Elizabeth Weitzman

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For 2,254 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 7 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Devil and Daniel Johnston
Lowest review score: 0 Oz the Great and Powerful
Score distribution:
2254 movie reviews
    • 26 Metascore
    • 20 Elizabeth Weitzman
    The plot makes absolutely no sense.
    • 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."
    • 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.
    • 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.
    • 67 Metascore
    • 20 Elizabeth Weitzman
    How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.
    • 63 Metascore
    • 20 Elizabeth Weitzman
    All we’re left with is the sight of older men hiring a gorgeous young woman to take her clothes off and fulfill their desires. If nothing else, Ozon does leave us wondering whether he intended such an uncomfortable parallel between life and art.
    • 62 Metascore
    • 20 Elizabeth Weitzman
    What's most notable about this aggressively cynical project is how much talent it wastes.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.
    • 62 Metascore
    • 20 Elizabeth Weitzman
    The performances are expert, but can't make up for a flat script and direction. Unless you, like Claire, are a glutton for punishment, we suggest you choose nothing over something.
    • 20 Metascore
    • 20 Elizabeth Weitzman
    Ellis' stamp is immediately apparent, from the absurdly vapid characters to the undercurrent of barely repressed anger.
    • 61 Metascore
    • 38 Elizabeth Weitzman
    While it's visually stunning, the pretentiousness makes it hard to take seriously.
    • 61 Metascore
    • 30 Elizabeth Weitzman
    I can't imagine why De Niro, who is a fine comedian, is still coasting on his gangster act, and surely Crystal can do something other than play himself...it feels a little like an exercise in laziness.
    • Film.com
    • 60 Metascore
    • 38 Elizabeth Weitzman
    A few relevant themes do bubble up from this visually intriguing swamp of self-indulgence, but Arquette's pseudo-philosopher seems to speak for Almereyda when he says, "If there was a point, there wouldn't be a story."
    • 59 Metascore
    • 20 Elizabeth Weitzman
    With all the talent on tap — including screenwriter Buck Henry, who worked with Michal Zebede to adapt Philip Roth’s 2009 novel — you’d think we’d get something better than this outdated indulgence.
    • 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.
    • 19 Metascore
    • 20 Elizabeth Weitzman
    Travolta, who delivers an impressively enthusiastic performance, seems to have no idea that he's stuck in one of the year's worst movies. The perpetually pained expression on Williams' face, however, suggests he knows otherwise.
    • 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.
    • 57 Metascore
    • 12 Elizabeth Weitzman
    Every movie's gotta have a gimmick, and Crank's is that it has an excellent shot at ending 2006 as the worst film of the year.
    • 57 Metascore
    • 20 Elizabeth Weitzman
    While all four leads deserve better, it's especially galling to see Burstyn - still so lovely - wasting her time and talents on a film with so little wisdom to share.
    • 55 Metascore
    • 20 Elizabeth Weitzman
    When you name your movie Dom Hemingway and then require the titular antihero to repeatedly declare, “I am Dom Hemingway!” the filmmakers must be very confident that there is something special about their character. Too bad there isn’t.
    • 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.
    • 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.
    • New York Daily News
    • 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.
    • 54 Metascore
    • 20 Elizabeth Weitzman
    Haven’t Cleveland fans suffered enough? Not only have they never won a Super Bowl, but now the Browns serve as the center of Ivan Reitman’s painfully creaky sports drama.
    • 54 Metascore
    • 12 Elizabeth Weitzman
    Just because Dimension considered Greg McLean's nasty exploitation flick worthy of their time and money doesn't mean it deserves yours.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    Lighter on horror than it is on inadvertent humor.
    • 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?
    • 53 Metascore
    • 20 Elizabeth Weitzman
    While plenty of gross-out comedies have come and gone in the last two decades, Leslye Headland's Bachelorette may be the most vulgar of them all.
    • 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.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    It's not unusual for a Henry Jaglom film to fall into a black hole of narcissism, but he has outdone himself with his latest, a satire on Hollywood's unshakable self-absorption.
    • 52 Metascore
    • 25 Elizabeth Weitzman
    At heart, "BSM" is no different from the midnight movies of the '60s and '70s that reveled in a head-spinning blend of blatant exploitation, provocative racial commentary and overwrought performances.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    Alternates between being amusingly pretentious and studiously dull.
    • New York Daily News
    • 52 Metascore
    • 20 Elizabeth Weitzman
    This Spanish sequel to a 2007 cult hit uses the way-overdone conceit of videotaped terror.
    • 52 Metascore
    • 20 Elizabeth Weitzman
    Who could have predicted that one day we would long for the relative subtlety of “Twilight”? Richard LaGravenese’s Beautiful Creatures is so outrageously florid, Bella and Edward’s baroque courtship looks understated by comparison.
    • 51 Metascore
    • 38 Elizabeth Weitzman
    The best part of this proudly absurd experience is the music.
    • 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.
    • 50 Metascore
    • 20 Elizabeth Weitzman
    On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
    • 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.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    Subtlety has never been Perry's strength, but his previous films balanced the sermonizing with good humor and sincerity. Perhaps next time, he'll ease up on the lectures, and bring back the love.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    The movie eventually chokes on its own pretensions.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    Ever been on a blind date that you knew would be dismal from the start? Well, this is the movie version of that date, stretched out over the slowest two hours imaginable.
    • 49 Metascore
    • 20 Elizabeth Weitzman
    Writer-director Carter Smith got his start as a successful fashion photographer. But you wouldn’t know it from the murky look of this generic thriller.
    • 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.
    • New York Daily News
    • 49 Metascore
    • 38 Elizabeth Weitzman
    A great idea that never gets off the ground.
    • 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?
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Just like its increasingly wan antihero, this blood-soaked series is on its last legs.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    Though the central blowout is as epic as advertised, so is the movie's self-congratulatory obnoxiousness.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Goldberger's stubbornly insular script - adapted from a novel by Harry Crews - might have fared better on stage, where the story would feel more contained than suffocating. But by the time you crawl across this finish line, you'll know just how those sluggish the birdsfeel.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    A tacky 'Fatal Attraction' for the lesbian set.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    None of it makes any sense, but it is just nutty enough to provide a few (entirely unintended) laughs.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.
    • 47 Metascore
    • 20 Elizabeth Weitzman
    The Box is its own kind of awful, a disconnected mess that never finds its reason for being.
    • 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.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The truth about Lies is that it's a case of art-house porn being more porn than art.
    • 47 Metascore
    • 25 Elizabeth Weitzman
    A mediocre movie that will be wiped from its stars' résumés with head-spinning speed.
    • New York Daily News
    • 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.
    • 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.
    • 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.
    • New York Daily News
    • 46 Metascore
    • 38 Elizabeth Weitzman
    An exhausting combination of generic thriller, political tract and sentimental weepie.
    • 46 Metascore
    • 20 Elizabeth Weitzman
    It must be said that everyone - including Dominic West and Rosamund Pike -- works awfully hard to entertain us. But that just makes it all the more depressing when joke after joke falls painfully flat. Stay home and introduce your kids to Mr. Bean, instead.
    • 46 Metascore
    • 20 Elizabeth Weitzman
    Brooks' shallow screenplay feels half-finished, and he never compensates with additional guidance or directorial flair. So all his actors are forced to flail about ineffectually. Apparently, none of them read the script in advance. Because surely then they'd have known to take a pass.
    • 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.
    • 46 Metascore
    • 20 Elizabeth Weitzman
    Despite this chance to experience something thrilling and new, her life is just as dull the second time around.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    If there were a Lifetime Channel for Men, Emilio Aragón’s unabashedly sentimental take on old age would surely wind up there.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Sets out to be a social critique but settles for smug disdain.
    • 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.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    Perry's characters have always been drawn with broad strokes, as heroes or villains. In this case, all the villains are young women, and all the young women in this film-without exception--are monstrous.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Regrettably, neither cast nor crew is able to save it from itself.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    The filmmakers were too busy throwing together potential blockbuster material to notice all the loose ends and gaping holes in logic. Which may, ultimately, explain why Willis looks so confused throughout. Maybe he, too, is straining to locate some intelligence amid all the machinery.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    As it turns out, the only truly interesting element about this clichéd surfer flick is that it was made by celebrated directors Michael Apted and Curtis Hanson.
    • 44 Metascore
    • 20 Elizabeth Weitzman
    The 6-year-old I watched it with summed it up perfectly: “It starts out fun but then it’s kinda sad and scary. And sorta boring, too.”
    • 44 Metascore
    • 0 Elizabeth Weitzman
    Don’t be fooled by the smoke and mirrors. There is nothing here that is great, or powerful. Worst of all, there’s nothing here that even feels like Oz.
    • 44 Metascore
    • 30 Elizabeth Weitzman
    A patronizing, self-satisfied piece of work, Funny Games is Michael Haneke's way of chastising us for blindly following the traditional rules of entertainment.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Director Andy Fickman seems to have thrown everything into this artificial comedy, in the hopes that something might stick. Almost nothing does.
    • 44 Metascore
    • 20 Elizabeth Weitzman
    Skip the movie and go buy yourself a drink instead.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Southland Tales does have enough energy and audacity to suggest significant potential. But was it ready for public consumption? The answer is no. It's as simple as that.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Stambrini puts so much weight on shock value, she overlooks the matter of emotional resonance.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    In fairness, the new movie from the Lorne Michaels machine does have its amusing moments. It's just most of them can also be found in "Napoleon," "Talladega Nights," "Eagle vs. Shark," and any installment of "Jackass."
    • 43 Metascore
    • 25 Elizabeth Weitzman
    So misguided as to be genuinely mystifying, Jeff Stanzler's queasily blended political psychodrama isn't simply a lousy movie. It's also a lousy movie that boldly exploits the events of 9/11.
    • 43 Metascore
    • 20 Elizabeth Weitzman
    Unfortunately, this strained comedy relies entirely on clichés and contrivances to tell the story of Sherman.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    There are a few funny jokes scattered throughout, but the halfhearted direction and clunky script are underscored by performances that feel like they belong in community theater.
    • 43 Metascore
    • 20 Elizabeth Weitzman
    Both written and played in broad strokes, each character quickly devolves into the most simplistic of symbols. The results comes across more as an agenda than art.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Neither chimps nor children should be subjected to such shabby mediocrity.
    • 43 Metascore
    • 25 Elizabeth Weitzman
    Since there's no suspense whatsoever, we're simply stuck with awful people doing awful things to each other.
    • 43 Metascore
    • 30 Elizabeth Weitzman
    Well, you've got to say this for Death Race: It knows what it is and doesn't apologize for it. What it is, incidentally, is junk.
    • 43 Metascore
    • 12 Elizabeth Weitzman
    With its amateurish performances and sloppy script, Hey, Happy! has the homemade feel of a cult movie, but very little of the charm.
    • 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.
    • 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.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Despite the revved-up start and a suitably dusty setting, the movie stalls almost immediately. The story is uninspired, Lyons looks lost, and Booth makes for a bland femme fatale. Clarke tries to inject some energy into the action, but even he seems to realize this ride’s going nowhere.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Albatross is the kind of movie that looks good, begins with promise, and then nosedives into deep disappointment.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Anyone hoping to engage even a single brain cell, however, is out of luck. Which is too bad, since popcorn blockbusters don't actually have to be mind-numbingly stupid or soul-suckingly empty.
    • 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.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    A bizarrely off-key animated comedy.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Why would so many accomplished women waste their time and talents on a movie as counterfeit as Mad Money?
    • 41 Metascore
    • 20 Elizabeth Weitzman
    Other than those related to cast and crew, it's difficult to imagine who else would sit through Ry Russo-Young's self-obsessed indie.
    • 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.
    • 41 Metascore
    • 20 Elizabeth Weitzman
    Unless your own horoscope recommended wasting two perfectly useful hours of your day, take a pass.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    We're bombarded by witless racial clichés, stale sexism and homophobia and enthusiastic celebrations of extreme flatulence.
    • 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.
    • 40 Metascore
    • 30 Elizabeth Weitzman
    Hoping for a little emotional manipulation with your popcorn? Look no further.

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