Elizabeth Weitzman
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For 2,189 reviews, this critic has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 4.4 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 Valentine
Score distribution:
2,189 movie reviews
    • 71 Metascore
    • 70 Elizabeth Weitzman
    Although this ­satire of Hollywood inanity isn't the comic ­classic it could have been, Downey's gonzo performance is a must-see.
    • 80 Metascore
    • 70 Elizabeth Weitzman
    An extraordinary achievement that nevertheless falls short of its full potential, Coraline is absolutely worth seeing, for older children and adults alike. But the connection will be entirely through your eyes; if you want it to touch your heart, you'll have to go to the book on which it's based.
    • 70 Metascore
    • 70 Elizabeth Weitzman
    The central love story, platonic though it may be, is entirely between the men. Their connection - and I’m determined to avoid the word “bromance” - saves this film from becoming just another Apatowian wanna-be.
    • 63 Metascore
    • 70 Elizabeth Weitzman
    Hanks is extremely understated, but his passivity works: as the son of a superstar, he may have realized that Troy’s role is simply to observe and reflect his boss’s glory.
    • 57 Metascore
    • 70 Elizabeth Weitzman
    Accept the challenge. What's good enough for Bart is good enough for you.
    • 50 Metascore
    • 70 Elizabeth Weitzman
    Jennifer Aniston and Steve Zahn? Who thought that would be a good match? So it's to everyone's ­credit that by the time the ­movie is over, you'll wonder why they were never paired together before.
    • 66 Metascore
    • 70 Elizabeth Weitzman
    Streep is the most important ingredient in this recipe.
    • 54 Metascore
    • 70 Elizabeth Weitzman
    Packed with filthy jokes, insane sight gags, and body parts used in decidedly uncommon ways, Brüno is hands-down the dirtiest R-rated movie you'll see this year.
    • 66 Metascore
    • 70 Elizabeth Weitzman
    Best of all is newcomer Connell, the kind of charismatic kid who would have been cast in "Freaks and Geeks" ten years ago.
    • 69 Metascore
    • 70 Elizabeth Weitzman
    When it's all over, we still don't know who Wintour really is.
    • 64 Metascore
    • 70 Elizabeth Weitzman
    The film does look beautiful, and there's enough intrigue to inspire anyone to learn more about such a complex, fascinating life. It just would have been nice to see a little more of that complexity onscreen.
    • 61 Metascore
    • 70 Elizabeth Weitzman
    It has heart and a good kick.
    • 55 Metascore
    • 70 Elizabeth Weitzman
    A sharp sendup of suburban conformity and American materialism, The Joneses does burn through its credit by the end. But it's flashy enough to catch our eye, and keep our interest nearly all the way through.
    • 64 Metascore
    • 70 Elizabeth Weitzman
    Very few actual mothers will appreciate the manipulative ending, which even a child could spot coming an hour away.
    • 69 Metascore
    • 70 Elizabeth Weitzman
    A film more moving than most but not as devastating as it should be.
    • 60 Metascore
    • 70 Elizabeth Weitzman
    RED
    To underestimate actors of this caliber -- even in a popcorn action flick -- would be dangerous indeed.
    • 39 Metascore
    • 70 Elizabeth Weitzman
    Turns out, Michel Gondry has crafted an irreverently funny, ultramodern take on the 1930s radio serial.
    • 73 Metascore
    • 63 Elizabeth Weitzman
    Every time things start to get dull, you're brought up short by another moment of surprising beauty.
    • 41 Metascore
    • 63 Elizabeth Weitzman
    The action periodically stops so the characters -= even the roughest grifters -- can break into song and dance.
    • 36 Metascore
    • 63 Elizabeth Weitzman
    As usual, Thomson steers right into the heart of vulnerability, with a painfully true performance as a guarded, confused soul.
    • New York Daily News
    • 57 Metascore
    • 63 Elizabeth Weitzman
    Won't change the world, but thanks to its casual intimacy, it was a risk worth taking.
    • 48 Metascore
    • 63 Elizabeth Weitzman
    A cheerleader spoof that starts rousingly, but ends up nearly as shallow as its easy-target subjects.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    Every trip requires patience, and this one brings plenty of rewards, in the ecstatic sounds of a country most of us haven't been able to visit firsthand.
    • 30 Metascore
    • 63 Elizabeth Weitzman
    If even one audience member leaves more concerned with the evils of poachers than the pleasures of Pokemon, Disney's more than done its job.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    While this paranoid thriller is overly familiar, it's still plenty unsettling.
    • 51 Metascore
    • 63 Elizabeth Weitzman
    The many opera scenes are so beautifully mounted, they make up for the moments when the story veers toward melodrama.
    • 54 Metascore
    • 63 Elizabeth Weitzman
    Koury's harsh documentary is likely to leave you unsettled and depressed. Which is, clearly, just what it's supposed to do.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    The opera's story -- about a Chinese princess who rejects all her suitors -- is never even fully explained.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    On film, and eight years after they were written, his urgent re-creations of an awkward first date, or a Village People obsession, feel both overly familiar and almost embarrassingly earnest.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    Surprisingly poignant, thanks to its enduring sense of tenderness.
    • 70 Metascore
    • 63 Elizabeth Weitzman
    Though the results are only moderately compelling, the film's problems stem not from a lack of ideological thrust, but rather from a protagonist who is so phenomenally unlikable.
    • 43 Metascore
    • 63 Elizabeth Weitzman
    All the full-blown wackiness turns a rather sweet movie into one that's decidedly overripe.
    • 35 Metascore
    • 63 Elizabeth Weitzman
    The leaden bits do bring the proceedings to a screeching halt too many times, but the costumes are breathtaking, and the details (like color-coordinated martinis) are dazzling.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    The film's slightly awkward self-consciousness is balanced by an appealing, gently deadpan performance from Palmieri.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    What makes this one stand out is the tugging, melancholy romance hiding behind the curtain of blood.
    • New York Daily News
    • 79 Metascore
    • 63 Elizabeth Weitzman
    Unrelentingly, admirably committed to its own grimness.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    As escapist fantasies go, this easygoing romance is a modest winner.
    • 70 Metascore
    • 63 Elizabeth Weitzman
    Kurosawa may be considered the genius, but his movie would go nowhere without its extraordinary leading man.
    • 66 Metascore
    • 63 Elizabeth Weitzman
    Doesn't probe quite as deeply as it should.
    • 44 Metascore
    • 63 Elizabeth Weitzman
    When Kikijuro goes soft, the film falls apart, with him becoming a slapstick clown, mugging shamelessly to entertain Masao and the audience.
    • 46 Metascore
    • 63 Elizabeth Weitzman
    An only intermittently amusing genre parody.
    • 69 Metascore
    • 63 Elizabeth Weitzman
    Though predictable and a bit of a soap opera, Ferzan Ozpetek's Italian drama is saved by the tremendous appeal of its stars, Margherita Buy and Stefano Accorsi.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    Intermittently compelling drama.
    • New York Daily News
    • 58 Metascore
    • 63 Elizabeth Weitzman
    By the time they're ready to leave their trench, we're not at all ready to see them go.
    • New York Daily News
    • 46 Metascore
    • 63 Elizabeth Weitzman
    Starts strongly and is bolstered by thoughtful performances.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    If you're wondering whether the rules of love change during war, you won't find a better case than the urgent, darkly comic relationship between these two.
    • New York Daily News
    • 52 Metascore
    • 63 Elizabeth Weitzman
    Noya is a natural actor, and there are genuinely sweet moments between him and the adults. So, why did Agresti feel the need to pour so much added sugar down our throats?
    • 63 Metascore
    • 63 Elizabeth Weitzman
    Just when you think it's a violent drama, it turns into a comic road picture, before finally becoming a tender romance.
    • 41 Metascore
    • 63 Elizabeth Weitzman
    Intermittently amusing.
    • 60 Metascore
    • 63 Elizabeth Weitzman
    A likable, if somewhat earnest, exploration of cultural identity.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    The result, while slight, is a poignant portrait of one of New York's all-star outlaws.
    • 33 Metascore
    • 63 Elizabeth Weitzman
    Surprisingly sweet and smart... LaBeouf does an excellent job, and the talented Beeney is one to watch.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    Characters do little more than run around the same track incessantly, leaving us waiting for revelations that never arrive.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    Dayan's weakly structured biopic Cet Amour-là is, to be kind, less than inspired. But as a showcase for legendary French actress Jeanne Moreau, it's a tour de force.
    • 54 Metascore
    • 63 Elizabeth Weitzman
    Anyone familiar with Reno's politically minded monologues won't be surprised by her fury, which has sometimes been fueled by a self-righteousness that's undermined her valid observations.
    • 69 Metascore
    • 63 Elizabeth Weitzman
    So well intentioned that its flaws may be generously overlooked by parents desperately planning activities for school breaks.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    There are several small, startling moments of insight hidden amid the long, slow stretches of listlessness. But the balance is slightly off. We could have used a little more pleasure to get us through his grim adolescent unknown.
    • 66 Metascore
    • 63 Elizabeth Weitzman
    This is compelling stuff, but Jones seems almost pathologically averse to upstaging the songs themselves.
    • 73 Metascore
    • 63 Elizabeth Weitzman
    The movie drags in some places and throbs in others, but it looks and feels like a bigger production than it actually is. The largely unknown cast is especially strong - this may be your first chance to discover them, but it won't be the last time you see them.
    • 70 Metascore
    • 63 Elizabeth Weitzman
    For the broader audience, this seems both suffocating and confusing -- True opera buffs, however, are more likely to feel thrilled, as if they're privy to a private production of the highest caliber.
    • 63 Metascore
    • 63 Elizabeth Weitzman
    It's not giving too much away to note that we've seen a lot of this before, in classic noir and postnoir films, though to name those films would spoil things.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    Will Rugrats fans love it -- Wee, we -- er, oui, oui.
    • 35 Metascore
    • 63 Elizabeth Weitzman
    The movie's 85 minutes speed merrily along on a steady stream of outrageous antics, entertaining performances from seasoned pros (like John Witherspoon, as Craig's dyspeptic dad), and unforgettable introductions to new talent.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    Barney's cinematic art inspires both awe and revulsion, often simultaneously.
    • 74 Metascore
    • 63 Elizabeth Weitzman
    Suleiman isn't much for words, but when he's ready for action, there's no hiding his anger.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    A deeply felt, if occasionally amateurish, journey through some very affecting terrain.
    • 59 Metascore
    • 63 Elizabeth Weitzman
    Director Bezucha's eyes are as starry as Montana's sky, but it's pretty hard to resist such a determinedly utopian vision of love.
    • 58 Metascore
    • 63 Elizabeth Weitzman
    Young kids will be so distracted by the silly songs and clever contemporary references that they won't even realize they're sitting through cinematic Sunday school.
    • 63 Metascore
    • 63 Elizabeth Weitzman
    Bogged down by a lazy script and underwhelming performances. Fortunately, there's no hiding his jubilant passion for ritual and symmetry, which makes each perfectly choreographed band scene a genuine thrill to watch.
    • 54 Metascore
    • 63 Elizabeth Weitzman
    Cynics need not show up, but if you're looking for a feel-good fairy tale, this one's certainly sweet enough to satisfy.
    • 50 Metascore
    • 63 Elizabeth Weitzman
    Proyas creates an engaging, high-octane energy, boosted by an up-for-anything cast.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    Built on the most basic (though quite charming) animation, songs and plots, the film does have an inescapably straight-to-video feel.
    • 44 Metascore
    • 63 Elizabeth Weitzman
    A rare opportunity to see shorts without having to spring for a ticket to a film festival.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    Despite the spectacularly cool opening credits and some first-rate animation, the story starts to flag about halfway through.
    • 64 Metascore
    • 63 Elizabeth Weitzman
    Though buoyed by excellent, unflinching performances, this melancholy drama reflects the dismally monotonous lives of its subjects just a little too well.
    • 75 Metascore
    • 63 Elizabeth Weitzman
    Surely no other has done it quite like this group.
    • 56 Metascore
    • 63 Elizabeth Weitzman
    Not a single moment of creativity or intrigue is to be found in the big-screen debut of the Disney Channel's most popular sitcom character.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    Though it's ultimately rather heavy-handed, this drama about an Iranian-American family is heartfelt and topical.
    • 53 Metascore
    • 63 Elizabeth Weitzman
    It clearly wants to be more, but it's failed by its lightweight leads.
    • 48 Metascore
    • 63 Elizabeth Weitzman
    Does have a sort of endearing, earnest charm. But it would take much more than good intentions to save a film that rehashes cliches and concepts so unabashedly.
    • New York Daily News
    • 67 Metascore
    • 63 Elizabeth Weitzman
    It's the many thoughtful, eloquent interviews with Fellini himself that serve as the heart of the film.
    • 66 Metascore
    • 63 Elizabeth Weitzman
    It's unabashedly derivative and spooky enough to keep you up at night.
    • 22 Metascore
    • 63 Elizabeth Weitzman
    Kids will love it.
    • 28 Metascore
    • 63 Elizabeth Weitzman
    Good or bad, it's either a must-see in your house, or not even on the radar screen.
    • 73 Metascore
    • 63 Elizabeth Weitzman
    Despite some contrived plotting, Amari and Abbass have so much empathy for Lilia's shy self-discovery, it's a pleasure to watch her gradually give in to her newfound joy.
    • 31 Metascore
    • 63 Elizabeth Weitzman
    It starts pushing buttons immediately and never lets up. This proves to be both its strongest asset and, unfortunately, its biggest flaw.
    • 34 Metascore
    • 63 Elizabeth Weitzman
    An uncensored, often hilarious vision of spring break madness that is so perfectly positioned on the big screen, the only question you can ask its creators is, "What took you so long?"
    • 68 Metascore
    • 63 Elizabeth Weitzman
    An enjoyable trip, as long as you don't mind traveling light.
    • 41 Metascore
    • 63 Elizabeth Weitzman
    While Duff is fairly flavorless, Muniz proves that four seasons of "Malcolm" have made him a pro at navigating surreal silliness. Even when the script fails him, his well-honed instincts save the day.
    • 63 Metascore
    • 63 Elizabeth Weitzman
    The intriguing elements never quite coalesce into a consequential whole; we leave this yuppie nightmare feeling both unsettled and unsatisfied.
    • New York Daily News
    • 51 Metascore
    • 63 Elizabeth Weitzman
    The attempt to make this intimate movie more exciting is misguided; we can find plenty of manufactured thrills at the multiplex. What's wrong with a little quiet, old-fashioned charm?
    • 64 Metascore
    • 63 Elizabeth Weitzman
    A fan's dream, A.J. Schnack's worshipful documentary about the musical duo They Might Be Giants does a nice job reflecting the thoughtful, quirky sensibility of its subjects' songs. Just don't expect to learn much about the guys themselves.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    The old footage is definitely compelling, but once Moss trains his focus on the quotidian present, the movie takes on too much water to stay afloat.
    • 56 Metascore
    • 63 Elizabeth Weitzman
    Other than a few witty jokes and a game cast, there's nothing particularly special here.
    • 41 Metascore
    • 63 Elizabeth Weitzman
    So desperately eager to please: Gaudreault doesn't offer much in the way of wit or originality, but he's determined to win us over with sheer enthusiasm.
    • 33 Metascore
    • 63 Elizabeth Weitzman
    Green's aggressively whimsical autobiography, which he narrates entirely in rhyme, will challenge all but the most open-minded audiences.
    • 70 Metascore
    • 63 Elizabeth Weitzman
    The film is hampered by a somewhat shallow, soap-operatic climax. But Knoller is superb as a practical man trying to balance reason and emotion. Fox does an excellent job capturing the claustrophobia of army life, made all the more suffocating by having to hide one's true self.
    • 48 Metascore
    • 63 Elizabeth Weitzman
    Oddly, almost unrelentingly, grim.
    • 60 Metascore
    • 63 Elizabeth Weitzman
    Is it possible for an historically -based Holocaust movie to be schmaltzy? This one sure comes close.
    • 50 Metascore
    • 63 Elizabeth Weitzman
    In performance, Earle comes across as a successor to Woody Guthrie or Johnny Cash. In this fawning portrait, however, he seems more like music's Michael Moore.