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
    • 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.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    It’s a mystery as to how so much talent combined to create such a cynically superficial product.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Daniel Cohen’s genial French comedy is as airy as a soufflé. Alas, it’s not nearly as satisfying.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    The movie is designed not to explore the experience of illness, or first love, or adolescence, but merely to make us swoon, sigh, and sob.
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 40 Elizabeth Weitzman
    Unfortunately, the stylistic repetition and intensely one-sided viewpoint only undermine his (Suleiman) goal.
    • 59 Metascore
    • 40 Elizabeth Weitzman
    Anyone looking for a date-night flick will be inclined to fall for Michael Dowse’s aggressively adorable What If. Just be warned: The single-minded determination to win you over may wind up pushing you away.
    • 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.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    There simply isn’t enough here to sustain an entire movie.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Its compelling conceit is immediately weighed down by leaden execution.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    In truth, Musical Chairs is so simplistic it almost feels like a first film.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 40 Elizabeth Weitzman
    He tells his story honestly, but with no great sense of self-awareness or insight.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 54 Metascore
    • 40 Elizabeth Weitzman
    While the whole cast -- including Dwayne (The Rock) Johnson -- is game, too much time was spent coordinating chase scenes and explosions, and too little fixing a slack script that relies on bathroom humor and snickering sex jokes.
    • 34 Metascore
    • 40 Elizabeth Weitzman
    The results are awkward and atonal.
    • 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.
    • 60 Metascore
    • 40 Elizabeth Weitzman
    Ultimately it’s the cast, more than the crime, that gives this story life.
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    While a good director can spin a worthy movie from any subject, first-timer Carlos Brooks does surprisingly little with the jaw-dropper of a topic he chose.
    • 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.
    • 41 Metascore
    • 40 Elizabeth Weitzman
    The most startling truth is about Emanuel is that she's a rather ordinary teen in a rather ordinary movie.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    Teller is, by far, the best thing about this easygoing, stubbornly generic independent romance from Max Nichols (son of Oscar-winning director Mike Nichols).
    • 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.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    Regretfully, the beginning of this movie is as good as it ever gets.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Elizabeth Weitzman
    Sam Esmail’s fractured romance is beautifully shot and creatively structured, but he never gives us a single reason to root for his mismatched couple.
    • 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.
    • 42 Metascore
    • 40 Elizabeth Weitzman
    As for that unpolished screenplay, the less said the better.
    • 64 Metascore
    • 40 Elizabeth Weitzman
    This uneven directorial debut from Jen McGowan is notable mostly for a nicely understated turn from Juliette Lewis.
    • 63 Metascore
    • 40 Elizabeth Weitzman
    It’s almost painful to watch the immense promise of The Congress, Ari Folman’s spectacularly ambitious experiment, dissipate into nothing.
    • 58 Metascore
    • 40 Elizabeth Weitzman
    In mistaking obvious observations for cutting insight, writer-director Jonathan Parker becomes what he lampoons.
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Elizabeth Weitzman
    Long before your 140 minutes are up, you may wish you went to see "Sparkle" instead.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    The sort of movie that’s not good enough to embrace, but not quite bad enough to dismiss.
    • 46 Metascore
    • 40 Elizabeth Weitzman
    Alexandre Aja’s supernatural thriller Horns isn’t an entirely successful movie. But with a committed Daniel Radcliffe in the lead, it’s a consistently intriguing one.
    • 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.
    • 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.
    • 68 Metascore
    • 40 Elizabeth Weitzman
    Strong performances and understated cinematography help balance the self-conscious editing, but ultimately the entire affair feels false.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Elizabeth Weitzman
    After a clever start, Spurlock turns self-serious, aiming to teach us something about our enemies and ourselves.
    • 43 Metascore
    • 40 Elizabeth Weitzman
    Unfocused and underwhelming.
    • 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.
    • 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.
    • 31 Metascore
    • 40 Elizabeth Weitzman
    Boredom is the very basis of this sequel, at least at the beginning.
    • 37 Metascore
    • 40 Elizabeth Weitzman
    The performances range wildly from high (Banderas) to low (Birgitte Hjort Sørensen as Jacq’s pregnant wife) to you-must-be-kidding (Melanie Griffith as both a scientific genius and a prostitute android).
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Elizabeth Weitzman
    Has some nice moments, but it feels very much like a first film. The pacing is off, and the cast members appear to be acting in completely different projects.
    • 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.
    • 22 Metascore
    • 40 Elizabeth Weitzman
    An inferior retread of Marshall's equally contrived "Valentine's Day," only dressed up with coats and confetti.
    • 30 Metascore
    • 40 Elizabeth Weitzman
    At the very least, it does provide an easy excuse to sit in a heated room eating popcorn.
    • 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.
    • 18 Metascore
    • 20 Elizabeth Weitzman
    A frenetic spoof of 1961's disastrous Bay of Pigs invasion, Company Man is likely to be forgotten quickly by audiences.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    In a town as status-conscious as Hollywood, the embarrassment of two "Garfield" movies on your résumé must sting like the Dickens.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    It's not unusual for a Henry Jaglom film to fall into a black hole of narcissism, but he has outdone himself with his latest, a satire on Hollywood's unshakable self-absorption.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    With so little action or even insight, Marathon is far too long at only 74 minutes. Perhaps for the sequel, we can come along as Gretchen watches paint dry.
    • 59 Metascore
    • 38 Elizabeth Weitzman
    The film does deserve credit for juggling difficult racial and class issues - but with a wacky score, cute puppies and silly side stories also jockeying for space, Bamford's best intentions tumble to a heap long before the movie ends.
    • 61 Metascore
    • 38 Elizabeth Weitzman
    While it's visually stunning, the pretentiousness makes it hard to take seriously.
    • 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.
    • 25 Metascore
    • 38 Elizabeth Weitzman
    A few scenes are stylish enough to amuse, but they all add up to nothing - leaving you ten bucks short and feeling like a sucker.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    In fairness, the new movie from the Lorne Michaels machine does have its amusing moments. It's just most of them can also be found in "Napoleon," "Talladega Nights," "Eagle vs. Shark," and any installment of "Jackass."
    • 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.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Would that the film were as interesting as the setting.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Though topnotch actors often can elevate mediocre material, they need a topnotch director to help them do it. Steve Carr ("Dr. Dolittle 2") is not that director.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Burns doesn't even bother to disguise his New York accent, any more than he does his boredom.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    As irritating as an ideological college student, this earnest debut from Zak Tucker is determined to teach us a lesson about right and wrong.
    • 69 Metascore
    • 38 Elizabeth Weitzman
    Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.
    • 46 Metascore
    • 38 Elizabeth Weitzman
    It's interesting in the same way the early, rejection episodes of "American Idol" are oddly compelling. But, of course, you can watch those for free.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Enthusiastic performances help, but without a logical script or confident direction, the fizz very quickly goes flat.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    Frankly, you may prefer the company of cinematic serial killers (Freddy vs. Jason) after you meet the pair at the center of this story.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Southland Tales does have enough energy and audacity to suggest significant potential. But was it ready for public consumption? The answer is no. It's as simple as that.
    • 55 Metascore
    • 38 Elizabeth Weitzman
    Cusack is excellent as Joan, the only woman in the film who values a girl's brains over her body, so it's a shame Fywell treats her with amused scorn.
    • 28 Metascore
    • 38 Elizabeth Weitzman
    Broderick is uptight; DeVito is obnoxious; and, somewhere, Nathan Lane is thanking his lucky stars he didn't get roped into this dreck.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    You may want to wait and watch "Never Land" the way it was meant to be seen -- as a straight-to-video baby-sitter.
    • New York Daily News
    • 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.
    • 34 Metascore
    • 38 Elizabeth Weitzman
    A mediocre little thriller that might have promised cheap fun on Blockbuster's direct-to-DVD shelf is instead destined to die a quick death on the big screen.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    The marvelous Dussolier makes a poignantly aging lothario, but Fillieres is so off-puttingly strange, we don't really care what she thinks about.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    And though Samantha is written as a sly spoof of Ashlee Simpson, Faris frantically overplays her. She might have taken a tip from Smart, a lovely, understated actress who wastes too much time in lousy films.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    The characters speak in Dialogue rather than English, the actors are so busy emoting they forget to act and the story feels like a first-draft college project.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    Dramatically miscalculated satire.
    • 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.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Oddly enough, though, only the finale is predictable in a movie that appears to have been edited in an early-model blender. Not a single scene connects smoothly with the next.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Just like its increasingly wan antihero, this blood-soaked series is on its last legs.
    • 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.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Regrettably, neither cast nor crew is able to save it from itself.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Don't let the title fool you. The one thing they have in common is how decidedly unerotic they are.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    Madhur Jaffrey and Faran Tahir fare considerably better as Nina's conservative mother and brother, leaving us confused ourselves: Why didn't Patel focus on them, instead?
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Hartley's satire of consumer-driven sexuality is undermined by the straight-faced decision to cast affectless model Tatiana Abracos as the heroine.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    This off-putting satire is a jumble of misguided ideas that gather like lint in the navel of self-obsessed director Philippe Caland.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    This lackluster outing is mostly just a retread of past glories.
    • 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.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Tries everything possible to win you over -- satire, gross-out comedy, even earnest romance. But as any high-schooler can tell you, the harder you try, the bigger you fall.
    • New York Daily News
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Scenario is ripe for subversive humor, but Ralston never even questions the superiority of the genetically privileged.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    If there's a lesson to be found in this shameless vanity project, it's that money can buy anything. Even a movie.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Why would so many accomplished women waste their time and talents on a movie as counterfeit as Mad Money?
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Stays firmly, depressingly, inside the lines.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    We never get a sensible explanation for Linda's bizarre double life, or uncover any reason - any reason at all - why Bullock would pick this lazy, patchwork script out of all the ones she surely receives every year.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    It would be nice to say this predictable fantasy has such a big heart, we can forgive its excesses. But director Kirsten Sheridan overplays nearly every already-corny scene, and there is no chemistry between Russell and Rhys Meyers, who appear to be passing through on their way to better projects.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    This preposterous adaptation of the Book of Esther is recommended viewing only for those impressed that it comes endorsed by the American Bible Society.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    Lighter on horror than it is on inadvertent humor.
    • 54 Metascore
    • 38 Elizabeth Weitzman
    A flashy homage to a dozen better movies, this self-conscious Hong Kong action flick is so packed with visual thrills, you may not notice that there's absolutely nothing beneath its impressively slick surface.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    The movie veers so wildly between being zany and grim, we're left feeling more empty than entertained.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    A great idea that never gets off the ground.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    The sort of slick-looking indie that plays well at film festivals, this heavy-handed boxing drama is really just a flyweight bulked up on cliches and false sentimentality.
    • 20 Metascore
    • 38 Elizabeth Weitzman
    The writing, directing and acting are all so sketchy, it's a mystery that Kattan didn't just try out this material the way he should have -- in a three-minute sketch.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Competent in the extreme, the talented Jolie would make a great Jane Bond. But mired in this joyless orgy of preposterousness, her biggest challenge is simply keeping a straight face.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Sets out to be a social critique but settles for smug disdain.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    We're bombarded by witless racial clichés, stale sexism and homophobia and enthusiastic celebrations of extreme flatulence.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Neither chimps nor children should be subjected to such shabby mediocrity.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    There's a fascinating and terrifying story to be told about Elizabeth Bathory, the dramatically depraved 17th century sadist known as the Blood Countess.....This ain't it.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    Normally, I'd recommend a movie like this only to diehard fans. But even they may want to wait until it hits cable.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    Turns out to be as heavy and earthbound as an injured dragon.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    This tale of disaffected sexual depravity is practically a parody of the worst of French filmmaking.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    The result feels as if she (Trish Doolan) gathered all her friends, turned on her camera and let them loose. Which is perfectly fine, if you don't expect anyone to pay to watch the finished product.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    Ever been on a blind date that you knew would be dismal from the start? Well, this is the movie version of that date, stretched out over the slowest two hours imaginable.
    • 26 Metascore
    • 38 Elizabeth Weitzman
    There's a lot of scary stuff in Wes Craven Presents: Dracula 2000. There are eyeball-sucking leeches, decapitations, punctured necks... and appalling acting.
    • 17 Metascore
    • 38 Elizabeth Weitzman
    A superficial tween comedy that mocks celebutantes like the Olsen twins while simultaneously pushing stars Hilary and Haylie Duff as their replacements.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    The question is, if Sarabeth is so desperate to escape this oppressive distillation of Jewish neuroses, why would filmmaker Debra Kirschner think we'd want to stick around?
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.
    • 46 Metascore
    • 38 Elizabeth Weitzman
    An exhausting combination of generic thriller, political tract and sentimental weepie.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Just another trip down a very dusty road.
    • 22 Metascore
    • 38 Elizabeth Weitzman
    Where the first film was a seminal forerunner of early stalker classics like "Halloween," this version feels as stale as old gingerbread.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.
    • tbd Metascore
    • 38 Elizabeth Weitzman
    Paul Auster's suffocating romance makes you feel as if you're helplessly stuck inside the head of the most pretentious person you know.
    • 34 Metascore
    • 38 Elizabeth Weitzman
    Those who need little more than a car chase, gunplay, pretty girls and a solid soundtrack will be entertained. And Ice Cube fans won't be disappointed. Everyone else may want to think twice before shelling out hard-earned dollars.
    • New York Daily News
    • 23 Metascore
    • 38 Elizabeth Weitzman
    To be fair, Sandler deserves some credit for bringing us the first mainstream movie about Chanukah. Too bad it's completely idioticah.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    A jumbled composite of blurred images, poetic yearnings and metaphoric dialogue.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    It's hard to say which is worse: The fact that 20th Century Fox believes this sour, sexist fantasy reflects anyone's actual experience or that Hollywood is so woefully behind the cultural curve.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    Commits the cardinal sin of moviemaking: It leaves you bored.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    There are a few funny jokes scattered throughout, but the halfhearted direction and clunky script are underscored by performances that feel like they belong in community theater.
    • 50 Metascore
    • 38 Elizabeth Weitzman
    At its best moments, the film offers a tender portrait of the park's youngest regulars, charmingly earnest performers from a nearby music school. But then, inevitably, their stories fade into a backdrop, as his camera turns to catch yet more women sunning in the square.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    Arnold's heart is in the right place, but somebody needs to save him from himself - and soon.
    • 58 Metascore
    • 38 Elizabeth Weitzman
    May
    Novice director Lucky McKee wrote the first draft of this labored horror flick while he was in school, and for a student film, it's not bad. But it's not ready for the big time.
    • 25 Metascore
    • 38 Elizabeth Weitzman
    A warmed-over ripoff, rather than the gritty urban drama it so desperately wants to be.
    • New York Daily News
    • 32 Metascore
    • 38 Elizabeth Weitzman
    Oddly enough, given his limited role, the movie seems to have been made around Nelly; when he's not onscreen, everything falls apart.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    If karma exists, Alvin and the Chipmunks must be Lee's punishment for appearing in the likes of "Jersey Girl."
    • 33 Metascore
    • 38 Elizabeth Weitzman
    Having mined England and Ireland dry, filmmakers are now turning to Wales for their quirkiness quota.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    Alternates between being amusingly pretentious and studiously dull.
    • New York Daily News
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Does little more than re-create the oppressive feeling of suffocating employment. And why put yourself through that experience without the promise of a paycheck at the other end?
    • 30 Metascore
    • 38 Elizabeth Weitzman
    The unhappy dead populate Geoffrey Sax's third-rate thriller White Noise like a pre-Christmas crowd at a suburban mall. This is a shame, since they are neither scary nor sad, and less likely to haunt an audience than simply bore them to death.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    Profoundly mediocre supernatural thriller.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    One of Walsch's precepts is that you should never make a living doing something you hate. If I'd known that, I might not have felt obliged to sit through every excruciating minute of this sanctimonious infomercial.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Only a memorably commanding Ruehl transcends the limitations of her two-dimensional character.
    • tbd Metascore
    • 38 Elizabeth Weitzman
    After languishing unseen for years, Laurent Firode's long-delayed comedy is finally getting its day in the sun. Too bad there's such a heavy shadow hanging over it.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    G
    It's an ugly affair overall, but at least you can say you've never seen such beautiful shirts.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    All the subtlety of an Olive Garden commercial.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    You don't have to rise very high to get above the level of these gags.
    • 50 Metascore
    • 38 Elizabeth Weitzman
    This time around, the cult director dispenses with the feminism, the satire, and even the issues, so he can concentrate on his true passion: the dissecting.
    • 30 Metascore
    • 38 Elizabeth Weitzman
    The movie is hindered by its weak script, but there's also a bigger problem to overcome: If we want to laugh at superficial celebrities, we already have plenty to choose from in real life.
    • 69 Metascore
    • 38 Elizabeth Weitzman
    By the time you've worked through the allegorical implications, you may be wondering why you didn't just go see "Charlie's Angels."
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Goldberger's stubbornly insular script - adapted from a novel by Harry Crews - might have fared better on stage, where the story would feel more contained than suffocating. But by the time you crawl across this finish line, you'll know just how those sluggish the birdsfeel.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Heavily influenced by Guy Ritchie, director Mo gets most of his comic mileage from a Hasidic Jew and an angry dwarf -- which should tell you everything you need to know.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    Could easily be just another episode of "Hey Arnold!" the TV show. Except that it's three times as long, and not half as much fun.
    • New York Daily News
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Director Andy Fickman seems to have thrown everything into this artificial comedy, in the hopes that something might stick. Almost nothing does.
    • 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.
    • New York Daily News
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The martial arts are well represented, the gentler arts -- like, for example, acting -- are not.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    If you're in an especially generous mood, you'll give in to a few laughs. By the end, though, you just may find yourself pining for the good old days of Pauly Shore.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    If he earns no other accolades for his directorial debut - a distinct likelihood - Lee Daniels deserves some kind of award just for assembling the most bizarrely random cast of this young century.
    • tbd Metascore
    • 38 Elizabeth Weitzman
    A convoluted mess of a horror movie.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The full title of this animé import is WXIII (Patlabor the Movie 3), and if you think the name's confusing, you may want to spare yourself the work of figuring out the film itself.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    Subtlety has never been Perry's strength, but his previous films balanced the sermonizing with good humor and sincerity. Perhaps next time, he'll ease up on the lectures, and bring back the love.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    The best that can be said about the big-screen Bratz is that they are not nearly as appalling as their toy-shelf twins.
    • 15 Metascore
    • 38 Elizabeth Weitzman
    Too solemnly boring to entertain parents or older siblings - but, alas, too loud for a long nap - Yu-Gi-Oh! is basically a feature-length promotion for the trading cards.
    • 60 Metascore
    • 38 Elizabeth Weitzman
    A few relevant themes do bubble up from this visually intriguing swamp of self-indulgence, but Arquette's pseudo-philosopher seems to speak for Almereyda when he says, "If there was a point, there wouldn't be a story."
    • 49 Metascore
    • 38 Elizabeth Weitzman
    The movie eventually chokes on its own pretensions.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    A muddle of good intentions and bad direction, this amateurish road movie follows a young Brit across Europe as he reconnects with his Jewish roots.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Exploitation shamelessly posing as empowerment, Neema Barnette's self-congratulatory drama about women in prison promises to reveal shocking truths.
    • 51 Metascore
    • 38 Elizabeth Weitzman
    The best part of this proudly absurd experience is the music.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    The movie doesn't even have novelty on its side, since we're basically watching the original "Final Destination" all over again, minus the smarts and humor.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Having written, co- directed and played the lead in this awkward, ego-driven memoir, Hayata has turned a genuinely compelling life story into an embarrassing vanity production.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The truth about Lies is that it's a case of art-house porn being more porn than art.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    There are moments of amusing melodrama, but for the most part, the action is too preposterous to take seriously, and too serious to be very much fun.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    Like a mango rotting in the sun, Frank Flowers' squishy Caribbean thriller has been sitting on the shelf long enough to attract suspicion. Bite into it at your own risk.
    • 15 Metascore
    • 38 Elizabeth Weitzman
    Director Uwe Boll wholeheartedly embraces the film's concept, and with some fancy editing and a pulsing soundtrack, the effect really is like watching a video game.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    But where the original was slight but sweet, the remake is depressingly superficial and cynical.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    A classic case of good intentions and bad filmmaking.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    Cantor seems to have noticed how dull the actual footage is, since he relies heavily on "arty" shots and black-and-white inserts.
    • New York Daily News
    • 55 Metascore
    • 38 Elizabeth Weitzman
    Unfortunately, the visuals are not compelling enough on their own to hold our interest, and a highly mannered Derek Jacobi is all wrong as the narrative voice of Nijinsky.
    • New York Daily News
    • 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.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Unless you happen to be one yourself, chances are pretty good that you'll take an immediate dislike to the self-satisfied hipsters who populate this disappointing comedy.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    If you only want a sequence of slashings, impalements and head-squishings, you'll get your money's worth. But if you like a little movie with your mayhem, you're out of luck.
    • New York Daily News
    • 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.
    • 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.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    With little dialogue, a murky night setting and the slowest of plots, this Portuguese fantasy only comes alive when it conforms to its true nature as arthouse pornography.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    If you're really hoping for a perfect holiday, steer clear of this stale fruitcake of a comedy.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Self-indulgent in the extreme, Julián Hernández's laconic ode to heartbreak feels like the work of a lovelorn teenager.
    • 5 Metascore
    • 38 Elizabeth Weitzman
    Features amateurish acting and direction, and a going-nowhere script.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    A bizarrely off-key animated comedy.
    • 44 Metascore
    • 38 Elizabeth Weitzman
    Stambrini puts so much weight on shock value, she overlooks the matter of emotional resonance.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    How do films this stale and generic continue to get made, let alone with topflight talent? Cedric has been stealing scenes from bigger names for nearly a decade; he deserves better than a few amusingly-improvised minutes at the end of his own movie. And so do we.
    • 26 Metascore
    • 38 Elizabeth Weitzman
    Unfortunately, while director Steve Boyum is a successful stunt man and off-road biker, his skills do not extend to the relatively passive arena of filmmaking. Somehow, he even makes much of the action static.
    • 26 Metascore
    • 38 Elizabeth Weitzman
    A murky swamp of a movie, Terry Gilliam's defiantly surreal Tideland finds every good idea drowning in an excess of indulgence.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    Writer-director Claudia Myers' clunky debut feature makes the case that first-timers should probably focus on either writing or directing.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    It's too bad the film never makes good on its early promise, but clearly, the rolling fireballs and flying bullets are the priority.
    • 17 Metascore
    • 38 Elizabeth Weitzman
    There is a fair share of turkeys at the multiplex this week, but none are quite as overcooked as Extreme Ops.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    Phelan makes nice use of the New York locations, but all the trees in Central Park can't make up for a clichéd script and characters who speak entirely in platitudes.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    Since Adam Sussman's script is as lazy as Asif Kapadia's direction is disjointed, nothing ever makes sense, even after the anticlimatic explanation is revealed.
    • 40 Metascore
    • 30 Elizabeth Weitzman
    Hoping for a little emotional manipulation with your popcorn? Look no further.
    • 43 Metascore
    • 30 Elizabeth Weitzman
    Well, you've got to say this for Death Race: It knows what it is and doesn't apologize for it. What it is, incidentally, is junk.
    • 38 Metascore
    • 30 Elizabeth Weitzman
    Even in the lazy days of late August, this movie is hardly worth the price of popcorn.
    • 33 Metascore
    • 30 Elizabeth Weitzman
    There's nothing here but a messy lump of coal.
    • 44 Metascore
    • 30 Elizabeth Weitzman
    A patronizing, self-satisfied piece of work, Funny Games is Michael Haneke's way of chastising us for blindly following the traditional rules of entertainment.
    • 61 Metascore
    • 30 Elizabeth Weitzman
    I can't imagine why De Niro, who is a fine comedian, is still coasting on his gangster act, and surely Crystal can do something other than play himself...it feels a little like an exercise in laziness.
    • Film.com
    • 33 Metascore
    • 30 Elizabeth Weitzman
    Some may wonder why Jennifer Aniston keeps taking projects about single women unlucky in love. But the bigger question in Love Happens is why, with her pick of scripts, she chose one so utterly uninspired.
    • 34 Metascore
    • 25 Elizabeth Weitzman
    Whether he's the victim of poor directing or misguided ambition, Bass is almost entirely charisma-free.
    • 39 Metascore
    • 25 Elizabeth Weitzman
    Mystifyingly bad given the talent involved, Southlander is an in-jokey, hipster escapade that appears to have been made on a drunken weekend because there was nothing better to do.
    • 31 Metascore
    • 25 Elizabeth Weitzman
    Even diehard fans will get more out of watching a four-minute music video than they'll find in this mixed-up mess.
    • 32 Metascore
    • 25 Elizabeth Weitzman
    Adam Rifkin's dank, relentless drama puts you savagely through the wringer without bothering to enlighten or entertain.
    • 35 Metascore
    • 25 Elizabeth Weitzman
    A story of miserable people leading miserable lives, Iowa is a sour vanity project: trash posing as a socially relevant "cautionary tale."
    • 28 Metascore
    • 25 Elizabeth Weitzman
    It's hard to say what's most disappointing about She Hate Me, Spike Lee's absurdly - and arrogantly overlong comedic drama. But there are plenty of options to choose from.
    • 17 Metascore
    • 25 Elizabeth Weitzman
    Still, if it gets little else right, at least Epic Movie is accurately titled: It may be only 86 minutes long, but it feels as if it lasts forever.
    • 7 Metascore
    • 25 Elizabeth Weitzman
    You've got to give Norm Macdonald credit. When he cheats his audience, he warns them first.
    • 11 Metascore
    • 25 Elizabeth Weitzman
    The most bizarre cinematic experience of 2002. So misguided as to be utterly mystifying, this shameless vanity project is almost surreal enough to be entertaining. Almost.
    • 30 Metascore
    • 25 Elizabeth Weitzman
    Here's what's missing from Casey La Scala's film: Likable characters, a comprehensible script and any semblance of a good time.
    • 34 Metascore
    • 25 Elizabeth Weitzman
    A cheerless sequel to an uninspired remake, Cheaper by the Dozen 2 is, at best, well timed to serve as a backup baby-sitter during the hectic days of winter break.
    • 25 Metascore
    • 25 Elizabeth Weitzman
    Misguided at best and repellent at worst, the movie has, ironically enough, a single asset: Lohan's performance as a rebellious, uncontrollable teen.
    • 13 Metascore
    • 25 Elizabeth Weitzman
    If you're looking for a modern-day "Meatballs" - or, for that matter, "Meatballs 4" - you're out of luck.
    • 7 Metascore
    • 25 Elizabeth Weitzman
    You've got to admire Hilton's complete conviction in herself as the center of all that is beautiful and good. And maybe such unwavering self-regard is actually kind of hot. Or not.
    • 25 Metascore
    • 25 Elizabeth Weitzman
    An almost comically unsuitable title. There's absolutely nothing singular or special about this slapdash sci-fi film featuring martial-arts megastar Jet Li.
    • 27 Metascore
    • 25 Elizabeth Weitzman
    It's hard to know who is the intended audience for this misguided mess.
    • 36 Metascore
    • 25 Elizabeth Weitzman
    The movie's a botch, but at least it'll make you feel good about your own daily drudgery.
    • 31 Metascore
    • 25 Elizabeth Weitzman
    Too superficial to shock or surprise.
    • 47 Metascore
    • 25 Elizabeth Weitzman
    A mediocre movie that will be wiped from its stars' résumés with head-spinning speed.
    • New York Daily News
    • 30 Metascore
    • 25 Elizabeth Weitzman
    Cheesy horror flick that feels like straight-to-video material.
    • New York Daily News
    • 34 Metascore
    • 25 Elizabeth Weitzman
    Given a plot and dialogue that ring entirely false, we're left with a bunch of unpleasant characters who do unpleasant things for no apparent reason. Enjoy.
    • 30 Metascore
    • 25 Elizabeth Weitzman
    The worst kind of horror movie: trash that takes itself seriously.
    • 43 Metascore
    • 25 Elizabeth Weitzman
    So misguided as to be genuinely mystifying, Jeff Stanzler's queasily blended political psychodrama isn't simply a lousy movie. It's also a lousy movie that boldly exploits the events of 9/11.
    • 39 Metascore
    • 25 Elizabeth Weitzman
    Dev Anand's unintentionally hilarious Bollywood romance would be considered terrible by any artistic standard, but it serves as proof that sometimes the worst films make for the most fun.
    • 27 Metascore
    • 25 Elizabeth Weitzman
    The affable Ice Cube is all that makes this forced, unfunny film watchable, and, frankly, it's hard watching him waste his efforts on a movie so woefully cynical.
    • 34 Metascore
    • 25 Elizabeth Weitzman
    Even The Rock, who can usually be counted on to enliven any scenario, seems bored by the laughably feeble script.
    • 33 Metascore
    • 25 Elizabeth Weitzman
    Given that its predecessor hit bottom in the glorification of thug thrills, State Property 2 had nowhere to go but up. Yet, it doesn't.
    • 23 Metascore
    • 25 Elizabeth Weitzman
    Seemingly made while writer-director-star Cevin Soling was heavily under the influence, this generally witless ode to illegal substances is apparently meant to be viewed that way, as well.
    • 30 Metascore
    • 25 Elizabeth Weitzman
    This warmed-over slop feels as if it's been congealing for twice that long.
    • 35 Metascore
    • 25 Elizabeth Weitzman
    You'd be better off spending an evening with the collected works of Rob Schneider.
    • 27 Metascore
    • 25 Elizabeth Weitzman
    Turns out, subtitles don't make soft-core any classier.
    • 26 Metascore
    • 25 Elizabeth Weitzman
    There are a couple of nominal insights here, but honestly, you'll find more intellectual edification (or whatever else you're looking for) flipping through Richards' photo shoot in the current "Playboy."
    • 52 Metascore
    • 25 Elizabeth Weitzman
    At heart, "BSM" is no different from the midnight movies of the '60s and '70s that reveled in a head-spinning blend of blatant exploitation, provocative racial commentary and overwrought performances.
    • 18 Metascore
    • 25 Elizabeth Weitzman
    While there's no fun in mediocrity, ludicrousness is another matter. Boll is the best at what he does, and what he does is make truly terrible films.
    • 43 Metascore
    • 25 Elizabeth Weitzman
    Since there's no suspense whatsoever, we're simply stuck with awful people doing awful things to each other.
    • 32 Metascore
    • 25 Elizabeth Weitzman
    On the whole, this is an awfully long slog through very arid terrain, in which generic soldiers track, fight and try to escape from generic villains (you'd be surprised at how uninteresting mutant flesh-eaters can be). I can't speak for the hills, but I spent most of the movie just trying to keep my eyes open.
    • 35 Metascore
    • 20 Elizabeth Weitzman
    Don't blame Haley, though. Wesley Strick and Eric Heisserer's screenplay goes in the wrong direction entirely, dropping Freddy's sick sense of humor while turning him into a generic bogeyman.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    As it turns out, the only truly interesting element about this clichéd surfer flick is that it was made by celebrated directors Michael Apted and Curtis Hanson.
    • 28 Metascore
    • 20 Elizabeth Weitzman
    Stahl should have had a career similar to Sam Rockwell's, blending thoughtful indies with fun popcorn flicks. Instead, he's spinning his wheels in junk like this. Calamitous indeed.
    • 44 Metascore
    • 20 Elizabeth Weitzman
    The 6-year-old I watched it with summed it up perfectly: “It starts out fun but then it’s kinda sad and scary. And sorta boring, too.”
    • 32 Metascore
    • 20 Elizabeth Weitzman
    If only the movie could live up to its own potential. Instead, we're stuck with blandly unappealing costumed characters meandering through a boring quest to find some lost balloons.
    • 30 Metascore
    • 20 Elizabeth Weitzman
    Miller clearly wanted to make an impression, and that he does. Maybe it's better to be remembered for one of the worst movies of the year than forgotten for a mediocre one.
    • 36 Metascore
    • 20 Elizabeth Weitzman
    It would appear that for his first feature, Mikael Buch wanted to leave nothing to chance. So he threw in enough action for five movies, amped the comedy up to frenetic levels and encouraged his cast to play to the rafters.
    • 38 Metascore
    • 20 Elizabeth Weitzman
    One of those factors must have settled upon the unlucky shoulders of Stephen Frears, who certainly has the pedigree to go all the way. And yet, he stumbles so badly with Lay the Favorite, his comic adaptation of Beth Raymer's memoir, that one is left wondering what could possibly have gone wrong.
    • 22 Metascore
    • 20 Elizabeth Weitzman
    The one crime a B-movie should never commit is boring its audience. By even these low standards, Shark Night 3D is dead in the water.
    • 59 Metascore
    • 20 Elizabeth Weitzman
    With all the talent on tap — including screenwriter Buck Henry, who worked with Michal Zebede to adapt Philip Roth’s 2009 novel — you’d think we’d get something better than this outdated indulgence.

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