For 2,117 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 4.2 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
Average review score: 55
Highest review score: 100 Rushmore
Lowest review score: 0 Oz the Great and Powerful
Score distribution:
2,117 movie reviews
    • 30 Metascore
    • 38 Elizabeth Weitzman
    It's always admirable when a director decides to make a risky film. On the other hand, it's not quite as commendable to also make a boring one.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Aside from the shamelessly promoted corporate sponsors, nobody emerges from this game a winner. But the biggest losers are the ones who paid good money to watch it.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    The movie's strongest draw is its kitsch value -- along with a wisecracking Bruce Vilanch, the cast includes '80s TV refugees Jm J. Bullock ("Too Close for Comfort") and the Greatest American Hero himself, William Katt.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Scenario is ripe for subversive humor, but Ralston never even questions the superiority of the genetically privileged.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    Alternates between being amusingly pretentious and studiously dull.
    • 55 Metascore
    • 38 Elizabeth Weitzman
    Unfortunately, the visuals are not compelling enough on their own to hold our interest, and a highly mannered Derek Jacobi is all wrong as the narrative voice of Nijinsky.
    • 13 Metascore
    • 38 Elizabeth Weitzman
    Preposterous collegiate drama that exists simply to show pretty girls kissing, pretty boys undressing and pretty people of every sexual orientation drinking, doing drugs and otherwise wreaking postadolescent havoc.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Only a memorably commanding Ruehl transcends the limitations of her two-dimensional character.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Although it's recycled from start to finish, there are some decent jokes laced throughout, plus enough gore to satisfy the most bloodthirsty tastes.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    All the subtlety of an Olive Garden commercial.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    A classic case of good intentions and bad filmmaking.
    • 27 Metascore
    • 38 Elizabeth Weitzman
    If you want to direct a movie that's already been done, it's a good idea to pick one you can improve on.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Unless you're struck by the urge to watch strangers work out their petty issues in couples therapy, it's hard to find a compelling reason to sit through Gregg Lachow's irritatingly self-absorbed indie drama.
    • 68 Metascore
    • 38 Elizabeth Weitzman
    Feels like reading someone else's diary. Undoubtedly, there's some very important stuff in there, but it's most interesting to the person who wrote it.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Though Flicker based the story on real events, the execution is so melodramatic that none of it feels remotely true.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    Director and screenwriter Adam Brooks, adapting Jennifer Egan's novel, doesn't seem to understand what makes a movie relevant.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The truth about Lies is that it's a case of art-house porn being more porn than art.
    • 61 Metascore
    • 38 Elizabeth Weitzman
    While it's visually stunning, the pretentiousness makes it hard to take seriously.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Would that the film were as interesting as the setting.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    The movie veers so wildly between being zany and grim, we're left feeling more empty than entertained.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    Normally, I'd recommend a movie like this only to diehard fans. But even they may want to wait until it hits cable.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    The marvelous Dussolier makes a poignantly aging lothario, but Fillieres is so off-puttingly strange, we don't really care what she thinks about.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    Madhur Jaffrey and Faran Tahir fare considerably better as Nina's conservative mother and brother, leaving us confused ourselves: Why didn't Patel focus on them, instead?
    • 32 Metascore
    • 38 Elizabeth Weitzman
    The characters speak in Dialogue rather than English, the actors are so busy emoting they forget to act and the story feels like a first-draft college project.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    A jumbled composite of blurred images, poetic yearnings and metaphoric dialogue.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    Cantor seems to have noticed how dull the actual footage is, since he relies heavily on "arty" shots and black-and-white inserts.
    • 26 Metascore
    • 38 Elizabeth Weitzman
    There's a lot of scary stuff in Wes Craven Presents: Dracula 2000. There are eyeball-sucking leeches, decapitations, punctured necks... and appalling acting.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Stambrini puts so much weight on shock value, she overlooks the matter of emotional resonance.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    Frankly, you may prefer the company of cinematic serial killers (Freddy vs. Jason) after you meet the pair at the center of this story.
    • 69 Metascore
    • 38 Elizabeth Weitzman
    By the time you've worked through the allegorical implications, you may be wondering why you didn't just go see "Charlie's Angels."
    • 33 Metascore
    • 38 Elizabeth Weitzman
    It's hard to say which is worse: The fact that 20th Century Fox believes this sour, sexist fantasy reflects anyone's actual experience or that Hollywood is so woefully behind the cultural curve.
    • 34 Metascore
    • 38 Elizabeth Weitzman
    Those who need little more than a car chase, gunplay, pretty girls and a solid soundtrack will be entertained. And Ice Cube fans won't be disappointed. Everyone else may want to think twice before shelling out hard-earned dollars.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Exploitation shamelessly posing as empowerment, Neema Barnette's self-congratulatory drama about women in prison promises to reveal shocking truths.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Though topnotch actors often can elevate mediocre material, they need a topnotch director to help them do it. Steve Carr ("Dr. Dolittle 2") is not that director.
    • 17 Metascore
    • 38 Elizabeth Weitzman
    There is a fair share of turkeys at the multiplex this week, but none are quite as overcooked as Extreme Ops.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Don't let the title fool you. The one thing they have in common is how decidedly unerotic they are.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    Could easily be just another episode of "Hey Arnold!" the TV show. Except that it's three times as long, and not half as much fun.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    If you're in an especially generous mood, you'll give in to a few laughs. By the end, though, you just may find yourself pining for the good old days of Pauly Shore.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    To be fair, Sandler deserves some credit for bringing us the first mainstream movie about Chanukah. Too bad it's completely idioticah.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The full title of this animé import is WXIII (Patlabor the Movie 3), and if you think the name's confusing, you may want to spare yourself the work of figuring out the film itself.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    A painfully flat spoof of the 1961 Bay of Pigs invasion.
    • 69 Metascore
    • 38 Elizabeth Weitzman
    Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Regrettably, neither cast nor crew is able to save it from itself.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    Commits the cardinal sin of moviemaking: It leaves you bored.
    • 20 Metascore
    • 38 Elizabeth Weitzman
    The writing, directing and acting are all so sketchy, it's a mystery that Kattan didn't just try out this material the way he should have -- in a three-minute sketch.
    • 54 Metascore
    • 38 Elizabeth Weitzman
    A flashy homage to a dozen better movies, this self-conscious Hong Kong action flick is so packed with visual thrills, you may not notice that there's absolutely nothing beneath its impressively slick surface.
    • 51 Metascore
    • 38 Elizabeth Weitzman
    The best part of this proudly absurd experience is the music.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    It's too bad the film never makes good on its early promise, but clearly, the rolling fireballs and flying bullets are the priority.
    • 25 Metascore
    • 38 Elizabeth Weitzman
    A warmed-over ripoff, rather than the gritty urban drama it so desperately wants to be.
    • 50 Metascore
    • 38 Elizabeth Weitzman
    This time around, the cult director dispenses with the feminism, the satire, and even the issues, so he can concentrate on his true passion: the dissecting.
    • 5 Metascore
    • 38 Elizabeth Weitzman
    Features amateurish acting and direction, and a going-nowhere script.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Does little more than re-create the oppressive feeling of suffocating employment. And why put yourself through that experience without the promise of a paycheck at the other end?
    • 36 Metascore
    • 38 Elizabeth Weitzman
    With little dialogue, a murky night setting and the slowest of plots, this Portuguese fantasy only comes alive when it conforms to its true nature as arthouse pornography.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    Having mined England and Ireland dry, filmmakers are now turning to Wales for their quirkiness quota.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    If you only want a sequence of slashings, impalements and head-squishings, you'll get your money's worth. But if you like a little movie with your mayhem, you're out of luck.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.
    • 58 Metascore
    • 38 Elizabeth Weitzman
    May
    Novice director Lucky McKee wrote the first draft of this labored horror flick while he was in school, and for a student film, it's not bad. But it's not ready for the big time.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    The movie eventually chokes on its own pretensions.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The martial arts are well represented, the gentler arts -- like, for example, acting -- are not.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Tries everything possible to win you over -- satire, gross-out comedy, even earnest romance. But as any high-schooler can tell you, the harder you try, the bigger you fall.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    The movie doesn't even have novelty on its side, since we're basically watching the original "Final Destination" all over again, minus the smarts and humor.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Oddly enough, given his limited role, the movie seems to have been made around Nelly; when he's not onscreen, everything falls apart.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Competent in the extreme, the talented Jolie would make a great Jane Bond. But mired in this joyless orgy of preposterousness, her biggest challenge is simply keeping a straight face.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Neither chimps nor children should be subjected to such shabby mediocrity.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Stays firmly, depressingly, inside the lines.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Having written, co- directed and played the lead in this awkward, ego-driven memoir, Hayata has turned a genuinely compelling life story into an embarrassing vanity production.
    • 15 Metascore
    • 38 Elizabeth Weitzman
    Director Uwe Boll wholeheartedly embraces the film's concept, and with some fancy editing and a pulsing soundtrack, the effect really is like watching a video game.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    A great idea that never gets off the ground.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Heavily influenced by Guy Ritchie, director Mo gets most of his comic mileage from a Hasidic Jew and an angry dwarf -- which should tell you everything you need to know.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    But where the original was slight but sweet, the remake is depressingly superficial and cynical.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    With so little action or even insight, Marathon is far too long at only 74 minutes. Perhaps for the sequel, we can come along as Gretchen watches paint dry.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Self-indulgent in the extreme, Julián Hernández's laconic ode to heartbreak feels like the work of a lovelorn teenager.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    We're bombarded by witless racial clichés, stale sexism and homophobia and enthusiastic celebrations of extreme flatulence.
    • 15 Metascore
    • 38 Elizabeth Weitzman
    Too solemnly boring to entertain parents or older siblings - but, alas, too loud for a long nap - Yu-Gi-Oh! is basically a feature-length promotion for the trading cards.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    This off-putting satire is a jumble of misguided ideas that gather like lint in the navel of self-obsessed director Philippe Caland.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    You may want to wait and watch "Never Land" the way it was meant to be seen -- as a straight-to-video baby-sitter.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    This lackluster outing is mostly just a retread of past glories.
    • 30 Metascore
    • 38 Elizabeth Weitzman
    The unhappy dead populate Geoffrey Sax's third-rate thriller White Noise like a pre-Christmas crowd at a suburban mall. This is a shame, since they are neither scary nor sad, and less likely to haunt an audience than simply bore them to death.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Oddly enough, though, only the finale is predictable in a movie that appears to have been edited in an early-model blender. Not a single scene connects smoothly with the next.
    • 46 Metascore
    • 38 Elizabeth Weitzman
    It's interesting in the same way the early, rejection episodes of "American Idol" are oddly compelling. But, of course, you can watch those for free.
    • 55 Metascore
    • 38 Elizabeth Weitzman
    Cusack is excellent as Joan, the only woman in the film who values a girl's brains over her body, so it's a shame Fywell treats her with amused scorn.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Hartley's satire of consumer-driven sexuality is undermined by the straight-faced decision to cast affectless model Tatiana Abracos as the heroine.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    The sort of slick-looking indie that plays well at film festivals, this heavy-handed boxing drama is really just a flyweight bulked up on cliches and false sentimentality.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    This tale of disaffected sexual depravity is practically a parody of the worst of French filmmaking.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Enthusiastic performances help, but without a logical script or confident direction, the fizz very quickly goes flat.
    • 50 Metascore
    • 38 Elizabeth Weitzman
    At its best moments, the film offers a tender portrait of the park's youngest regulars, charmingly earnest performers from a nearby music school. But then, inevitably, their stories fade into a backdrop, as his camera turns to catch yet more women sunning in the square.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    You don't have to rise very high to get above the level of these gags.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Sets out to be a social critique but settles for smug disdain.
    • 26 Metascore
    • 38 Elizabeth Weitzman
    Unfortunately, while director Steve Boyum is a successful stunt man and off-road biker, his skills do not extend to the relatively passive arena of filmmaking. Somehow, he even makes much of the action static.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Burns doesn't even bother to disguise his New York accent, any more than he does his boredom.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    G
    It's an ugly affair overall, but at least you can say you've never seen such beautiful shirts.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    Phelan makes nice use of the New York locations, but all the trees in Central Park can't make up for a clichéd script and characters who speak entirely in platitudes.
    • 59 Metascore
    • 38 Elizabeth Weitzman
    The film does deserve credit for juggling difficult racial and class issues - but with a wacky score, cute puppies and silly side stories also jockeying for space, Bamford's best intentions tumble to a heap long before the movie ends.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    There are moments of amusing melodrama, but for the most part, the action is too preposterous to take seriously, and too serious to be very much fun.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    And though Samantha is written as a sly spoof of Ashlee Simpson, Faris frantically overplays her. She might have taken a tip from Smart, a lovely, understated actress who wastes too much time in lousy films.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    Arnold's heart is in the right place, but somebody needs to save him from himself - and soon.