky, chilly implication and a sort of hip incoherence.
    • 53 Metascore
    • 50 Desson Thomson
    O
    A fairly ordinary drama about young love, basketball, petty jealousy and high school politics. The movie also has one of the goofiest, over-the-top finales in recent memory.
    • 44 Metascore
    • 50 Desson Thomson
    Performances feel too manufactured to be charming.
    • 66 Metascore
    • 50 Desson Thomson
    The story moves episodically, almost painstakingly.
    • 36 Metascore
    • 50 Desson Thomson
    Death Sentence, directed by "Saw" co-creator James Wan, swings the pendulum too far. One day Nick is a mild-mannered nerd who spends his days making (and loving) risk assessments for his company; the next, he's Travis Bickle from 1976's "Taxi Driver."
    • 51 Metascore
    • 50 Desson Thomson
    This bizarre little diversion will soon scamper into the wild grass, never to be seen again.
    • tbd Metascore
    • 50 Desson Thomson
    Even though these characters are hogtied by the story's unimaginative conventions, at least their lively interactions feel genuine.
    • 48 Metascore
    • 50 Desson Thomson
    There is nothing worth getting steamed over or particularly excited about.
    • 59 Metascore
    • 50 Desson Thomson
    In this loser-and-the-whore story line, Allen's sensibilities have taken a turn for the nasty.
    • 53 Metascore
    • 50 Desson Thomson
    Works better as a subject for high school study rather than lasting art.
    • 48 Metascore
    • 50 Desson Thomson
    A mediocre comic romance.
    • 65 Metascore
    • 50 Desson Thomson
    Unfortunately, the idea for Dirty Dancing exceeds the execution...and the story resolves itself all too conveniently in that final scene.
    • 75 Metascore
    • 50 Desson Thomson
    Sweet Land is as empty and beautiful as the picturesque Minnesota terrain it's so clearly taken with.
    • 48 Metascore
    • 50 Desson Thomson
    Even Posey -- who brightens most movies she's in -- fails to stir the movie's unresponsive tectonic plates.
    • 62 Metascore
    • 50 Desson Thomson
    The best moments occur when -- as in reality -- we're still in the dark. As soon as the movie gets to its version of a punch line, it turns into another Hollywood vehicle spinning aimlessly in space.
    • 59 Metascore
    • 50 Desson Thomson
    An engaging battle between terrific acting and a flawed script.
    • 36 Metascore
    • 50 Desson Thomson
    Horror fans will twitch impatiently at those long stretches between killings. And audiences anticipating a feature-length "Girls Gone Wild" video will suffer withdrawal from the lack of loosened bra straps.
    • 64 Metascore
    • 50 Desson Thomson
    Has its funny moments, but all too often it's a corny, lackluster film in which humans pretend (not always convincingly) to interact with cartoons.
    • 65 Metascore
    • 50 Desson Thomson
    Sometimes, the sincerest form of tribute is inferiority. Watching the Australian film Jindabyne, one soon embraces the conclusion: Robert Altman did this work better. And with fewer brush strokes.
    • 53 Metascore
    • 50 Desson Thomson
    What do we want in a sequel? Just a little taste of the original or a triple serving piled high? Dead Man's Chest opts for the latter. This Disney movie isn't a follow-up to the first "Pirates of the Caribbean" so much as its empty-calorie clone.
    • 46 Metascore
    • 50 Desson Thomson
    Ultimately, Forces of Nature is more of a lull than a passionate storm.
    • 43 Metascore
    • 50 Desson Thomson
    Has its moments of fun, many of them having to do with Reilly's deadpan comic style. But the movie lacks the original edge of its better predecessors.
    • 70 Metascore
    • 50 Desson Thomson
    Even though we're caught up in his derring-do as he beguiles entire meeting rooms of jaded publishers and editors, we're kept at a dissatisfying distance from Irving and the movie.
    • 57 Metascore
    • 50 Desson Thomson
    Has its creepy moments, but also its cliches.
    • 66 Metascore
    • 50 Desson Thomson
    It telegraphs its emotions loud and clear, but somehow they don't reach us.
    • 39 Metascore
    • 50 Desson Thomson
    None of the characters are compelling, despite the star-studded vocal cast behind them, including Madonna, Robert De Niro, Snoop Dogg and Jimmy Fallon. Our attitude toward them is casual interest, not anxious concern.
    • 55 Metascore
    • 50 Desson Thomson
    An overture to the subject rather than a profound study.
    • 40 Metascore
    • 50 Desson Thomson
    It's too bad about the ending because, until then, Pay It Forward... is Hollywood feel-goodism at its best.
    • 45 Metascore
    • 50 Desson Thomson
    Another gate-crasher at the let's-do-a-mediocre-update-of-Shakespeare party.
    • 57 Metascore
    • 50 Desson Thomson
    A leisurely paced, subtly funny, though verbally crude chamber piece.
    • 51 Metascore
    • 50 Desson Thomson
    Unfortunately, the message is made clear within the first 10 minutes, leaving us with about 80 minutes of thematic repetition.
    • 60 Metascore
    • 50 Desson Thomson
    Them knows something the makers of the "Hostel" and "Saw" movies apparently don't: Subtlety and suggestion are every bit as terrifying as slashing and sawing.
    • 64 Metascore
    • 50 Desson Thomson
    Unfortunately, Buscemi's film conveys the spirit of its source material but doesn't make a satisfying transmogrification out of its homage.
    • 60 Metascore
    • 50 Desson Thomson
    Ultimately, we find ourselves looking for the wrong sort of clearing: a way out.
    • 47 Metascore
    • 50 Desson Thomson
    The movie refuses to descend into the cute smarminess of a mutual recovery drama, thanks to originally conceived characters. We're always wondering -- and wonderfully surprised -- by their choices.
    • 57 Metascore
    • 50 Desson Thomson
    Future II bombards you with more brand-name advertising than three hours of prime-time TV could muster, although repeat filmmakers Bob Gale and Robert Zemeckis put a humorous twist on everything.
    • 38 Metascore
    • 50 Desson Thomson
    The storyline is so familiar ("Cheaper by the Dozen," et al), the audience can practically call out scenes ahead of time.
    • 49 Metascore
    • 50 Desson Thomson
    Imagine settles disappointingly for rom-com cliches. It doesn't even bother to explore its own premise.
    • 54 Metascore
    • 50 Desson Thomson
    Truth be told, none of it is actual living, and all of it is secondhand re-spinning of such better movies as "The Year of Living Dangerously" and "Welcome to Sarajevo." To use an antiquated newsman's cliche: Get me rewrite.
    • 39 Metascore
    • 50 Desson Thomson
    If P.S. I Love You proves anything, it's that Hilary Swank may be a great actress, but she can't do cute.
    • 83 Metascore
    • 50 Desson Thomson
    The story, such as it is, follows Renton's inconsistent attempts to kick his habit.
    • 48 Metascore
    • 50 Desson Thomson
    The best thing about the movie is its personable, amusing cast, all members of the five-man comedy troupe Broken Lizard. There's a chemistry among them, which obviously comes from having been together as comedians at Colgate University.
    • 57 Metascore
    • 50 Desson Thomson
    The movie may steal a base here and there, but there are no homers.
    • 63 Metascore
    • 50 Desson Thomson
    Only moderately compelling.
    • 50 Metascore
    • 50 Desson Thomson
    The best thing about The Island is this: Ewan McGregor and Scarlett Johansson, buffed and dressed in sparkling white, wondering how and when to kiss each other.
    • 32 Metascore
    • 50 Desson Thomson
    So pleased with its own spoofy conceit it stays in annoyingly self-amused, predictable mode.
    • 63 Metascore
    • 50 Desson Thomson
    In the end, A Tout de Suite leads to not much more of a point than one woman's loss of innocence.
    • 49 Metascore
    • 50 Desson Thomson
    Follows all these rules, which is why you'll get the enjoyable basic minimum. But not a whit more.
    • 53 Metascore
    • 50 Desson Thomson
    If it does nothing else, Music Within shows us how deeply Ron Livingston's amiable face can take us into a movie. But even likable mugs like his -- remember him in "Office Space"? -- need help from the movies around them.
    • 62 Metascore
    • 50 Desson Thomson
    How about a well-sustained argument for saving the planet instead of this round-robin approach? And where are those holdouts of humanity who believe humans shoulder no blame for carbon dioxide buildup? Let's hear from them, too, and draw our own conclusions.
    • 56 Metascore
    • 50 Desson Thomson
    Storytelling like this weighs heavier than a standard diving suit, and it's really up to you, if you're ready to take the plunge.
    • 43 Metascore
    • 50 Desson Thomson
    You could be forgiven for thinking -- occasionally -- that you just stumbled into "The Silence of the Apes."
    • 65 Metascore
    • 50 Desson Thomson
    Hoffman blows costar Cruise right off the screen...Instead of playing off or with Hoffman (a greenhorn's smartest strategy), Cruise tends to play at him, flailing and swearing like a spoiled, grounded pilot in "Top Gun II."
    • 54 Metascore
    • 50 Desson Thomson
    Never gets as emotionally involving, or persuasive, as the moviemakers intend it to.
    • 48 Metascore
    • 50 Desson Thomson
    The film is all cliched atmospherics and no real insight.
    • 46 Metascore
    • 50 Desson Thomson
    CJ7
    Its use of minor expletives and a depressing chapter late in the movie will not satisfy parents seeking something sweet and lively for their children; nor will it charm art house audiences up for a smart adult fairy tale.
    • 59 Metascore
    • 50 Desson Thomson
    Even though he shows some master touches throughout the movie, Shyamalan flits a little too lightly across the surface, like a pond skater.
    • 59 Metascore
    • 50 Desson Thomson
    Then as now, visually pleasant and (of course) musically wonderful but, all-in-all, a mixed bag.
    • 45 Metascore
    • 50 Desson Thomson
    The movie is tentative, dramatically speaking...The most powerful moments come at the end -- documentary excerpts of Steve Saint, the son of one of the missionaries, and his friendship with Mincayani, the man who killed his father.
    • 57 Metascore
    • 50 Desson Thomson
    Unfortunately, screenwriter Sam Catlin and director Danny Leiner make the unexpected mistake of being too subtle.
    • 56 Metascore
    • 50 Desson Thomson
    Truly touching moments such as a surprise meeting between Ami and his estranged brother, Oscar, show us this movie didn't need any sentimental help.
    • 44 Metascore
    • 50 Desson Thomson
    Clearly enamored with the endearing brand of drawly sarcasm for which Thornton has become known, the filmmakers aren't sure whether to paint Dr. P as an uncompromising villain or a mischievous teddy bear. The upshot is that Dr. P's most menacing aspect is Thornton's rather obvious hairpiece.
    • 37 Metascore
    • 50 Desson Thomson
    Clearly targeted at Christians looking to reaffirm their faith. Its chances of crossover success with the secular crowd seem remote, given the dramatic shortcomings.
    • 62 Metascore
    • 50 Desson Thomson
    Despite amazing access to Seinfeld backstage, we don't get a peek into the real man.
    • 60 Metascore
    • 50 Desson Thomson
    It's a piquant story but unfortunately the movie creaks with European-style artifice. It tells its story in a rather cinematically stilted style, and some of the dramatic moments come perilously close to unintentional parody.
    • 34 Metascore
    • 50 Desson Thomson
    Entertainment more suitable for the living room than the movie theater.
    • 71 Metascore
    • 50 Desson Thomson
    Energetic and slickly done, but also somewhat soulless.
    • 48 Metascore
    • 50 Desson Thomson
    Tatum, the hunky object of Amanda Bynes's fancy in "She's the Man," and an engaging basketballer in "Coach Carter," is the best thing about this uninspired formula-thon.
    • 56 Metascore
    • 50 Desson Thomson
    Radcliffe is good at showing vulnerability but without the skills to give it gradation. The magic doesn't work for him this time.
    • 54 Metascore
    • 50 Desson Thomson
    The Treatment gets this year's Rip van Winkle award.
    • 54 Metascore
    • 50 Desson Thomson
    It's good for a silly laugh, this stuff. And maybe this movie will draw renewed attention to Carpenter's eminently better movie.
    • 58 Metascore
    • 50 Desson Thomson
    A movie that clearly aims to be a cool, picturesque modern film noir becomes another moody banality.
    • 58 Metascore
    • 50 Desson Thomson
    Despite drawing from one of the most powerful and true stories from the Cold War, K-19 is only moderately moving.
    • 54 Metascore
    • 50 Desson Thomson
    Co-directors Scott McGehee and David Siegel, whose visual schemes lent a hypnotic aura to their previous collaborations -- "The Deep End" and "Suture" -- don't find the right balance of story and image this time.
    • 56 Metascore
    • 50 Desson Thomson
    There is but one reason to sign up for Driving Lessons: to watch Rupert Grint -- Harry Potter's redheaded pal Ron Weasley -- squaring off with Julie Walters, Queen of the English Scenery Chewers.
    • 41 Metascore
    • 50 Desson Thomson
    Not surprisingly, everything feels begged, borrowed and stolen from other better movies, from Quentin Tarantino's exclamation-point violence to the slo-mo bullet trajectory shots from "The Matrix."
    • 50 Metascore
    • 50 Desson Thomson
    Amusing only for its performances, including those of Chittenden and Wilson. The cast cannot hide the movie's derivative shortcomings, which only remind us that we've seen better and funnier elsewhere.
    • 60 Metascore
    • 50 Desson Thomson
    It never attains full dimension. It pursues the De Niro-DiCaprio war so singlemindedly, everything else is left high and dry.
    • 57 Metascore
    • 50 Desson Thomson
    The film should at least be wise and three-dimensional enough to see Ann's motivations as a source of mystery as much as heroic self-empowerment. This one-dimensional ennoblement doesn't sit quite right.
    • 50 Metascore
    • 50 Desson Thomson
    The lower your expectations, the more you'll enjoy it.
    • 61 Metascore
    • 50 Desson Thomson
    Even though it’s mostly pleasant and sometimes funny, Zoolander could use some sort of boost.
    • 56 Metascore
    • 50 Desson Thomson
    The movie's ambitions (to pay tribute to the Czech pilots who fought for their country only to be interned later) are not matched by the actual story.
    • 58 Metascore
    • 50 Desson Thomson
    Nelson certainly passes muster for sincerity but, unfortunately, his movie doesn't have the same clear-cut quality.
    • 46 Metascore
    • 50 Desson Thomson
    A talented comedian, Lawrence has leaned all too easily on formula for his successful films. Imagine if he would test his flair against original and fresh premises, instead of the tried and trite. Why, he'd discover what it's like to take pride, not just profit.
    • 62 Metascore
    • 50 Desson Thomson
    Writer-director James Ponsoldt's film treats big subjects -- loneliness, coming-of-age and father-son relationships -- with such half-baked conviction, it's a wonder the screen doesn't redden with embarrassment. Which makes it all the more gratifying to watch Nolte pulverize the dramatic banality around him.
    • 56 Metascore
    • 50 Desson Thomson
    After some promising leaps, bounds and swings through a fascinating jungle of possibility, Charlie Kaufman's movie misses an all-important creeper.
    • 55 Metascore
    • 50 Desson Thomson
    There's nothing wrong, nor particularly right about the experience. It just sits there, like a Nike ad.
    • 54 Metascore
    • 50 Desson Thomson
    Springs from that childhood fantasy of being able to stop time and wander freely among the temporarily frozen. If only writer-director Sean Ellis had done more than use the conceit for a functional romance.
    • 53 Metascore
    • 50 Desson Thomson
    Spends too much time being convivial and not enough time looking for the kind of real conflict that begets a good comedy.
    • 58 Metascore
    • 50 Desson Thomson
    All credit to Carrey, whose one-man performance is almost enough to redeem the movie.
    • 52 Metascore
    • 50 Desson Thomson
    The movie's initial intensity is so great, it consumes itself. By the time we reach the final scene, which is clearly supposed to exude glorious rapture between offbeat lovers Nicolas Cage and Laura Dern, it has all the warming effect of cold ash.
    • 36 Metascore
    • 50 Desson Thomson
    While you're enduring the usual formulaic yada yada -- at least there are yuks to enjoy.
    • 47 Metascore
    • 50 Desson Thomson
    Adult humor in kiddie films -- of which there is plenty in The Wild -- is not only welcome but, for many adult viewers, essential.
    • 41 Metascore
    • 50 Desson Thomson
    I'm guessing even die-hard "Clerks" fans will find this only-in-America stuff only partially satisfying, like something they gorged on at the Eatery, then wished they hadn't.
    • 43 Metascore
    • 50 Desson Thomson
    It's really weird. Has its share of visceral surprises. Slightly predictable and dumb when all is said and done.
    • 57 Metascore
    • 50 Desson Thomson
    Zellweger is certainly likable as Beatrix, but as an upper-class English lady of a century ago, she enunciates her words as if sucking a lemon -- you almost start to wonder if you've stumbled into a satire of "Masterpiece Theatre."
    • 48 Metascore
    • 50 Desson Thomson
    This is a movie for people more interested in the subject matter than its dramatic presentation.
    • 57 Metascore
    • 50 Desson Thomson
    Ejiofor was a revelation in "Dirty Pretty Things" as a Nigerian doctor forced to live illegally in London. Though he's charismatic as the husky-voiced Simon, he never transcends the movie's pandering agenda.
    • 47 Metascore
    • 50 Desson Thomson
    Fans of bubbly romances can consider this a thumbs up. I call it a clenched-teeth concession at best.
    • 49 Metascore
    • 50 Desson Thomson
    A religious feel-good message, first and foremost. As for drama, well, it's a distant second. For the right audience, however, this reversal of priorities will work just fine.
    • 64 Metascore
    • 50 Desson Thomson
    Though the movie, made for $7,000, can claim the romantic mantle of "guerrilla filmmaking," its herky-jerky camcorder style, jump-cut editing and sustained takes soon wear out their welcome. And dramatically, it's not always convincing.
    • 36 Metascore
    • 50 Desson Thomson
    Burke's face is impressively scaly, his head is adorned with shorn horns. He makes a great monster. If only he had a better movie to growl in!
    • 65 Metascore
    • 50 Desson Thomson
    Intriguing, inspired, flawed, misbegotten and fascinating -- all of these qualities apply to the movie, at one point or another.
    • 57 Metascore
    • 50 Desson Thomson
    There is one reason, and one reason alone, to watch Cet Amour-La. It is Jeanne Moreau.
    • 56 Metascore
    • 50 Desson Thomson
    One electrifying performance becomes the only saving grace of The Kingdom, a goofy action movie that tries to marry the blitzkrieg entertainment of "Rambo" to the cultural consciousness of "Syriana."
    • 57 Metascore
    • 50 Desson Thomson
    Works far better as an idea than its execution; this has to do with the difficulties of making profound statements with limited budgets and technology, and also grappling with the still-growing sensibilities of an emerging writer.
    • 36 Metascore
    • 50 Desson Thomson
    To enjoy it, however, you have to do the mental equivalent of squinting your eyes, so the credibility is only fuzzily ridiculous.
    • 51 Metascore
    • 50 Desson Thomson
    For all this potential, and the appealing presence of Nicolas Cage and newcomer Adam Beach, Windtalkers remains almost obstinately flat.
    • 40 Metascore
    • 50 Desson Thomson
    This "Four" ain't so "Fantastic."
    • 56 Metascore
    • 50 Desson Thomson
    Fails as the big-screen romance it wants to be. The main problem: There's only one heart between the principals, and it beats solely in Chow's chest.
    • 56 Metascore
    • 50 Desson Thomson
    The story, which feels more like a sprawl of television episodes than a film, is a little tedious to sit through.
    • 55 Metascore
    • 50 Desson Thomson
    It is, however, a baby boomer's treat to see Faithfull, romancer of Mick Jagger back in the day and a pop siren in her own right, show her qualities as an actor. One is hopeful she'll find her way to other, better projects.
    • 65 Metascore
    • 50 Desson Thomson
    If Amazing Grace serves its most superficial purpose -- to educate the viewer -- it's hardly compelling viewing.
    • 64 Metascore
    • 50 Desson Thomson
    It's a fascinating story but not so fascinatingly told.
    • 59 Metascore
    • 50 Desson Thomson
    It canters along, content to follow the Rules of Cute and Fuzzy Horse Movies.
    • 67 Metascore
    • 50 Desson Thomson
    This movie is a mixed repast: good food and wine laced with enough misanthropic poison to turn any stomach.
    • 68 Metascore
    • 50 Desson Thomson
    Revenge was supposed to be the one that really socked it to us, about Anakin's almost biblical fall from grace. But the movie never rises to its powerful occasion.
    • 67 Metascore
    • 50 Desson Thomson
    Gets bogged down in sentimentality, while its wheels spin futilely in life-solving overdrive.
    • 48 Metascore
    • 50 Desson Thomson
    In drama, and just about everything else, almost is never enough. Which is why Martian Child, about the growing bond between an adult and child, never reaches us.
    • 55 Metascore
    • 50 Desson Thomson
    Occasional clumsiness is easily coated over by the movie's overarching goodwill.
    • 52 Metascore
    • 50 Desson Thomson
    It's formula-packed business as usual. In fact, it's double-packed, triple-packed, more.
    • 29 Metascore
    • 50 Desson Thomson
    Does a masterful job of building menace until about halfway through.
    • 67 Metascore
    • 50 Desson Thomson
    It's the usual undisciplined, overextended Spike symphony: more fun than it is any good.
    • 70 Metascore
    • 50 Desson Thomson
    The movie gradually peters out.
    • 39 Metascore
    • 50 Desson Thomson
    The racial angle becomes the tiresome basis of almost every joke.
    • 71 Metascore
    • 50 Desson Thomson
    Watchable, certainly. It should have been so much more.
    • 77 Metascore
    • 50 Desson Thomson
    Nothing more than an over-designed lobster pot. After following the beckoning twists and turns, you're left trapped and more than a little disappointed for getting in so deep.
    • 38 Metascore
    • 50 Desson Thomson
    Kettle of Fish, starring Matthew Modine as a commitment-skittish saxophone player, is a warm-spirited romantic comedy, but it tends to have a squawky pitch.
    • 67 Metascore
    • 50 Desson Thomson
    If there's any moral to this sorry story, perhaps Lee's stealth-message is it: Even when it's not about race, it is.
    • 41 Metascore
    • 50 Desson Thomson
    Its title may ring with pun and promise, but Stoned is a flat riff on Jones's short life. You'll get the highlights but no sense of what made him special -- or what really haunted him.
    • 57 Metascore
    • 40 Desson Thomson
    Amid the violence, the one-liners ring out. Nobody speaks for real. It's as if they all know they're in a movie.
    • 43 Metascore
    • 40 Desson Thomson
    Unfortunately, "Youth" becomes so lost in its own conceptual, convoluted vortex, it becomes virtually incomprehensible. Coppola proves that even the best of our film artists can lose sight of what this medium is all about: entertaining, enlightening and including its audience.
    • 48 Metascore
    • 40 Desson Thomson
    Rather like the faltering way Dennis runs the race, Pegg the performer insists that we keep watching, ever hopeful for a decent gag. And we spend most of our time thinking back to movies that better showcased his talents, such as "Shaun of the Dead" and "Hot Fuzz."
    • 43 Metascore
    • 40 Desson Thomson
    Only fitfully amusing. More often, it feels like a mediocre attempt to reprise the central elements of the infinitely funnier "Napoleon Dynamite."
    • 50 Metascore
    • 40 Desson Thomson
    Ultimately, SLC Punk! doesn't have enough dimension to maintain dramatic interest.
    • 61 Metascore
    • 40 Desson Thomson
    The worst mistake is the screenplay, which not only cuts everything into superficial pieces but fails to make authentic moments of anything. In the end, White Oleander isn't an adaptation of a novel. It's a flashy, star-splashed reduction.
    • 43 Metascore
    • 40 Desson Thomson
    Although this film about a zebra who aspires to win horse races has a marvelous premise, it slows to a mediocre canter right out of the starting gate.
    • 48 Metascore
    • 40 Desson Thomson
    There's grist here for a genuinely stirring film. But writer-director Bruce Beresford -- who created the screenplay from interviews with real-life World War II prisoners (who also performed music for the Japanese) -- reduces everything to its most uninteresting banality. [18Apr1997 Pg. N.44]
    • Washington Post
    • 73 Metascore
    • 40 Desson Thomson
    A blithely unfunny, low-budget comedy from director Barry Levinson.
    • 52 Metascore
    • 40 Desson Thomson
    If any element takes us through the movie, it's him (Depp).
    • 51 Metascore
    • 40 Desson Thomson
    Aiming to blur the distinctions between truth and illusion, it simply blurs its own effectiveness by relying on predictable and not particularly convincing mystery-thriller formula.
    • 54 Metascore
    • 40 Desson Thomson
    Another sentimental mushfest disguised as a movie.
    • 25 Metascore
    • 40 Desson Thomson
    Its main purpose -- and no, you are not experiencing ocular breakdown -- is spiritual.
    • 75 Metascore
    • 40 Desson Thomson
    Feels so slight and pointless.
    • 44 Metascore
    • 40 Desson Thomson
    Never transports you to another place and time, as it intends to.
    • 31 Metascore
    • 40 Desson Thomson
    Unfortunately, the film, written and directed by Sue Kramer, starts with a distinctly uncomfortable moral baseline: How exactly is any audience supposed to identify with a character whose relationship with her brother borders on the incestuous?
    • 61 Metascore
    • 40 Desson Thomson
    It's not often you find a movie as exciting and awful as Rumble in the Bronx. But the sole aim of this so-bad-it's-funny action picture is to introduce Jackie Chan to American audiences. In that narrow sense, it's completely successful.
    • 68 Metascore
    • 40 Desson Thomson
    A little too shopworn and pokey to be more than a respectable European diversion.
    • 50 Metascore
    • 40 Desson Thomson
    The longer I take to review this movie, the more the absurdities loom. So let me finish before I think about the story's stupidly plotted structure or recall how tiring it was to watch apes perpetually pushing humans to the ground or sending them pirouetting into the air.
    • 55 Metascore
    • 40 Desson Thomson
    All the movie's treacheries, deceptions and story twists are marred by our lack of innocence. We see the big picture way before the characters do, and that pushes us right out of the movie and back into our seats -- the last place we want to be.
    • 53 Metascore
    • 40 Desson Thomson
    Despite a subject of immense potential -- the movie's surprisingly uninvolving.
    • 44 Metascore
    • 40 Desson Thomson
    Should have never made it up the distribution aisle.
    • 43 Metascore
    • 40 Desson Thomson
    Throughout, Garner retains a permanent grimace, as if persuasive acting can be achieved by contorting cheek muscles and pouting lips. It's not just depressing to watch; it's tiring. We want to tell her to relax -- for our own relief.
    • 42 Metascore
    • 40 Desson Thomson
    Forgettable the instant it strafes your retinas.
    • 54 Metascore
    • 40 Desson Thomson
    For horror fans who appreciate a bit of craft with their second-rate experiences -- Paul Haslinger's fear-mongering score is terrific for what it's worth -- this might merit a future late-night rental.
    • 35 Metascore
    • 40 Desson Thomson
    Keeps you hanging on until the very last moment, not because it's scary, but because you can't believe that's all there is to it.
    • 64 Metascore
    • 40 Desson Thomson
    In the end, Stage Beauty is in over its mediocre head.
    • 45 Metascore
    • 40 Desson Thomson
    Nobody likes a fixed fight, except the backroom boys making the deal. Which is why The Break-Up may have its share of laughs, but isn't much fun.
    • 63 Metascore
    • 40 Desson Thomson
    There's so little authenticity between them, it destroys the story's most crucial element: the love between father and daughter. And finding the gold becomes our only reason to watch.
    • 59 Metascore
    • 40 Desson Thomson
    Even Thompson, the one you look forward to watching, is disappointing.
    • 51 Metascore
    • 40 Desson Thomson
    Uneven, not particularly inspired comic thriller.
    • 60 Metascore
    • 40 Desson Thomson
    The movie, a frenetic, explosive experience full of car crashes and gun battles, is original and exhilarating. But more often, it's so overwhelming, it'll make you want to watch "Die Hard With a Vengeance" for peace and quiet.
    • 57 Metascore
    • 40 Desson Thomson
    Actually, any fun you might encounter in Recall can be traced, most often, to director Verhoeven, who injects some of his "Robocop" camp into this mega-dumb project.
    • 48 Metascore
    • 40 Desson Thomson
    21
    The story may be based on real events, but most of it feels patently false.
    • 39 Metascore
    • 40 Desson Thomson
    Makes the mistake of including too sweeping a scope in too small a movie and with too few resources.
    • 32 Metascore
    • 40 Desson Thomson
    Some routines are funny, it must be said. But more often than not, you'll be groaning with painful recognition rather than actually laughing.
    • 50 Metascore
    • 40 Desson Thomson
    Even by its own standards, the movie becomes increasingly macabre and ludicrous as Anne's machinations get the better of her, and everyone, including the audience, is left feeling shattered, shaken and vaguely unclean for having participated in all this.
    • 40 Metascore
    • 40 Desson Thomson
    A well-intentioned, reverential but unenlightening portrait. It pays tribute to the artist. Yet it doesn't scrutinize him.
    • 61 Metascore
    • 40 Desson Thomson
    After a promising beginning and an amusing middle, the movie gets stuck in limbo.
    • 52 Metascore
    • 40 Desson Thomson
    Despite an appealing, even ingenious premise, "Scorpion" is another quippy but uninspired comedy.
    • 27 Metascore
    • 40 Desson Thomson
    Here's my favorite part: It's only 87 minutes long. But for the most part, this movie is just another bland, fair-to-middling vehicle for two emerging, fledgling stars.
    • 29 Metascore
    • 40 Desson Thomson
    An adolescent romance that isn't smart enough to mirror "When Harry Met Sally" or crudely amusing enough to get close to "American Pie."
    • 28 Metascore
    • 40 Desson Thomson
    The humor works beautifully until Marshall decides to beat the comedy over the head and drum us, once again, with this relentless message: "Mentally challenged people in love say the darndest things!"
    • 68 Metascore
    • 40 Desson Thomson
    The scenes of destruction-apart from being great to watch-provide much-needed relief from these people's unidimensional banalities.
    • 48 Metascore
    • 40 Desson Thomson
    It's a warm bath experience, soap-sudsed with sentimentality, improbability and other storytelling misdemeanors.
    • 42 Metascore
    • 40 Desson Thomson
    Enough to make any thinking person want to shoot a hole in the screen.
    • 62 Metascore
    • 40 Desson Thomson
    The film feels inauthentic, a cardboard version of other epics that's cast for distribution to various world markets.
    • 52 Metascore
    • 40 Desson Thomson
    With the exception of Burton's jolting sight gags (I may never recover from the vision of Parker's head grafted on to the body of a chihuahua), the comedy is half-developed, pedestrian material. And the climactic battle between Earthlings and Martians is dull and overextended.
    • 53 Metascore
    • 40 Desson Thomson
    Feels more like an overblown TV special than a grand theatrical release.
    • 43 Metascore
    • 40 Desson Thomson
    Unaccompanied Minors, a sort of junior league version of "The Breakfast Club," never achieves the universal appeal of John Hughes's 1985 film about youth and authority.
    • 70 Metascore
    • 40 Desson Thomson
    A darkly interesting distraction but not much more.
    • 56 Metascore
    • 40 Desson Thomson
    Winter Passing is one dull, extended encounter session among hackneyed characters -- although Deschanel gets the most points for almost imitating a human.
    • 47 Metascore
    • 40 Desson Thomson
    Trust me, you'll want to leave these people to get on with their tedious scams alone.
    • 34 Metascore
    • 40 Desson Thomson
    This is definitely a family trip to stay home and skip.
    • 47 Metascore
    • 40 Desson Thomson
    The best thing about Murder at 1600? Speed of exposition. Directed by Dwight Little, who made Steven Seagalís "Marked for Death," this thing whizzes from one unbelievable story point to the next. Your suspension of disbelief appreciates the momentum, if nothing else.
    • 41 Metascore
    • 40 Desson Thomson
    While Phenomenon attempts, tritely, to ascend into mind-blowing significance, it also plummets into a pit of sentimental mush.
    • 49 Metascore
    • 40 Desson Thomson
    The documentary never gets more than skin deep. It rarely delves into the troubling regions that are the very orchards of documentary.
    • 47 Metascore
    • 40 Desson Thomson
    The special twist-which Paramount Pictures has implored critics not to divulge-redefines the story completely. It also ruins everything.
    • 45 Metascore
    • 40 Desson Thomson
    We find ourselves wondering about the real story, not this version.
    • 80 Metascore
    • 40 Desson Thomson
    Speaking of jail, "Shawshank"-the-movie seems to last about half a life sentence. The story, chiefly about the 20-year friendship between Freeman and Robbins, becomes incarcerated in its own labyrinthine sentimentality.
    • 42 Metascore
    • 40 Desson Thomson
    Too lightweight and streamlined to be memorable.
    • 38 Metascore
    • 40 Desson Thomson
    Just like "Bad Boys," only louder, longer and the stars get paid more.
    • 66 Metascore
    • 40 Desson Thomson
    How can you celebrate a movie in which Zellweger doesn't soar but simply avoids disaster?
    • 51 Metascore
    • 40 Desson Thomson
    With The Baxter, Showalter's begging his way into the ranks of the safe and the mediocre.
    • 45 Metascore
    • 40 Desson Thomson
    It is the verdict of this court that it be led to a stockade reserved exclusively for cheap, pandering movies and duly shot.
    • 33 Metascore
    • 40 Desson Thomson
    The movie is going to be fine for PG-ready audiences, assuming they don't have a problem with extremely predictable story turns.
    • 47 Metascore
    • 40 Desson Thomson
    Andre Benjamin, Woody Harrelson, Maura Tierney and David Koechner -- all talented -- seem amazingly zombie-like here. And Jackie Earle Haley, as a stoner fan of the Tropics, is more disconcerting than funny.
    • 33 Metascore
    • 40 Desson Thomson
    I suggest you RSVP in the negative to this "Wedding" invitation, unless you consider yourself a friend of the obvious bride to be, Ms. Lopez. But even then, you'll have to focus on her presence, rather than the silly ceremony around her.
    • 57 Metascore
    • 40 Desson Thomson
    A movie that jumps between two worlds can be a powerful experience, as any fan of "The Wizard of Oz," "Back to the Future" or "The Terminator" can tell you. But this phoned-in epic is simply a celebration of the inauthentic.
    • 48 Metascore
    • 40 Desson Thomson
    The movie's too slick and obvious about its intentions.
    • 52 Metascore
    • 40 Desson Thomson
    For the most part, the movie's a bland disappointment, on many levels.
    • 39 Metascore
    • 40 Desson Thomson
    Enjoyable in some places, but dreadful in others. It's boring here and exciting there. And it's almost always goofy.
    • 49 Metascore
    • 40 Desson Thomson
    We know the story will conclude with a crescendo of frozen-north hallelujahs. Cheering is endemic to Disney. They can't help themselves.
    • 60 Metascore
    • 40 Desson Thomson
    For those who simply want to drink in the northern Italian countryside and Tyler's physical details, it's quite an experience. But as a story, Stealing Beauty (which Bertolucci wrote with Susan Minot) is a misbegotten, sentimental reunion with old European cinema.
    • 78 Metascore
    • 40 Desson Thomson
    The plot becomes so overextended, as Reeves and Hopper wage their endless public transportation battle, even the hardest Die-Harders will consider leaping off way before the final stop.
    • 23 Metascore
    • 40 Desson Thomson
    Isn't appropriate for any innocent child -- assuming such lovely creatures still exist. But boys and girls who enjoy surprise attacks in their entertainment (of the aforementioned toilet variety) are going to have a blast. Sad but true.
    • 49 Metascore
    • 40 Desson Thomson
    Sentinel is a medium-dumb thriller that starts out with momentary promise but gets progressively sillier.
    • 50 Metascore
    • 40 Desson Thomson
    The relation between Constantine and its source material is, at best, superfluous.
    • 51 Metascore
    • 40 Desson Thomson
    It is likely to disappoint more people than creator George Lucas would have liked.
    • 69 Metascore
    • 40 Desson Thomson
    Some of it is funny in a Zucker brothers slapstick way. And as the Man's geeky lieutenant, Chris Kattan has some amusingly kooky business. But there's not enough to sustain the comedy. Ultimately, the movie's short running time becomes its finest quality.
    • 37 Metascore
    • 40 Desson Thomson
    Feels like "Alien" as directed by Jim Henson. And the suspense is restricted to mundane slasher-movie tactics, including the frequent use of a mobile camera (call it the ’condacam) that’s supposed to represent the snake’s point of view.
    • 53 Metascore
    • 40 Desson Thomson
    There's nothing to stir us, no scene to savor for life -- such as the father-son battle between Luke Skywalker and Darth Vader in "The Empire Strikes Back." Back then, we were watching a classic, still the best film in the series. This time, we're watching just another "Star Wars" flick.
    • 54 Metascore
    • 40 Desson Thomson
    The more the movie progresses, the more you realize how much Seinfeld's voice sounds like a droning bee -- the kind you want to swat away.
    • 39 Metascore
    • 40 Desson Thomson
    It's just respectable trash, and a dress rehearsal for better things ahead.
    • 56 Metascore
    • 40 Desson Thomson
    Despite all the life-threatening situations, warrior deaths and heroic feats, it's hard to get behind characters who feel like lazy archetypes.

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