Elizabeth Weitzman
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For 2,245 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 5 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Mutual Appreciation
Lowest review score: 0 Left Behind
Score distribution:
2,245 movie reviews
    • 55 Metascore
    • 75 Elizabeth Weitzman
    Very good but very grim, Paul Andrew Williams' punishing debut doesn't pull many punches - although the characters certainly field their share of body blows.
    • 82 Metascore
    • 75 Elizabeth Weitzman
    None of the children are professionals, and their uncontrived performances lend a painfully real quality to what becomes a rather lyrical story.
    • 36 Metascore
    • 75 Elizabeth Weitzman
    If you want old-school cool, you go to Laurence Fishburne.
    • 50 Metascore
    • 75 Elizabeth Weitzman
    This is not a film for the impatient. But director Aparna Sen finds the poetry in romantic restraint, which is a mighty rare resource these days.
    • 66 Metascore
    • 75 Elizabeth Weitzman
    Given that fundamentalist faith and sober logic are irreconcilable enemies, though, Baer's analysis inevitably leads to a grim roadblock, at which he can do little more than tally the toll.
    • 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.
    • 64 Metascore
    • 70 Elizabeth Weitzman
    Very few actual mothers will appreciate the manipulative ending, which even a child could spot coming an hour away.
    • 39 Metascore
    • 70 Elizabeth Weitzman
    Turns out, Michel Gondry has crafted an irreverently funny, ultramodern take on the 1930s radio serial.
    • 61 Metascore
    • 70 Elizabeth Weitzman
    It has heart and a good kick.
    • 62 Metascore
    • 70 Elizabeth Weitzman
    Were the casting stronger, the film -- would have had a better chance of transcending its lack of subtlety.
    • 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.
    • 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.
    • 69 Metascore
    • 70 Elizabeth Weitzman
    When it's all over, we still don't know who Wintour really is.
    • 75 Metascore
    • 70 Elizabeth Weitzman
    If you're in the mood for fairy tales, you've come to the right place.
    • 69 Metascore
    • 70 Elizabeth Weitzman
    A film more moving than most but not as devastating as it should be.
    • 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.
    • 70 Metascore
    • 70 Elizabeth Weitzman
    Wouldn't you rather learn about his culture from Norbu than from Richard Gere?
    • 57 Metascore
    • 70 Elizabeth Weitzman
    Accept the challenge. What's good enough for Bart is good enough for you.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 70 Elizabeth Weitzman
    RED
    To underestimate actors of this caliber -- even in a popcorn action flick -- would be dangerous indeed.
    • 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.
    • 51 Metascore
    • 63 Elizabeth Weitzman
    Stallion" has gorgeous cinematography with spectacular landscapes - plus a lazy script, forgettable performances and regrettably uninspired direction.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    While the boys' fates do seem a little too predestined, that may well be Arslan's intention. When you're idling in no man's land, it's all too easy to get uprooted.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    It's like racing through a detective novel, only to find the last page has been torn out.
    • 72 Metascore
    • 63 Elizabeth Weitzman
    A natural crowd-pleaser, this year's big Sundance award winner is both overly familiar and surprisingly fresh.
    • 64 Metascore
    • 63 Elizabeth Weitzman
    There are some heartbreaking moments here, from the reactions of recent amputees to the tearful doctors and nurses trying hard to remain professional. And there is no question that Sanders has discovered a worthy subject. He just hasn't found the right way to approach it.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    With some movies, you know exactly what you're going to see before you even enter the theater, and Michael Mayer's Flicka is one of them: You've got your girl, you've got your horse, and you've got your strict father trying to keep them apart.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    Even with its first-rate cast, current political relevance and tangled mysteries, The Good Shepherd remains as remote as Wilson himself. But frankly, if the lives of CIA spies are really this dreary, they may as well keep their secrets to themselves.
    • 48 Metascore
    • 63 Elizabeth Weitzman
    Oddly, almost unrelentingly, grim.
    • 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.
    • 63 Metascore
    • 63 Elizabeth Weitzman
    Because Albertina Carri spends so much time skirting relevant issues, her self-consciously experimental examination into her parents' murder feels like a worthy movie that simply wasn't ready to be made.
    • 79 Metascore
    • 63 Elizabeth Weitzman
    Unrelentingly, admirably committed to its own grimness.
    • 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.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    Visually arresting but thematically uneven, Gerardo Naranjo's fictional snapshot of a gritty Mexican beach is simply too desperate to shock us.
    • 41 Metascore
    • 63 Elizabeth Weitzman
    The action periodically stops so the characters -= even the roughest grifters -- can break into song and dance.
    • 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.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    There are movies that are important, and then there are movies that simply look and act as if they're important. With its arthouse cast, hipster credentials and ominous atmosphere, Young Adam never bothers to reach for real significance.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    Surprisingly poignant, thanks to its enduring sense of tenderness.
    • 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.
    • 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
    • 46 Metascore
    • 63 Elizabeth Weitzman
    Plays strictly to formula, the only real surprise is its apparently ironic title.
    • 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?"
    • 43 Metascore
    • 63 Elizabeth Weitzman
    The special effects here are surprisingly smooth, and everyone seems to be having fun.
    • 38 Metascore
    • 63 Elizabeth Weitzman
    If it's not quite the best Will Ferrell movie he never made, Balls of Fury is, at the very least, a lot funnier than it has a right to be.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    A world designed for children, and most of the grownups involved don't quite understand it - on or offscreen.
    • 56 Metascore
    • 63 Elizabeth Weitzman
    Zingaretti does a fine job shading a character that is written as an unalloyed saint.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    A meandering, amusing trifle, Werner Herzog's latest film is as cheekily flaky as his recent "Grizzly Man" was sharply down-to-earth.
    • 63 Metascore
    • 63 Elizabeth Weitzman
    Think you're too tough for a sentimental comeback story? Well, a few minutes with Rocky Balboa might just knock the cynic out of you.
    • 78 Metascore
    • 63 Elizabeth Weitzman
    Chéreau keenly understands both his characters and their unwanted world, from the dehumanization that occurs the moment one enters a hospital to the hope and fear that take over when one leaves.
    • 69 Metascore
    • 63 Elizabeth Weitzman
    Though he doesn't possess the dangerous confusion of his tragically misguided heroes, veteran director Marco Bellocchio does share their capacity for raising thought-provoking points that end in an ineffectual tangle.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    As escapist fantasies go, this easygoing romance is a modest winner.
    • 47 Metascore
    • 63 Elizabeth Weitzman
    John Greyson and Jack Lewis' experimental drama, about two prisoners who have a dangerous affair, is a challenging, flawed look at a little-known slice of history.
    • 72 Metascore
    • 63 Elizabeth Weitzman
    Smart, imaginative - and nearly ­impossible to watch.
    • 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.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    Ristovski needs us to feel his nation's torment, and he succeeds.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    You'll need a strong stomach, but director Christopher Smith mixes lots of laughs into the gore. Despite its predictable finish, Severance is bloody good fun.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    Ultimately, the project suffers from a nearly complete lack of contextualization. We could surely use some background on Goebbels' complicity in mass genocide while listening to him brag about his beautiful, healthy children and happy family life.
    • 59 Metascore
    • 63 Elizabeth Weitzman
    Putting an entertainingly outlandish spin on "Matrix"-style action, Bekmambetov leans toward flamboyant special effects and operatic overacting.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    An enjoyable trip, as long as you don't mind traveling light.
    • 67 Metascore
    • 63 Elizabeth Weitzman
    As for Scott, his rather wry interpretation is competent, but neither daring nor insightful enough to arouse any great passion.
    • 70 Metascore
    • 63 Elizabeth Weitzman
    Kurosawa may be considered the genius, but his movie would go nowhere without its extraordinary leading man.
    • 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?
    • 57 Metascore
    • 63 Elizabeth Weitzman
    Because although there are some very striking moments in Neil Armfield's debut, there are simply not enough to keep us absorbed the way a movie should.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    The laconic Lemarquis does a solid job carrying off Kári's dryly mordant wit, making this eccentric story well worth watching.
    • 53 Metascore
    • 63 Elizabeth Weitzman
    The thin, whimsical story is really better suited to a short film, but Hall deserves a lot of credit for carrying off such unusual material.
    • 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.
    • 51 Metascore
    • 63 Elizabeth Weitzman
    A good movie that could have been better, Joseph Cedar's sensitive Israeli drama falters when he trades sociological observations for political ones.
    • 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.
    • 66 Metascore
    • 63 Elizabeth Weitzman
    Panayotopoulou does handle the material with sensitivity, but she relies too much on her young hero's unlikely precocity, which unwittingly diminishes the intensity of a child's very real grief.
    • 64 Metascore
    • 63 Elizabeth Weitzman
    Thought-provoking, but not quite as profound as it pretends to be.
    • 43 Metascore
    • 63 Elizabeth Weitzman
    The time-traveling is a little awkward, and a mawkish turn of events feels forced and unnecessary.
    • 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.
    • 46 Metascore
    • 63 Elizabeth Weitzman
    Starts strongly and is bolstered by thoughtful performances.
    • 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.
    • 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.
    • 74 Metascore
    • 63 Elizabeth Weitzman
    Suleiman isn't much for words, but when he's ready for action, there's no hiding his anger.
    • 75 Metascore
    • 63 Elizabeth Weitzman
    While Kim is unable to keep us riveted on her near-silent performance, the script and direction have a gentle sensitivity.
    • 54 Metascore
    • 63 Elizabeth Weitzman
    Short, sharp and to the point, Vacancy has a single goal, and that is to scare the hell out of you.
    • 57 Metascore
    • 63 Elizabeth Weitzman
    It's both a compliment and a criticism to say that Michèle Ohayon's scrappy documentary ends much too quickly. Every moment of this story - about America's unlikeliest matchmaker - is fascinating. We just need more of them.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    The way he presents his romantic history is both clever and entertaining, but after a while the story becomes tediously familiar.
    • 39 Metascore
    • 63 Elizabeth Weitzman
    Unfortunately, despite some strong performances, the movie never really makes a case for its own existence.
    • 44 Metascore
    • 63 Elizabeth Weitzman
    A rare opportunity to see shorts without having to spring for a ticket to a film festival.
    • 43 Metascore
    • 63 Elizabeth Weitzman
    Slams us with an absurdly repugnant ending, for absolutely no reason other than to shock viewers and generate cheap controversy.
    • 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?
    • 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.
    • 75 Metascore
    • 63 Elizabeth Weitzman
    Selim's script doesn't hit new territory, but beautiful cinematography takes it just far enough.
    • 62 Metascore
    • 63 Elizabeth Weitzman
    Both the humor and horror are as broad as the side of the Oldfields' barn, but King and the cast are clearly having fun.
    • 64 Metascore
    • 63 Elizabeth Weitzman
    The whole thing burns out well before the director reaches his ­final destination.
    • 61 Metascore
    • 63 Elizabeth Weitzman
    There are no surprises here, in other words, but there aren't supposed to be: This is a comfort film, the on-screen equivalent of mac and cheese - though with a splash of truffle oil to class things up.
    • 64 Metascore
    • 63 Elizabeth Weitzman
    It's hard to remain unmoved by Kang's deeply heartfelt homage to his nation's past.
    • 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.
    • 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.
    • 58 Metascore
    • 63 Elizabeth Weitzman
    Reeder makes a compelling lost soul, so that even the most soddenly moralistic moments are worth watching.
    • 65 Metascore
    • 63 Elizabeth Weitzman
    It's the subject himself, still brimming with passion in his 80s, who provides the most inspiring moments.
    • 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.
    • 68 Metascore
    • 63 Elizabeth Weitzman
    What it is, to borrow a word from the ever-eloquent spider Charlotte, is average. Don't misunderstand: While never quite enchanting, this "Web" is perfectly entertaining. But it could - and should -have been so much more.

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