For 2,099 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
Average review score: 55
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 Postal
Score distribution:
2,099 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    Boredom is the very basis of this sequel, at least at the beginning.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    A lightweight goof that feels a little dashed-off.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    A decidedly lightweight amusement.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Statham could do these movies in his sleep by now, so he gets credit for offering up so much dry wit. In fact, while Rudakova makes a painful acting debut, Statham appears more engaged than he has in a while.
    • 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.
    • 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.
    • 32 Metascore
    • 40 Elizabeth Weitzman
    Check out the trailer before you commit to this one; if it's for you, you'll know instantly. And if it's not, you'll know that, too.
    • 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.
    • 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
    An appealing Deschanel does her best, but the pair is mismatched in every way, from age to attitude. The entire movie is hung on Carrey's shtick, so if you're a fan, you'll have a decent time.
    • 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.
    • 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
    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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Yeah, this is pretty much your classic been-there, done-that scenario: evil stepmother, clueless father, imperiled teen.
    • 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.
    • 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.
    • 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.
    • 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.
    • 23 Metascore
    • 40 Elizabeth Weitzman
    You know how sometimes you have to listen to the boring problems of acquaintances you don't really like? And all the while, you're silently wondering if you remembered to pay your rent? Well, writer/director Alan Hruska has very kindly recreated that experience for us all.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Director Donald Petrie doesn’t have much to brag about here, but at least he gives us some nice scenery to look at.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    It's impossible to guess why Bullock was ever attracted to this insulting role, and the eternally confident Reynolds is miscast as a young, bullied underling.
    • 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.
    • 74 Metascore
    • 40 Elizabeth Weitzman
    Unfortunately, Färberböck never gives us reason enough to sit through such unremitting punishment. Though the story is based in truth, an emotionally removed Hoss feels more like a symbol than an actual person, while her detached narration keeps us at further remove.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Unfocused and underwhelming.
    • 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.
    • 32 Metascore
    • 40 Elizabeth Weitzman
    Even if you overlook the lousy lighting, awkward editing, and uneven acting, there's so much talking -- and so little story -- that your mind is likely to wander.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    If you love Viagra jokes, look no further. Otherwise, stay home and find yourself a "Golden Girls" marathon.
    • 66 Metascore
    • 40 Elizabeth Weitzman
    The efforts of Beavan's clan are so extreme that they spark some interest, but their environmental commitment feels a bit too self-serving to have the impact that's clearly desired.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    This slickly packaged bit of Disneyana would probably work best as an attraction at Epcot.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    In mistaking obvious observations for cutting insight, writer-director Jonathan Parker becomes what he lampoons.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    Mostly, though, you'll appreciate Grenier, who approaches this minor project with hilarious and generous abandon.
    • 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."
    • 47 Metascore
    • 40 Elizabeth Weitzman
    The criterion couldn't be simpler: does a 20-minute martial arts battle featuring Thai superstar Tony Jaa sound like the ideal way to spend your time and money? If not, move on.
    • 24 Metascore
    • 40 Elizabeth Weitzman
    The only truly ugly side to this self-consciously grimy movie is the streak of Neanderthal humor. Operatic overacting is funny. Racist and homophobic jokes? Not so much.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    Descends with dismaying speed into clichéd Southern melodrama.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    With its cash-flashing men and dirty-talking women, the movie already feels dated. But it wouldn't have been much fun five years ago, either.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 51 Metascore
    • 40 Elizabeth Weitzman
    You must really love a movie if you decide to remake it just three years after its release. But unless you also intend to improve upon the first attempt, what's the point?
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    There's a fine line between labor of love and vanity project, and this blandly earnest tale straddles it.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    Though it was directed by Burr Steers, Charlie St. Cloud feels more like a misguided collaboration among Nicholas Sparks, M. Night Shyamalan and Billy Graham.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    If any life story should make for a compelling biography, it's certainly Hugh Hefner's. Unfortunately, this love letter is so lacking in any edge, the end result is not just unsexy but unforgivably staid.
    • 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."
    • 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.
    • 18 Metascore
    • 40 Elizabeth Weitzman
    "Vampires" doesn't suck, exactly, but the laziness and lack of imagination kinda bites.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    There's barely half a film here, stretched and pulled so thin you can nearly see through it.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    It's a shame, but perhaps no surprise, that Niederhoffer was unable to transfer her astute vision to the big screen.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    From a consumer perspective, you're better off skipping the movie and putting your money toward their book instead.
    • 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.
    • 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.
    • 68 Metascore
    • 40 Elizabeth Weitzman
    Strong performances and understated cinematography help balance the self-conscious editing, but ultimately the entire affair feels false.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 40 Elizabeth Weitzman
    Chico Colvard's tragic documentary is blunt and rather artless, but it does make for impactful, and deeply disturbing, viewing.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    As for that unpolished screenplay, the less said the better.
    • 51 Metascore
    • 40 Elizabeth Weitzman
    The trouble starts with the casting. The usually reliable Kevin Spacey never quite gets a handle on Abramoff, an Orthodox Jew devoted to unorthodox business methods.
    • 74 Metascore
    • 40 Elizabeth Weitzman
    Unfortunately, the stylistic repetition and intensely one-sided viewpoint only undermine his (Suleiman) goal.
    • 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.
    • 68 Metascore
    • 40 Elizabeth Weitzman
    Unfortunately, Madsen (a Danish filmmaker, not the American actor) has an approach to this rich topic that is repetitive and simplistic, as if he wasn't quite sure how to fill out even a brief feature.
    • 23 Metascore
    • 40 Elizabeth Weitzman
    If ever a thriller were to inspire a collective "eh," it's got to be The Roommate. It's not a good movie, by any means, but it's also not bad enough to have fun hating on.
    • 33 Metascore
    • 40 Elizabeth Weitzman
    A witless rom-com that is only marginally watchable.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    Calculated Belgian crowd-pleaser.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    It's simply a blandly shot recording of Michael Flatley's musical revue, as performed overseas.
    • 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    A story that never finds a reason for its own existence.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Despite Sparrow's ongoing flashes of charm, Depp himself seems to know he's coasting.
    • 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."
    • 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.
    • 47 Metascore
    • 40 Elizabeth Weitzman
    Barely makes the grade in either humor or provocation.
    • 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.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    Though Wilson tries hard, none of the actors - including Terrence Howard as the detective who unravels this story in flashback is able to overcome the script's considerable deficiencies.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    But oy, such terrible jokes and choppy direction. Would it have killed her to share the credits with someone else?
    • 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.
    • 67 Metascore
    • 40 Elizabeth Weitzman
    The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.
    • 67 Metascore
    • 40 Elizabeth Weitzman
    Sometimes these characters say things worth hearing. But too often, and in contrast to her first feature, "Me and You and Everyone We Know," July's calculated delivery doesn't reveal the profundity required to elevate it beyond a self-conscious deadpan.
    • 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.
    • 62 Metascore
    • 40 Elizabeth Weitzman
    Emma Stone, for example, is no one's idea of an ugly duckling. And though she offers a sincere effort, she never quite settles into the role of Skeeter.
    • 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.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.
    • 22 Metascore
    • 40 Elizabeth Weitzman
    While Shepard and Tuck earn a few laughs spoofing the celebrity/enabler relationship, the high points come from the game cameos: Ashton Kutcher, Jon Favreau, and Bradley Cooper are drolly entertaining as A-listers who make it perfectly clear that they're doing their buddy a big favor by appearing in his movie.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    Most of the actresses are appealing, but ultimately not even the gifted Mara can keep the film from feeling like a gauzy portrait of privilege.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    When Robert De Niro, Clive Owen and Jason Statham unite for an action thriller, we should be able to expect something special. Or at least memorable. Instead, Killer Elite gives us ordinary.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Philippe Le Guay's carefully-tailored crowd-pleaser does have its pleasures, even if originality is not among them.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    Gere and Grace do make a decent odd couple, but neither seems entirely committed.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    As a low-cost baby-sitter, this high-energy sequel definitely does the trick.
    • 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.
    • 22 Metascore
    • 40 Elizabeth Weitzman
    An inferior retread of Marshall's equally contrived "Valentine's Day," only dressed up with coats and confetti.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    A well-shot but generically dull disappointment.
    • 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.
    • 32 Metascore
    • 40 Elizabeth Weitzman
    With his (Cage) over-the-top delivery and operatically intense facial expressions, there's no way anyone could accuse him of phoning this one in.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    This film - like all the Madea-free dramas - could use more humor. Still, every Perry movie has its highs and lows. This time, the highs are a little higher, and the lows not quite so low. There is no faith-based message, but the moral is obvious: persistence pays off.
    • 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.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Gently sweet but unmemorable bonbon.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    In truth, Musical Chairs is so simplistic it almost feels like a first film.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    ATM
    While ATM does offer a few jolts, we're paired with bland characters and an underrealized premise.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Any story about Suu Kyi's extraordinary life is worth seeing, simply to learn more about her. Even so, such a rare individual deserves a film that treats her not as a saint, but the remarkable, complex human being she actually is.
    • 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.
    • 39 Metascore
    • 40 Elizabeth Weitzman
    The biggest problem, however, comes down to chemistry. If the leads have it, a Sparks romance will work.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    It's hard to imagine this was his intent, but David Mackenzie's minor romp manages to make being a rock star look like a distinctly unglamorous affair.
    • 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.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    Houston does his best with an unlikable character, and the young actors are appealing enough to keep us watching. The movie itself, however, is a mess.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    The nearly unrecognizable Chiklis almost single-handedly saves the day.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 40 Elizabeth Weitzman
    Hawke works hard to solidify Pawlikowski's wispy ideas (which are adapted from Douglas Kennedy's novel).
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Anyway. Here's what matters: The dance scenes are great. While no more revolutionary than the "political" plotline, the flash-mob concept does allow for more creative choreography than this series has seen in some time.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Even if you appreciate the sight of grown men acting like idiots, the film's repetitive pacing and self-congratulatory air start to feel exhausting.
    • 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.
    • 48 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.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    Long before your 140 minutes are up, you may wish you went to see "Sparkle" instead.
    • 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Towards the end, you might find yourself thinking, "Well, this could have been worse." And you'll mean it as a compliment.
    • 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.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    Though Cooper deserves credit for pushing beyond his comfort zone, he's clearly miscast in a role better suited to a young unknown.
    • 68 Metascore
    • 40 Elizabeth Weitzman
    While foodies are sure to feel sated by the gastronomic splendors of Paul Lacoste's debut documentary, others may walk out with a strange sense of emptiness.
    • 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.
    • 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.
    • 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.
    • 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
    Even the actors seem disconnected, with only Leighton Meester - who has the most to prove - working to create a distinguishable character.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    It's an odd showcase for Diane Kruger. She is never very believable as Elsa, a war correspondent who has been kidnapped by the Taliban.
    • 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.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Refn's version was successful enough to inspire two sequels; at its best, this effort will push Coyle's career a little further along in the U.S.
    • 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.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    The movie may critique its antihero, but it also offers just one more venue in which he's allowed to wallow - while we pay his way.
    • 69 Metascore
    • 40 Elizabeth Weitzman
    It's always dispiriting to see an ideal subject given shallow treatment, and one spends most of this documentary wishing a more experienced director had made it.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    It's up to you to decide if his oddly artsy vision, which pulls in first-person perspectives, surreal memories and highbrow cinematic references, suggests interesting ambition or misplaced pretension.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    The script is undernourished, the supporting characters - including a horribly miscast Lucy Punch - ill-conceived, and Val increasingly hard to take. But when the movie ended, I wanted to watch Walken all over again.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    While the actors are appealing, their weirdly co-dependent characters aren't. And they don't learn enough to balance out the bland, intermittently irritating nature of their adventures.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    One can't blame Colfer for wanting to expand his range, but he's created a character who is neither hero nor villain, in a black comedy that is neither dark nor funny enough.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    There is no urgency, and little honesty, to the convoluted goings-on unfolding here.
    • 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.
    • 54 Metascore
    • 40 Elizabeth Weitzman
    The script is a mess, built on lazy clichés, stilted jokes and easy payoffs. What the movie does have, though, is enthusiasm.
    • 43 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.
    • 21 Metascore
    • 40 Elizabeth Weitzman
    Even if he's slumming, Renner gets it best: his dry delivery fully acknowledges the movie's ridiculousness. If you're planning on entering this fractured fairy tale, you'll want to follow his lead.
    • 61 Metascore
    • 40 Elizabeth Weitzman
    He tells his story honestly, but with no great sense of self-awareness or insight.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    The ensuing road trip should be hilariously chaotic, a classic misadventure between two ill-matched travelers. Instead of “Midnight Run,” though, we get another gloss on the recent “Guilt Trip,” in which the concept is all that counts.
    • 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.
    • 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.
    • 51 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Its compelling conceit is immediately weighed down by leaden execution.
    • 44 Metascore
    • 40 Elizabeth Weitzman
    Like a creaky Vegas act desperate to please, The Incredible Burt Wonderstone is so eager you can’t help wanting to like it. But you also can’t help wondering if something better is playing in the theater next-door.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    None of the seven shorts here is worth a single, well-made feature. But there are a few amusing moments to be found.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Brad Leong’s “quirky” romantic comedy retreads ground that is already so well worn, everyone just slides right through.
    • 35 Metascore
    • 40 Elizabeth Weitzman
    Watch closely and you might even spy a better film inside, straining to break free.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 40 Elizabeth Weitzman
    Berger’s got some clever ideas, but he does not push far in exploring them. And aside from Cross, there is virtually no one to like among these self-involved suburbanites. After an hour alone with them, we can’t help wishing The End would just arrive.
    • 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.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    There’s never a moment when we forget that Mike and Wallace are just vacant personalities that two talented actors decided to try on for fun.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    It’s a mystery as to how so much talent combined to create such a cynically superficial product.
    • 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.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Director Tina Gordon Chism, who also wrote the screenplay, seems to have relied pretty strongly on Perry for guidance. In particular, she rejects any notions of subtlety, either in the comedy or the weirdly heavy-handed messages about masculinity.
    • 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.
    • 50 Metascore
    • 40 Elizabeth Weitzman
    For a while, Leterrier does manage to conjure up a little bit of magic between all these charming actors. And then, presto: Just like that, it’s gone.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    There simply isn’t enough here to sustain an entire movie.
    • 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.
    • 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.
    • 27 Metascore
    • 40 Elizabeth Weitzman
    The kind of middling thriller you might stop to watch if you came across it on cable, director Roger Christian’s “Alien” knockoff is presumably only in theaters because Christian Slater’s contract demanded it.
    • 29 Metascore
    • 40 Elizabeth Weitzman
    Despite the movie’s flaws, Cicin-Sain does show considerable confidence for a first-time writer and director.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    Who would have guessed that sex, drugs and double-crossing could be so unrelentingly boring?
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    Moore shows promising ingenuity in shooting parts of the movie covertly, within the notoriously restrictive Disney World resort. But his script never takes the same sort of risk.
    • 49 Metascore
    • 40 Elizabeth Weitzman
    What a letdown it is to see this spellbinding, era-defining story tamed into such stodgy submission.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    The most startling truth is about Emanuel is that she's a rather ordinary teen in a rather ordinary movie.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    On the bright side, the charismatic Liberato is one to watch. And de Matteo (“The Sopranos”) brings a crucial jolt of assertive energy. Both seem to be in another, more exciting movie entirely.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Story and his four screenwriters don’t exactly strain themselves to find a new angle in this mismatched buddy comedy. Picture “Rush Hour,” and then imagine Hart as the annoying kid in “Are We There Yet?” You’ve basically just watched the entire movie in your head.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    At the very least, it does provide an easy excuse to sit in a heated room eating popcorn.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    The second film from Enid Zentelis (“Evergreen”) comes across as a heavy-handed message movie. And its presence in theaters can only be explained by the participation of Oscar-winning lead Melissa Leo.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    Early potential fizzles away too quickly in this underachieving buddy comedy, which just barely skids along on the charm of its co-stars.
    • 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.
    • 40 Metascore
    • 40 Elizabeth Weitzman
    The unexpected chemistry between Sam Rockwell and Olivia Wilde helps balance this sour noir comedy.
    • 48 Metascore
    • 40 Elizabeth Weitzman
    Too bad this would-be heir, Divergent, is so unimaginative and bland.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    If you’re wondering how much heat you’ll find in this French romance, the title offers an unexpectedly frank clue.
    • 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.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    Apocalyptic visions are no longer enough to shock us. By this point, if you want to imagine the end of the world, you really need to say something new about it.
    • 41 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.
    • 59 Metascore
    • 40 Elizabeth Weitzman
    Admirable without being fully engaging. It’s too intelligent to dismiss, but not emotional enough to inspire lasting passion.
    • 53 Metascore
    • 40 Elizabeth Weitzman
    His (Surnow) unfocused script swerves all over the road, but Christopher Meloni and Dean Norris repeatedly get things back on track.
    • 36 Metascore
    • 40 Elizabeth Weitzman
    A romantic triangle featuring Rebecca Hall, Alan Rickman and “Game of Thrones” costar Richard Madden has no business being this dull.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    It’s a shame to see both actor and director play things so safe. Not only is much of the choreography reminiscent of their better films, but they rely too much on digital effects. Instead, we should be awed solely by the sight of a first-rate fighter.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 54 Metascore
    • 40 Elizabeth Weitzman
    Nathan’s neurotic self-indulgence strains our patience.
    • 45 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.
    • 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.
    • 38 Metascore
    • 40 Elizabeth Weitzman
    Daniel Cohen’s genial French comedy is as airy as a soufflé. Alas, it’s not nearly as satisfying.
    • 62 Metascore
    • 40 Elizabeth Weitzman
    Knightley does fine work, but she’s been miscast. Her innate sophistication undermines the movie’s intentions right off the bat. We never believe her as Greta.
    • 52 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    Actually, Ramirez should probably have been cast in the lead, since things flatten out whenever he disappears.
    • 30 Metascore
    • 38 Elizabeth Weitzman
    It's always admirable when a director decides to make a risky film. On the other hand, it's not quite as commendable to also make a boring one.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Aside from the shamelessly promoted corporate sponsors, nobody emerges from this game a winner. But the biggest losers are the ones who paid good money to watch it.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    The movie's strongest draw is its kitsch value -- along with a wisecracking Bruce Vilanch, the cast includes '80s TV refugees Jm J. Bullock ("Too Close for Comfort") and the Greatest American Hero himself, William Katt.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Scenario is ripe for subversive humor, but Ralston never even questions the superiority of the genetically privileged.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    Alternates between being amusingly pretentious and studiously dull.
    • 55 Metascore
    • 38 Elizabeth Weitzman
    Unfortunately, the visuals are not compelling enough on their own to hold our interest, and a highly mannered Derek Jacobi is all wrong as the narrative voice of Nijinsky.
    • 13 Metascore
    • 38 Elizabeth Weitzman
    Preposterous collegiate drama that exists simply to show pretty girls kissing, pretty boys undressing and pretty people of every sexual orientation drinking, doing drugs and otherwise wreaking postadolescent havoc.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Only a memorably commanding Ruehl transcends the limitations of her two-dimensional character.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Although it's recycled from start to finish, there are some decent jokes laced throughout, plus enough gore to satisfy the most bloodthirsty tastes.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    All the subtlety of an Olive Garden commercial.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    A classic case of good intentions and bad filmmaking.
    • 27 Metascore
    • 38 Elizabeth Weitzman
    If you want to direct a movie that's already been done, it's a good idea to pick one you can improve on.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Unless you're struck by the urge to watch strangers work out their petty issues in couples therapy, it's hard to find a compelling reason to sit through Gregg Lachow's irritatingly self-absorbed indie drama.
    • 68 Metascore
    • 38 Elizabeth Weitzman
    Feels like reading someone else's diary. Undoubtedly, there's some very important stuff in there, but it's most interesting to the person who wrote it.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Though Flicker based the story on real events, the execution is so melodramatic that none of it feels remotely true.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    Director and screenwriter Adam Brooks, adapting Jennifer Egan's novel, doesn't seem to understand what makes a movie relevant.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The truth about Lies is that it's a case of art-house porn being more porn than art.
    • 61 Metascore
    • 38 Elizabeth Weitzman
    While it's visually stunning, the pretentiousness makes it hard to take seriously.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Would that the film were as interesting as the setting.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    The movie veers so wildly between being zany and grim, we're left feeling more empty than entertained.