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 4.9 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Her
Lowest review score: 0 Breaking Point
Score distribution:
2,245 movie reviews
    • 41 Metascore
    • 50 Elizabeth Weitzman
    Every woman falls for the wrong guy at least once in her life. This week, it's Betty Thomas' turn.
    • 28 Metascore
    • 50 Elizabeth Weitzman
    While the cast members, Dick and Prinze in particular, have fun with Robert Moreland's sassy script, the exaggerated, unappealing animation seems to belong to another movie altogether.
    • 47 Metascore
    • 50 Elizabeth Weitzman
    Come to think of it, 84 minutes isn't much of a sacrifice for a few laughs, even if the material is almost as hit-or-miss as our heroes' shooting skills.
    • 44 Metascore
    • 50 Elizabeth Weitzman
    Its crazy non sequiturs and anything-goes performances do lend it a certain cult appeal.
    • 34 Metascore
    • 50 Elizabeth Weitzman
    Valentine's Day is sugary, sappy and totally predictable. It's also what a whole lot of women are likely to want.
    • 59 Metascore
    • 50 Elizabeth Weitzman
    McAvoy is unerringly charming as Rory, a man who quickly discerns and dismisses well-meaning condescension. So one can't help wondering what he would think of this film, whose sentimentality comes across as smug.
    • 37 Metascore
    • 50 Elizabeth Weitzman
    Director Christopher Spencer’s biblical yarn lacks the complex rigor of Martin Scorsese’s “The Last Temptation of Christ” and the fury of Mel Gibson’s “The Passion of the Christ,” leaving its star, Diogo Morgado, stuck in a film that’s stiff and earnest.
    • 44 Metascore
    • 50 Elizabeth Weitzman
    Pure grindhouse, so committed to its own junkiness that it is, in its way, a pleasure to behold.
    • 45 Metascore
    • 50 Elizabeth Weitzman
    The Golden Age is packed with distractions. But the biggest of all is the story itself, which works so mightily to tarnish the queen at its core.
    • 52 Metascore
    • 50 Elizabeth Weitzman
    The buoyant McMillan is a charming presence, but he's entirely miscast as a character described as moody and angry.
    • 55 Metascore
    • 50 Elizabeth Weitzman
    Herzog has certainly found a fascinating subject, but he does surprisingly little with it, especially considering the 135- minute running time.
    • 69 Metascore
    • 50 Elizabeth Weitzman
    Some documentaries are so well-made they transcend the nature of their subjects. This is not one of them.
    • 44 Metascore
    • 50 Elizabeth Weitzman
    It's a shame Bravo doesn't allow herself a broader perspective, because she's right to consider Castro one of the most important figures of the 20th century.
    • 57 Metascore
    • 50 Elizabeth Weitzman
    Julian Jarrold's cheerful, utterly predictable crowd-pleaser affirms that, according to many recent films out of Britain, there's a quirky interest to cure whatever ails you.
    • 64 Metascore
    • 50 Elizabeth Weitzman
    With few laughs and no real poignancy, the movie's success rests squarely on Adam's oft-naked shoulders.
    • 27 Metascore
    • 50 Elizabeth Weitzman
    Here's what Crossroads does not have: Cohesive direction from Tamra Davis, intelligent dialogue, a comprehensible plot.
    • 27 Metascore
    • 50 Elizabeth Weitzman
    After an hour of red herrings, in which Jill investigates creepy corridors or opens rattling closet doors with no results, the only real danger is that we'll become bored to death. For real thrills, rent the original, turn down the lights and scare yourself silly.
    • 64 Metascore
    • 50 Elizabeth Weitzman
    A curse would be a great improvement on the wishy-washy wickedness of this movie.
    • 65 Metascore
    • 50 Elizabeth Weitzman
    While the series is smart enough to have inspired an army of adult fans, too little of its droll intelligence is on view here. Instead, the film feels like a rote effort made for some quick box-office bucks.
    • New York Daily News
    • 47 Metascore
    • 50 Elizabeth Weitzman
    Like the homeless kids at its center, Alison Murray's feature debut is passionate, angry and suffering from a serious lack of discipline.
    • 41 Metascore
    • 50 Elizabeth Weitzman
    After a fiendish start, filmmakers James Wong and Glen Morgan approach their task with all the subtlety of a hammer to the head (or a knife to the gut, or an ax to the back). They do, at least, find a mordant humor in the formula.
    • 63 Metascore
    • 50 Elizabeth Weitzman
    So after about an hour of watching four children eat, bathe and crawl, you might start to wonder why you've paid to see somebody else's home movies.
    • 58 Metascore
    • 50 Elizabeth Weitzman
    There are some genuinely funny moments amid the gore, but who knew this famously edgy director would find bathroom humor to be such a knee-slapper?
    • 45 Metascore
    • 50 Elizabeth Weitzman
    In Mean Machine, soccer is pretty much an excuse to watch a bunch of grown men smashing their heads together. Which, come to think of it, may be enough.
    • 66 Metascore
    • 50 Elizabeth Weitzman
    There are a few clever moments, as when an Amish farmer saves the tech-savvy students. But mostly, we're in it for the gore.
    • 57 Metascore
    • 50 Elizabeth Weitzman
    Had director Ziad Doueiri focused on the resentful Arab youths who clatter provocatively around the edges of his Marseilles-set drama, he might have discovered something interesting.
    • 48 Metascore
    • 50 Elizabeth Weitzman
    In general, movies made by improv comedy groups are hit or miss. And this one, from the Upright Citizens Brigade, misses a whole lot more than it hits.
    • 23 Metascore
    • 50 Elizabeth Weitzman
    You'll have a few laughs, for sure. Just don't expect to enjoy yourself as much as everybody on screen.
    • 36 Metascore
    • 50 Elizabeth Weitzman
    If an hour and a half of so-called "torture porn" sounds like fun, you'll find Saw IV situated somewhere between the first in the cycle (a solid original with plenty of energy in it) and the last (a gasping copycat willing to do anything to stay alive).
    • 45 Metascore
    • 50 Elizabeth Weitzman
    Many of the cast members originated their roles onstage, and the ensemble scenes capture the spirited sense of fun that is Perry's trademark.
    • 47 Metascore
    • 50 Elizabeth Weitzman
    This is not a great comedy, but it has some honest laughs, a few touching moments.
    • 46 Metascore
    • 50 Elizabeth Weitzman
    There are some good ideas buried beneath the grotesque whimsy, and several animated sequences are modestly clever. But Pitt's mannered performance will inspire nothing but a run to the video store, in search of a real Burton.
    • 36 Metascore
    • 50 Elizabeth Weitzman
    Overwrought and overlong, Returner might been a rousing B-movie -- had it not been hamstrung by Yamazaki's bigger pretensions.
    • 32 Metascore
    • 50 Elizabeth Weitzman
    As earnest as its artless young characters, Tom Rice's intermittently affecting debut walks a well-trod path without finding anything very new.
    • 57 Metascore
    • 50 Elizabeth Weitzman
    Eyre offers a merciless, affecting portrait of reservation life, but his relevant themes eventually wash away in a sea of unnecessary sentimentality.
    • 38 Metascore
    • 50 Elizabeth Weitzman
    Overall, though, you get the exhausting feeling that Stolberg is desperately trying to prove how cool he is. And didn't you see enough of that in high school?
    • 29 Metascore
    • 50 Elizabeth Weitzman
    The production values are impressively slick and a few performances are polished, but it's not much more than "The Big Chill" on a little budget.
    • 36 Metascore
    • 50 Elizabeth Weitzman
    After allowing sadistic violence and whining children to invade his movie like a horde of termites, Carr tries to put one over on us by tacking on a sentimental ending. But as any homeowner could have told him, you can't disguise a weak foundation with a cheap finish.
    • 33 Metascore
    • 50 Elizabeth Weitzman
    A lazy attempt to snare some preadolescent allowance money, Sleepover earns little more than a few bored yawns.
    • 55 Metascore
    • 50 Elizabeth Weitzman
    Leaves almost no impression at all.
    • Film.com
    • 59 Metascore
    • 50 Elizabeth Weitzman
    Dubbed for U.S. audiences, the film has suffered in translation.
    • 48 Metascore
    • 50 Elizabeth Weitzman
    Co-stars Parker Posey and Chris Kattan offer minor diversions, but the humor never rises to the quality any New Yorker, regardless of sexual orientation, would expect.
    • 46 Metascore
    • 50 Elizabeth Weitzman
    The kind of movie in which plot and performances (and members of the fairer sex) are treated as accessories, "Tokyo Drift" is all about the action. And on that count, it won't let you down.
    • 55 Metascore
    • 50 Elizabeth Weitzman
    The soundtrack is a genre-hopping joy, and each musical number is cleverly staged and creatively choreographed. The problem is the noble mess of a movie that takes up so much space in between.
    • 52 Metascore
    • 50 Elizabeth Weitzman
    A Belgian "Deliverance," Calvaire (The Ordeal) not only treats us to a few good scares, it also teaches us that Europe has its own rednecks.
    • 51 Metascore
    • 50 Elizabeth Weitzman
    Like the direction, the script veers all over the place before reaching its inevitable, unsurprising destination.
    • 41 Metascore
    • 50 Elizabeth Weitzman
    If you want to make a film, this is a great place to start. But if you just want to watch one, it's more of dead end.
    • 28 Metascore
    • 50 Elizabeth Weitzman
    The story doesn't make any real sense, and the production values are home movie-cheap. But the cast seems to be having fun.
    • 46 Metascore
    • 50 Elizabeth Weitzman
    There are some light chuckles to be had, but considering its promising parentage, this is surprisingly soft stuff.
    • 49 Metascore
    • 50 Elizabeth Weitzman
    The Buis seem not to have complete confidence in their unique, imprecise style, which is too bad.
    • New York Daily News
    • 43 Metascore
    • 50 Elizabeth Weitzman
    Seems to have been made entirely for people who were kids during the Johnson administration.
    • 46 Metascore
    • 50 Elizabeth Weitzman
    The awkwardly told story of salsa legend Hector Lavoe, El Cantante doesn't even get the title right: It should have been called "La Esposa," since it's really less about the singer than his wife.
    • 56 Metascore
    • 50 Elizabeth Weitzman
    Nunez's fans will appreciate his ability to evoke a palpable atmosphere. But there's just not enough spark in his scorched setting.
    • 50 Metascore
    • 50 Elizabeth Weitzman
    Even the food - usually the centerpiece of a restaurant movie - is oddly uninspired. Despite Zeta-Jones' best efforts, barely a moment here feels organic, or fresh.
    • 56 Metascore
    • 50 Elizabeth Weitzman
    All we get is mild platitudes before the shows, and one-song sets.
    • 53 Metascore
    • 50 Elizabeth Weitzman
    On the plus side, the actors - especially Butler and Wilkinson - work overtime to pump some extra life into the self-conscious script.
    • 76 Metascore
    • 50 Elizabeth Weitzman
    Directors Adam Del Deo and James D. Stern focus primarily on the casting process for the 2006 revival, parading so many personalities past us that we don't really get to know anyone. Bypassing the original for the recreation? That ain't it, kid.
    • 34 Metascore
    • 50 Elizabeth Weitzman
    Takashi Miike is a master at making love-'em-or-loathe-'em spectacles, but even fans are likely to consider the final film of his Dead or Alive trilogy a minor entry in his oeuvre.
    • 26 Metascore
    • 50 Elizabeth Weitzman
    Adapted from a years-old stage play, The Salon, Mark Brown's stilted, sista-centric answer to "Barbershop," definitely shows its roots. And despite a few highlights, the overall effect is not pretty.
    • 44 Metascore
    • 50 Elizabeth Weitzman
    A shiny shell of a movie, "TWBS" is pretty to look at, and occasionally fun to watch. But ultimately, it's an exercise in futility - for the participants, who can do so much more, and the audience, which deserves so much better.
    • 30 Metascore
    • 50 Elizabeth Weitzman
    If you like your gore hardcore, you'll want to head straight for "Halloween II." But if you're happy to ease around a slightly smaller track, look no further.
    • 56 Metascore
    • 50 Elizabeth Weitzman
    There's little depth underneath the simmering surface, but if you're looking for escapist Halloween scares, you could do a lot worse.
    • 43 Metascore
    • 50 Elizabeth Weitzman
    If Firehouse Dog was on cable, where it belongs, it would make a passable diversion from homework or chores. But a kid would have to be pretty desperate to leave the house - and waste allowance money - for this modest distraction.
    • 36 Metascore
    • 50 Elizabeth Weitzman
    If, on the other hand, your driver's license is still a distant dream, consider this a path to pure hilarity.
    • 72 Metascore
    • 50 Elizabeth Weitzman
    Though the story itself is undeniably fascinating, this somewhat prosaic account simply doesn't do it justice.
    • 60 Metascore
    • 50 Elizabeth Weitzman
    Mays throws himself into the role of a man who attempts to transform into a woman, but his efforts feel like futile flailings: The actor - and his character - are so much bigger than any story we're allowed to see.
    • 35 Metascore
    • 50 Elizabeth Weitzman
    The movie is so shiny, bright and noisy, the under-10 set ought to be sufficiently entertained.
    • New York Daily News
    • 57 Metascore
    • 50 Elizabeth Weitzman
    Fortunately, the cast cuts through a cloying script and boosts unsure direction with sharply focused performances.
    • 45 Metascore
    • 50 Elizabeth Weitzman
    There are movies that are all about the characters, and then there are movies, like Bangkok Dangerous, that are far more about the directors who created those characters.
    • 48 Metascore
    • 50 Elizabeth Weitzman
    The entire cast is fully committed to this squishily sentimental tale, which is especially impressive given that it's the kind of generic dramedy you'll swear you've seen a thousand times before.
    • 25 Metascore
    • 50 Elizabeth Weitzman
    Little more than a blatant marketing tool. But it's breezy and brief enough to keep young fans - and even their parents - modestly entertained.
    • 55 Metascore
    • 50 Elizabeth Weitzman
    This is the kind of movie in which Jarrod's nemesis turns out to be paraplegic, while his dad lives in a wheelchair despite the fact that he can walk just fine. Ha.
    • 57 Metascore
    • 50 Elizabeth Weitzman
    The dialogue does have Coupland's characteristic snap, but like its mellow hero, the movie takes the easy route just a little too often.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Who would have guessed that sex, drugs and double-crossing could be so unrelentingly boring?
    • 39 Metascore
    • 40 Elizabeth Weitzman
    You won't get much back story, and the action is fairly generic. But The Damned still makes for a serviceable horror flick, with better performances than a movie of this caliber usually offers.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    The only thing worse than bad horror is pretentiously bad horror. From title to finish, After.Life takes itself far more seriously than you will.
    • 59 Metascore
    • 40 Elizabeth Weitzman
    Admirable without being fully engaging. It’s too intelligent to dismiss, but not emotional enough to inspire lasting passion.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    If you’re considering spending your hard-earned money on such bland fare, you should at least know what you’re getting: a rehash of every rom-com cliché imaginable.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    Unfortunately, Miller never finds the right balance, so while there are some sweet notes, the pileup of clichés ultimately leaves a slightly acrid aftertaste.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    The sisters who play Sophie are adorable. And if you happen to be a sleep-deprived parent yourself, there are worse ways to catch a two-hour nap.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Screenwriter Pablo Fenjves start with a promising premise, and the opening scenes are taut and suspenseful. A late-day chase scene picks up the sagging middle, but Leth totally fumbles what should be the movie's biggest moment.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    All this story needs is a mariachi band to walk in on all the overwrought mourners. Oh, wait ... yep. There it is.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    There are few real scares, though, and even fewer actual laughs. Despite several obvious gags, Aja never captures the spoofy fun of the 1978 original.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    The book itself is an easy read -- conveniently enough, it shouldn't take you more than two hours. So you might want to skip the discordant copy, and use that time to discover the real thing.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Loosely adapting Larry Beinhart's darker novel, Ratliff and co-writer Douglas Stone indulge in so many cheap shots and caricatures, their disdain drips off the screen.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    From performances to pacing, nearly every element of Rao's debut is uneven. But her passionate vision of so much useless prejudice leaves a lingering impact.
    • 23 Metascore
    • 40 Elizabeth Weitzman
    There are moments in Jack and Jill that are genuinely funny - and, just like countless family reunions, there are moments when you can't wait for it to end.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    Still, every time Kurt opens his mouth you wish he would refocus and realize that, in fact, we've come to see a movie about someone else.
    • 24 Metascore
    • 40 Elizabeth Weitzman
    If one of your non-filmmaker friends watched "Office Space" a few too many times, this is probably the movie he'd make.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Slick direction and a strong central turn from Jeffrey Dean Morgan will keep you watching, if rarely from the edge of your seat.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    The kind of movie designed more for a has-been than a potential leading man, this slapdash dramatic comedy fits the now-established pattern perfectly: Your (Ryan Reynolds) committed performance is the sole reason to see it.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    A lightweight goof that feels a little dashed-off.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    A witless rom-com that is only marginally watchable.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    There's a fine line between labor of love and vanity project, and this blandly earnest tale straddles it.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    No one is able to make much of the disposable script, but Hamm is so limited by the period trappings that it seems as if he simply wandered onto the wrong set.
    • 28 Metascore
    • 40 Elizabeth Weitzman
    A comedy with two left feet, Immigration Tango does have enthusiasm on its side. But it trips up under the awkward efforts of all involved.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    We have little to hang onto once the film falls apart. Between the ongoing sermonizing and that final, sharp shock - which is gravely mishandled - we feel cowed into submission, rather than led towards enlightenment.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Yes, that's an impressive collection of actors. And yes, it's deflating to watch them wandering in and out of half-written scenes with no discernable direction.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Most notably, Bahrani offers an emotional depiction of American farming that will leave viewers troubled, as it should. But he loses his footing when it comes to the story itself.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    How could a movie that offers Jason Segel riffing on sex and Cameron Diaz regularly disrobing be so dull?
    • 54 Metascore
    • 40 Elizabeth Weitzman
    For the most part, we sit in on the conversations as good-natured, ordinary guys — all graduates of Brooklyn College in the ’50s — reminisce.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    For her debut drama, Song One, filmmaker Kate Barker-Froyland snares Anne Hathaway. It’s a stroke of luck. Hathaway’s doe-eyed sincerity provides just enough weight to keep this sweet but slight romance from floating away.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Spacey is the film's primary draw, but the cast is uniformly solid -- a crucial asset when the screenplay and direction are not.
    • 71 Metascore
    • 40 Elizabeth Weitzman
    Riseborough once again transforms herself dramatically, expanding her role as best she can. But neither the hesitant script — adapted by Tom Bradby from his own novel — nor the sluggish tempo give her enough support.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Barely makes the grade in either humor or provocation.
    • 18 Metascore
    • 40 Elizabeth Weitzman
    "Vampires" doesn't suck, exactly, but the laziness and lack of imagination kinda bites.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    A palpable sense of environment and strong performances from Noah Wyle and musician Steve Earle can’t balance the extensive flaws in this unconvincing Appalachian melodrama.
    • 27 Metascore
    • 40 Elizabeth Weitzman
    Perhaps, if this movie fails, studios will finally accept that we all deserve better. Biel knows it already, and Butler keeps up in their scenes together.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    Without Ewan McGregor in the lead, this flashy but aggressively superficial Aussie thriller would likely disappear without a trace.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Actually, Ramirez should probably have been cast in the lead, since things flatten out whenever he disappears.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Just slightly funnier than you'd expect, this dashed-off teen comedy cribs from a thousand other movies, without coming up with anything original of its own.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Sure, sometimes it's fun to be assaulted by sequins, wigs, corsets and retro homage. But Xtina's fans can find all that already - in videos ranging from "Lady Marmalade" to "Ain't No Other Man" - without having to sit through two hours of recycled plots and plastic acting.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    It's Barkin, though, who holds everything together, even as her character is falling apart. Whether or not she took this role as a favor - Levinson's father, Barry, directed her in "Diner" decades ago - ultimately seems irrelevant. This isn't an invitation you should feel obliged to accept. But if you decide to stop by, she'll be the reason you stay.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    This slickly packaged bit of Disneyana would probably work best as an attraction at Epcot.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Director John Stockwell (“Blue Crush”) knows how to make the best possible use of his star while adding a strong supporting cast, some pretty scenery and a taut mystery. Stockwell understands most of all that we don’t need Carano to talk; we need her to kick ass.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    From a consumer perspective, you're better off skipping the movie and putting your money toward their book instead.
    • 57 Metascore
    • 40 Elizabeth Weitzman
    First-time director Anthony Baxter jettisons all pretense of impartiality, without adding any of the intelligent outrage of his evident influence, Michael Moore.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    As a low-cost baby-sitter, this high-energy sequel definitely does the trick.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    There are plenty of ideas to gnaw on, given that Cronenberg has adapted Don DeLillo's intense novel of a New York on the verge of dystopian breakdown. But frustratingly bland work from lead Robert Pattinson results in an awfully watery stew.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    So who was the movie really made for? Mostly, it seems, for Cyrus herself, who needed to take the first, hesitant step in another direction.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Despite Sparrow's ongoing flashes of charm, Depp himself seems to know he's coasting.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Appropriately enough for a movie built on two-dimensional cartoons of amoral adults and innocent children, Shahidi is the only actor who emerges with her dignity fully intact.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    On the bright side, Robinson’s unlucky astronauts are played by Liev Schreiber, Elias Koteas, Olivia Williams and Romola Garai. All of these actors approach their potential demise with impressive conviction.
    • 38 Metascore
    • 40 Elizabeth Weitzman
    Pay close attention to the title of Tom Shadyac's documentary. He will try to convince you his film is about humanity uniting to solve its problems. But somehow, his own ego keeps getting in the way.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    The original title of Jess Manafort's directorial debut was "The Beautiful Ordinary," and she shouldn't have changed it. After all, her cast is beautiful and her movie is ordinary.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    Super starts off feeling like a cult comedy you might catch during a midnight film festival. But since Gunn never nails his tone, the concept makes more sense than the execution.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    It's simply a blandly shot recording of Michael Flatley's musical revue, as performed overseas.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    An uncharacteristically stiff Mortensen can't break free from the clichés that constrain his character, who feels more like a symbol than a real person.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    Though they lack chemistry as a team, it's gratifying to see both Perry and Burns stretching in ways they haven't before.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    For all the talent involved, the overall effect is surprisingly flat. Foxx appears disconnected, Byrne is wasted and a painfully hammy Diaz seems to be in another movie altogether.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Watch closely and you might even spy a better film inside, straining to break free.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    In the end, Albert’s biggest problem isn’t the threat of coyotes or cholera. It’s that he’s being played by the wrong guy.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    What makes the calculated sentimentality palatable is Curtis’ intelligent assurance as he guides us through each step. It’s a gooey indulgence, to be sure, but one that will please anybody with a cinematic sweet tooth.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Descends with dismaying speed into clichéd Southern melodrama.
    • 67 Metascore
    • 40 Elizabeth Weitzman
    The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    There's barely half a film here, stretched and pulled so thin you can nearly see through it.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    While I fully support the appearance of a new Madea movie every six months, even Tyler Perry can't be bothered to take this setup seriously.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    What it is, really, is a trainer film, meant to prep the world's youngest ticketholders for the day when they're old enough to help turn Bruckheimer's bigger movies into blockbusters.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    It's a mess from start to finish, but there's still fun to be had in Rob Minkoff's caper comedy.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Like a lemon that's been tricked out with a fancy paint job, Fast & Furious won't stand up to much scrutiny under the hood.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Dagur Kari both wrote and directed, so he has no one else to blame for so little originality. Neither does his hard-working cast, all of whom deserve better.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    Perfectly inoffensive and almost entirely unfunny, Paul Blart: Mall Cop is more of a numbing experience than a painful one.
    • 69 Metascore
    • 40 Elizabeth Weitzman
    From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    The good news for Carey is that she gets to prove she's a pretty decent actress after all. The bad news, of course, is that she's done it in a movie no one has any other reason to see.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Think of Mansome as the equivalent of a $10 manicure: It'll modestly enhance your day without making any lasting impact.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    What a letdown it is to see this spellbinding, era-defining story tamed into such stodgy submission.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Brad Leong’s “quirky” romantic comedy retreads ground that is already so well worn, everyone just slides right through.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    The movie doesn’t weave religion into the familiar structure of a comedy or melodrama. Instead, everything works in service to the sermon at the core. For most audience members, that will either be the primary draw or an inescapable drawback.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Built on an amusing idea that can't quite support an entire movie, Wayne Price's comedic debut might have made a terrific short.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    After a promising start that uses Anna Paquin and Kristen Bell to perfection, they settle into their old stomping grounds as if they'd never left - and that turns out to be a letdown.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    The Edge of Love may be intended as a biopic of Welsh poet Dylan Thomas, but it’s destined to be remembered as the movie that brought Keira Knightley and Sienna Miller into the same bathtub.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    With all of the city available, she made the curious choice to follow couples who are neither unique nor especially memorable.
    • 72 Metascore
    • 40 Elizabeth Weitzman
    If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.
    • 65 Metascore
    • 40 Elizabeth Weitzman
    Despite the overwrought plot and unabashed pretension, there's something admirable about the fact that Coppola clearly made this movie for himself. But he shouldn't be surprised if few others join him in watching it.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    It’s McCarthy’s complex use of language, rather than the plot’s grueling imagery, that elevate the book. There’s simply not enough insight here to make the punishment worthwhile.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    An excellent Keener commits reliably to the role and does give us moments worth savoring. But the underwritten script and misguided direction leave her stranded.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Director Jonathan Sobol clearly understands the first rule of a good grift: misdirection. He packs his middling caper flick with so many known faces, it’s easy to miss all the other familiarities.
    • 70 Metascore
    • 40 Elizabeth Weitzman
    But the movie is so confused about where it wants to go, it suffers from the same identity crisis as its protagonist.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? The Farrelly brothers are ready to make your dreams come true.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    Even taken on its own, this story of Graham (Poe), a single New Yorker feeling his way toward adulthood, feels like a promising college project that wasn't ready for the real world.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Thomas offers particularly fine work, but the underwritten script, which relies too much on sentimentality, gives him little to do.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Fashionistas who flock to Whitney Sudler-Smith's documentary should pay heed to the entire title: this isn't simply the biography of an American icon, but the chronicle of a misguided filmmaker.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    The unexpected chemistry between Sam Rockwell and Olivia Wilde helps balance this sour noir comedy.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    Phillips sticks so close to the formula of his original that even the characters are given to saying things like, "I can't believe this is happening again."
    • 43 Metascore
    • 40 Elizabeth Weitzman
    When writer and director are one and the same, there’s always a risk that the project will suffer from a lack of perspective. Indeed, in helming her blackly comic indie Miss Meadows, Karen Leigh Hopkins fails to fulfill the potential of her own script.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    The music will keep you in your seat, but there's so much more to this story. If only they'd gotten it right the second time around.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    Designed as their own entity, the brief subtitles convey so little that to get the full experience you won't only need to understand Godard's language. You'll also have to speak French.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Bledel brings a sweet, steady presence, but this sort of minor project is a step backwards. It's high time she graduated on to bigger and better things.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Italian prime minister Silvio Berlusconi is an ideal documentary subject, but Erik Gandini's jumbled take on Berlusconi's corrupting influence quickly shifts from good idea to wasted opportunity.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    No worse than the second. Still, it pales in comparison to the first, which starred Dolph Lundgren. And that, right there, should tell you everything you need to know.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    Even the actors seem disconnected, with only Leighton Meester - who has the most to prove - working to create a distinguishable character.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Coasting on lazy stereotypes, the script basically ends where it started, teaching young viewers that it's really not so bad to be a spoiled bitchy puppy.
    • 72 Metascore
    • 40 Elizabeth Weitzman
    It's all a little insular and very conversational, but the setting is cozy and the performances all pleasantly low-key.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    The tone veers wildly, from wacky indie to melodramatic soap opera. Like the other men in her life, Ireland adores Jolene without entirely understanding her.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    It's easy to see how a film so unafraid of religious touchstones could become a phenomenon among the faithful. Nonbelievers, however, need not apply.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Calculated Belgian crowd-pleaser.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Although little Timothy does arrive in unusual circumstances, his story will feel familiar to anyone who's encountered Hollywood's particular brand of calculated sentimentality.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    With Australia, Luhrmann obviously intends to stage a grand romance against the epic backdrop of World War II. But what we get instead is an unwieldy mess that needed another six months in the editing room.
    • 63 Metascore
    • 40 Elizabeth Weitzman
    The author of "Naked Lunch" and his words were funny, freaky and sometimes just Out There. Yet as "there" became "here," Leyser shows, Burroughs seemed to be everywhere.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    The movie wants to say something significant about the excitement and alienation of life in a strange — which is to say, new — place. The film never gets there, but its aims are honorable, and the lovingly shot Shanghai scenery does enhance the trip.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    There's no one to root for but the loan shark, who makes an excellent point: It's no fun when somebody takes your cash and gives you nothing in return.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    On the bright side, the actors are experienced enough to anchor their free-floating characters. But if you’d like to see this sort of thing done well, watch 2011’s infinitely superior Channing Tatum dramedy “10 Years” on Netflix instead.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    For parents looking to get their preschoolers out of the house, The Hero of Color City will be good enough.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Bill Carey’s uneven first film, centered on an isolated Texas teen named Vallie Sue (AJ Michalka), has some offbeat charms. They are not, however, strong enough to carry such a heavy load of cliches.
    • 71 Metascore
    • 40 Elizabeth Weitzman
    Despite the film’s worthy goals, there are some empty calories. Katie Couric’s narration and Soechtig’s uninspired style make it feel more like a TV special than a feature documentary.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    But with Kerouac declaring that “the only thing that matters is the conceptions in my own mind,” we’re still left waiting for the filmmaker who can take us there.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    The story feels fairly perfunctory — not to mention unnecessarily knotty — but the well-connected leads do their best to ground it. And while this one falls far short of the “Bourne” films that serve as an influence, the intense action scenes consistently deliver some solid genre jolts.
    • tbd Metascore
    • 40 Elizabeth Weitzman
    Stephanie Riggs never manages to develop her debut documentary about Broadway performers into a satisfying feature. But the stories alone ought to be appreciated by theater fans and, especially, aspiring actors.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Anyone who actually adores New York is unlikely to appreciate this disappointingly bland collection of shorts, which might as well have been called "Madrid, Te Amo" or "Cincinnati, You're the Best."
    • 45 Metascore
    • 40 Elizabeth Weitzman
    That other actors - especially Akerman and Tony Hale, wonderful as a tentative couple - fare better suggests Radnor should give directing another shot.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    If a black-metal band ever made a 107-minute music video, this visually striking but otherwise ludicrous epic is probably what it would look like.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    Though it starts out as amusing satire, the jokes become as neurotic as Dallas' female population, and the film spins out of control in every way.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Just not feeling the holiday spirit? Maybe a brainless, extra-bloody B-movie will provide the boost you're looking for.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    Those who go looking for tragic relevance in Scott Rosenbaum's debut indie won't find much to grasp onto.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    This stilted crime drama from Atom Egoyan feels misguided from the start. He’s attempting to fictionalize a true story that has already been told better, several times over.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Peter Berg’s ultra-bloody battle film “Lone Survivor” is ultimately more grueling than satisfying. It’s more carnage than cinema.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    Gere and Grace do make a decent odd couple, but neither seems entirely committed.
    • 38 Metascore
    • 40 Elizabeth Weitzman
    Children, of course, won’t notice the political subtext. But do be prepared for them to exit the theater demanding that you make only Tofurkey in the future.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    Anthony Byrne's lazy drama is insulting to just about everyone, including Maeve Binchy, who wrote the short story on which it was based. But nobody fares well, especially cast members Vanessa Redgrave, Brenda Fricker and Imelda Staunton.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    The deeply private, intensely ideological and undeniably brilliant Watterson would make an absolutely fascinating subject. But director Joel Allen Schroeder has no access to him. So instead he talks a lot about how much he loves “Calvin and Hobbes” and then invites other fans to do the same.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    Racing enthusiasts will appreciate historical footage, while a thread about a new student overwhelmed by his responsibilities has promise. But after a decent start, Marquet stumbles, never making it across the finish line.
    • 71 Metascore
    • 40 Elizabeth Weitzman
    It would have been helpful had Smith put his words into some sort of context, allowing others to assess his theories. Instead there's simply Ruppert, talking, raging and warning, as if his very life depended on it.
    • 59 Metascore
    • 40 Elizabeth Weitzman
    Jones co-wrote the uneven script with Will McCormack, and one can't help wishing she'd aimed higher. Acknowledging cineplex clichés isn't enough if you still wind up embracing, rather than subverting, them.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    Though the cast is energetic and the intrigues diverting, you'll have to distance yourself from reality to enjoy so much outlandish scheming.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Don't be fooled by the indie trappings: despite its downtown vibe, Lola Versus is as clichéd as any Hollywood rom-com.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    Cage, adopting an accent that could best be defined as Just British Enough to Sound Serious, adds some welcome weirdness to this otherwise generic production. He doesn’t fit in at all, but then again, who’d want him to?
    • 48 Metascore
    • 40 Elizabeth Weitzman
    Too bad this would-be heir, Divergent, is so unimaginative and bland.
    • 61 Metascore
    • 40 Elizabeth Weitzman
    A brazenly mindless thriller about the infinite capacities of the human brain. That said, sometimes we just want to shut down and give in to bombastic summer entertainment. In that regard, as usual, Besson delivers.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    Alas, the split-screen compositions, slow-motion effects, pensive closeups and prosthetic teeth can’t distract from what’s missing: Faulkner’s pointed but deeply buried observations of the human condition.
    • 72 Metascore
    • 40 Elizabeth Weitzman
    Kessler has indeed made a film about a fame-chasing narcissist in desperate need of attention. But that has nothing to do with the guy we came to see.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    The only real reason to see it is for a luminous leading turn from Dakota Fanning as Brooklyn teen Lilly.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    A decidedly lightweight amusement.
    • 28 Metascore
    • 40 Elizabeth Weitzman
    While Suvari is especially miscast as a sophisticate, only Richard E. Grant, as a worldly Brit, seems to understand the text.
    • 72 Metascore
    • 40 Elizabeth Weitzman
    Geraghty relies too heavily on facial expressions and mannerisms, but those who appreciate visible effort may be seduced. There's no denying he works hard to keep us on the line.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    The cinematic equivalent of a cookie-cutter wedding, Made of Honor ultimately feels a little depressing.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    Saintliness is a heavy burden to carry, and Smith can't help but buckle a bit. He's always interesting to watch, but crafting a real person out of his cardboard character proves an impossible task.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    Though gorgeous to look at, the first feature from Declan Donnellan and Nick Ormerod has an undeniable void at its very center: an utterly blank leading man.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    The film never builds past its initial idea, the references to 9/11 feel cheap, the good actors are wasted, and the bad ones are distracting.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Despite the promise Epps and Turner show in their film’s finest moments, we’re still talking about a movie that tries to wring jokes from puppet therapy.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Looks so great, it may take a while to notice it's a clunky political parable wrapped in a tonally confused fairy tale.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    Just like its meaningless title, Rachid Bouchareb’s disappointing drama evokes better works without developing any distinct identity of its own.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    In Cheap Thrills, a committed cast elevates what is, ultimately, a gimmicky thriller. It dissolves into a puddle of blood-tinged hypocrisy.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    There's a great idea here, but it's buried within a muddled story that lurches between dark comedy and maudlin drama.
    • 65 Metascore
    • 40 Elizabeth Weitzman
    The 3-D format is mostly wasted, and the production so slick we never truly feel like part of that screaming audience. For fans only.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    A director as talented as Singer (“The Usual Suspects,” “X-Men”) should be working to raise popcorn movies to a higher level. Instead, this uninspired effort feels like a colossal letdown.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    Bell’s skepticism feels real, and Brody, still best known as “The OC’s” insecure Seth Cohen, is perfect as the sort of arrogantly self-deluded player we’ve all met.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    There is no urgency, and little honesty, to the convoluted goings-on unfolding here.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    The biggest problem, however, comes down to chemistry. If the leads have it, a Sparks romance will work.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Most people can only watch the same movie so many times. But Philipp Stölzl is clearly hopeful that when you’re done with “Taken” (and “Taken 2”), you’ll want more of the same. Should that be the case, this undistinguished but decent knockoff is ready to satisfy.
    • 67 Metascore
    • 40 Elizabeth Weitzman
    It's no minor accomplishment to make one of the most indulgent projects in Hollywood history. But with This Is the End, Seth Rogen and his pals have indeed achieved this dubious goal.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    I am neither anti-charter schools nor anti-union. I am, however, firmly against heavy-handed lectures disguised as art.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    LUV
    The first half of the movie is painfully tense, drawing us into a relationship that we desperately want to see work. But the screenplay lets its characters down, as it devolves into platitudes and melodrama.
    • 38 Metascore
    • 40 Elizabeth Weitzman
    There are some mildly amusing turns from costars like Kristin Scott Thomas, playing an icy editor, and Robert Stanton, as her frustrated debt collector.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Step Up 3D is so lacking in any kind of edge, it might as well be "High School Musical: The Hip-Hop Edition."
    • 46 Metascore
    • 40 Elizabeth Weitzman
    The biggest problem, however, is the way Zhang romanticizes the unimaginably awful, turning gold-hearted prostitutes and virginal orphans into cinematic martyrs. Though his talents are vast, there may be too much truth in this particular story to suit his extravagant tastes.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Every actor probably dreams of creating his or her ideal role. So kudos to Marvel movie stalwart Clark Gregg (“The Avengers,” TV’s “Agents of S.H.I.E.L.D.”) for actually doing it, as writer, director and star of this indie drama. If only we could extend our congratulations to the project itself.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    It's not sharp or ironic, but drab and downbeat. Unfortunately, it's also going to feel utterly familiar to those who've seen their share of independent dramas in the last 15 years.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    The title may suggest acts of indecency, but if there’s anything this mild dramedy could use, it’s a little more raciness.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    ATM
    While ATM does offer a few jolts, we're paired with bland characters and an underrealized premise.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    Luhrmann piles on one shiny distraction after another. But amid all the seductively gaudy excess, DiCaprio finds both the heart and hurt buried within one of literature’s everlasting enigmas.
    • 68 Metascore
    • 40 Elizabeth Weitzman
    Is there another actor working today whose face registers the extraordinary range of emotions Michelle Williams can display? Even in a film as false as Sarah Polley's Take This Waltz, her swiftly shifting expressions feel unerringly true.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Though Hurt and Rossellini make a warmly believable couple, they can't overcome the film's biggest drawback: Gavras' own awkward attitude toward aging.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    It’s nice to see these characters again. But there’s an uncomfortable strain of bitterness running through the nostalgia. Klapisch is, for example, much kinder to his good-natured leading man than any of the ladies, who are by turns cruel, flaky and dishonest.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    While The Iron Lady fails as a biography, it succeeds incontestably as a showcase. Streep captures Thatcher's voice and mannerisms and then pushes further, creating a three-dimensional character rather than simply offering a technically deft impression.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    As both a comedian and filmmaker, Bobcat Goldthwait ("Shakes the Clown") has carved out a valuable spot as an idiosyncratic instigator. But even fans may be disappointed at how swiftly he undermines its own message here.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Yeah, this is pretty much your classic been-there, done-that scenario: evil stepmother, clueless father, imperiled teen.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Philippe Le Guay's carefully-tailored crowd-pleaser does have its pleasures, even if originality is not among them.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Friedlander offers a nicely subtle performance, but the other actors - including Alan Cumming, Deborah Harry and Amy Sedaris - appear to have turned up as a favor to the director. Don't feel obliged to follow their lead.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    Giamatti and Rudd banter with appeal, but Melissa James Gibson’s lackluster script doesn’t offer either much to work with.
    • 67 Metascore
    • 40 Elizabeth Weitzman
    There’s so much more to this story — as any number of articles about the people he wronged attest — but this time, Gibney never really gets in gear.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    If you love Viagra jokes, look no further. Otherwise, stay home and find yourself a "Golden Girls" marathon.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    The actors hold our attention, and there’s something to be said for the guys’ pathological disconnect. But the movie itself is too disconnected to say it.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    As slickly entertaining as you’d expect a Disney-produced inspirational sports movie to be. But it’s so lacking in sincerity and creativity that “inspirational” never rounds the corner to “inspiring.”
    • 31 Metascore
    • 40 Elizabeth Weitzman
    The nearly unrecognizable Chiklis almost single-handedly saves the day.
    • 69 Metascore
    • 40 Elizabeth Weitzman
    Director Steve James ("Hoop Dreams") has a worthy message, but never makes the case that he needs an entire documentary to deliver it.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    As her boss and boyfriend, an impressively good-natured James Van Der Beek adds a professional sheen to what otherwise feels like a vanity affair.
    • 63 Metascore
    • 40 Elizabeth Weitzman
    While Cera is charming enough to keep us watching, he's never allowed to cut loose -- even though that's supposed to be the whole point of the movie.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    Nathan’s neurotic self-indulgence strains our patience.
    • 57 Metascore
    • 40 Elizabeth Weitzman
    Hawke works hard to solidify Pawlikowski's wispy ideas (which are adapted from Douglas Kennedy's novel).
    • 43 Metascore
    • 40 Elizabeth Weitzman
    As the world's most chipper recovering coma patient, McAdams is a beautiful blank. There's not a single moment when her character feels real, or as if she genuinely has anything at stake. So it's a good thing Tatum steps up to add a little depth to this unabashedly lightweight venture.
    • 28 Metascore
    • 40 Elizabeth Weitzman
    Simplistic plotting, pedestrian visuals and poorly-handled melodrama do lend the project a cheap, made-for-TV feel, which is underscored by the fact that Danes and Marsden don’t seem obliged to turn in their best work.
    • 69 Metascore
    • 40 Elizabeth Weitzman
    You will find a few glimmers of humanity in Todd Solondz' latest exercise in acerbic observation. But Solondz continues to mistake judgment for honesty, and empathy for weakness.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    The result is undoubtedly impassioned. But it's also so blinkered and self-congratulatory that it feels like an undergraduate thesis project. Even if you relate to the cause, you may find yourself frustrated by the effort.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    Surely Patton Oswalt could have leveraged all those accolades from last year's "Young Adult" into a better project than this instantly forgettable comedy.
    • 38 Metascore
    • 40 Elizabeth Weitzman
    Cage and the always-intense Pearce keep this thing going, but even they seem to know the ultimate destination is a bargain bin.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    The pacing is so tedious and the action so unexciting that it's a real thrill when J.K. Simmons shows up as a wry alien expert — and a huge disappointment when he disappears a few minutes later.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    Tooth Fairy's script -- which was written by five people -- is lousy, and the direction, by Michael Lembeck, is weak.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    While W.E. cannot be counted as a successful directorial effort, there are genuine elements of interest here. The most notable is a nervy central performance from Andrea Riseborough, who plays true-life Baltimore socialite Wallis Simpson.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Gently sweet but unmemorable bonbon.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    A well-shot but generically dull disappointment.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Ivory appears most concerned about creating a mood, and in this regard he's successful. But Ruth Prawer Jhabvala's surprisingly bland screenplay, based on Peter Cameron's novel, feels half-finished
    • 48 Metascore
    • 40 Elizabeth Weitzman
    While some documentaries are broad enough in theme and creative enough in style to attract a wide-ranging audience, others remain best-suited to a smaller group of devotees. Such is the case for Peter Rosen's biography of violinist Jascha Heifetz.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    The only grace notes come from Noah Wyle and Peter Bogdanovich as the two characters who refuse, in different ways, to buy the industry line.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Despite the calculated advance press about the movie's nudity, polygamy, dirty talk, etc., David Wain's comedy is depressingly banal. And all that breathless hype now feels like nothing more than manipulation.
    • 66 Metascore
    • 40 Elizabeth Weitzman
    Rickards tries hard in a difficult role and Greg Germann offers nice support as an empathetic neighbor. But like her character, it's Broderick who keeps things from falling apart.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    It's a shame, though, that the movie also features stereotyped or retrograde attitudes towards Jewish, gay, and female characters. Perhaps Van Peebles' kids could school their dad on the virtues of across-the-board respect.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    If all you want is a bullets-and-bombs B-movie, you'll get your money's worth: Somehow, Hayward makes 82 minutes feel like hours.
    • 29 Metascore
    • 40 Elizabeth Weitzman
    Despite the movie’s flaws, Cicin-Sain does show considerable confidence for a first-time writer and director.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    True, the Boys are thoughtful and eloquent, and the whole package is engaging enough to hold even a newcomer’s attention, but the end result is an incomplete story of a forgotten band hoping to celebrate — or should I say sell-abrate — an anniversary no one else remembered.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    What do we do about a movie that is half compelling and half unwatchable? Director Charlie Stratton seems to be onto something at the start of his period drama In Secret. Then it all slips through his fingers.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Having carried the mediocre smash “Divergent,” Shailene Woodley now uplifts another underwhelming teen thriller. This one’s as tiny as that one was huge.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    Half amusing and half appalling, Matthew Vaughn’s shameless spy caper Kingsman: The Secret Service is ultimately done in by its own hypocrisy.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    A story that never finds a reason for its own existence.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    While they have all the materials needed for a sharp satire, they're too timid to arrive at any real revelations.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    What "The Exorcist" might look like if Madonna rewrote it, this silly fright flick finds college student Casey (Odette Yustman) haunted by a Kabbalistic demon.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Something has surely gone wrong when there is not a single moment in Ice Age: Continental Drift that equals the four-minute "Simpsons" short that precedes it.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    "Grace" may be based on a true story, but barely a moment in it feels real.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Earth to Echo is a copy of a copy. The movie feels less like a weak “E.T.” than a substandard “Mac and Me.” And you may not even remember the latter, a 1988 flop — the fate likely to hit this well-meaning but underwhelming effort.
    • 19 Metascore
    • 40 Elizabeth Weitzman
    You know what you’re going to get, and that is, indeed, what Sandler delivers. It’s juvenile, it’s obvious and it’s crass. But with Sandler at the helm, at least it’s as easy to like as it is to forget.
    • 62 Metascore
    • 40 Elizabeth Weitzman
    It's a shame, of course, that Madden brought the best to such an exotic Top locale without making the most of the opportunity.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    Once Quale and writer John Swetnam get their generic setup out of the way, they can loosen up and treat the tornadoes like the villains they are. The effectively simulated storms, with their massive wreckage, start to feel like monsters stalking the heroes.
    • 28 Metascore
    • 40 Elizabeth Weitzman
    Along with Moore, all of them deserve some kind of credit for committing to a movie barely six souls will ever even see.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    While Diaz and Kutcher make their clichéd characters as likable as possible, you can bet on this: Any movie named after an already-stale ad campaign isn't likely to gamble on the unexpected.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Tolan writes regularly for smart shows like "Rescue Me," but his best instincts deserted him when he set his sights on the big screen for the first time.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    If you go in knowing what you're getting, you should come out relatively satisfied. Our hero vigorously beats up a parade of bad guys. Lots of bullets fly. There are a couple of decently plotted thefts. And to tell the truth, Statham's Southern accent is nearly worth the price of admission itself.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    Mostly, though, you'll appreciate Grenier, who approaches this minor project with hilarious and generous abandon.

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