For 2,108 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 Inception
Lowest review score: 0 Oz the Great and Powerful
Score distribution:
2,108 movie reviews
    • 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.
    • 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
    The marvelous Dussolier makes a poignantly aging lothario, but Fillieres is so off-puttingly strange, we don't really care what she thinks about.
    • 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?
    • 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.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    A jumbled composite of blurred images, poetic yearnings and metaphoric dialogue.
    • 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.
    • 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.
    • 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
    Frankly, you may prefer the company of cinematic serial killers (Freddy vs. Jason) after you meet the pair at the center of this story.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    A painfully flat spoof of the 1961 Bay of Pigs invasion.
    • 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.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Regrettably, neither cast nor crew is able to save it from itself.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.
    • 18 Metascore
    • 38 Elizabeth Weitzman
    Commits the cardinal sin of moviemaking: It leaves you bored.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Elizabeth Weitzman
    The best part of this proudly absurd experience is the music.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.
    • 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.
    • 25 Metascore
    • 38 Elizabeth Weitzman
    A warmed-over ripoff, rather than the gritty urban drama it so desperately wants to be.
    • 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.
    • 5 Metascore
    • 38 Elizabeth Weitzman
    Features amateurish acting and direction, and a going-nowhere script.
    • 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?
    • 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.
    • 33 Metascore
    • 38 Elizabeth Weitzman
    Having mined England and Ireland dry, filmmakers are now turning to Wales for their quirkiness quota.
    • 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.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.
    • 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.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    The movie eventually chokes on its own pretensions.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    The martial arts are well represented, the gentler arts -- like, for example, acting -- are not.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 38 Elizabeth Weitzman
    Neither chimps nor children should be subjected to such shabby mediocrity.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Stays firmly, depressingly, inside the lines.
    • 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.
    • 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.
    • 49 Metascore
    • 38 Elizabeth Weitzman
    A great idea that never gets off the ground.
    • 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.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    But where the original was slight but sweet, the remake is depressingly superficial and cynical.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    We're bombarded by witless racial clichés, stale sexism and homophobia and enthusiastic celebrations of extreme flatulence.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    This lackluster outing is mostly just a retread of past glories.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
    • 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.
    • 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.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    This tale of disaffected sexual depravity is practically a parody of the worst of French filmmaking.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Enthusiastic performances help, but without a logical script or confident direction, the fizz very quickly goes flat.
    • 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.
    • 23 Metascore
    • 38 Elizabeth Weitzman
    You don't have to rise very high to get above the level of these gags.
    • 45 Metascore
    • 38 Elizabeth Weitzman
    Sets out to be a social critique but settles for smug disdain.
    • 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.
    • 24 Metascore
    • 38 Elizabeth Weitzman
    Burns doesn't even bother to disguise his New York accent, any more than he does his boredom.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Elizabeth Weitzman
    Arnold's heart is in the right place, but somebody needs to save him from himself - and soon.
    • 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."
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 46 Metascore
    • 38 Elizabeth Weitzman
    An exhausting combination of generic thriller, political tract and sentimental weepie.
    • 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.
    • 31 Metascore
    • 38 Elizabeth Weitzman
    Dramatically miscalculated satire.
    • 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.
    • 42 Metascore
    • 38 Elizabeth Weitzman
    A bizarrely off-key animated comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 19 Metascore
    • 38 Elizabeth Weitzman
    Profoundly mediocre supernatural thriller.
    • 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.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Just another trip down a very dusty road.
    • 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.
    • 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
    This preposterous adaptation of the Book of Esther is recommended viewing only for those impressed that it comes endorsed by the American Bible Society.
    • 48 Metascore
    • 38 Elizabeth Weitzman
    Just like its increasingly wan antihero, this blood-soaked series is on its last legs.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 38 Elizabeth Weitzman
    Turns out to be as heavy and earthbound as an injured dragon.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 38 Elizabeth Weitzman
    A convoluted mess of a horror movie.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 53 Metascore
    • 38 Elizabeth Weitzman
    Lighter on horror than it is on inadvertent humor.
    • 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.
    • 32 Metascore
    • 38 Elizabeth Weitzman
    If you're really hoping for a perfect holiday, steer clear of this stale fruitcake of a comedy.
    • 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.
    • 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."
    • 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.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Why would so many accomplished women waste their time and talents on a movie as counterfeit as Mad Money?
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 30 Elizabeth Weitzman
    Hoping for a little emotional manipulation with your popcorn? Look no further.
    • 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.
    • 43 Metascore
    • 25 Elizabeth Weitzman
    Since there's no suspense whatsoever, we're simply stuck with awful people doing awful things to each other.
    • 34 Metascore
    • 25 Elizabeth Weitzman
    Whether he's the victim of poor directing or misguided ambition, Bass is almost entirely charisma-free.
    • 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.
    • 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.
    • 7 Metascore
    • 25 Elizabeth Weitzman
    You've got to give Norm Macdonald credit. When he cheats his audience, he warns them first.
    • 30 Metascore
    • 25 Elizabeth Weitzman
    Cheesy horror flick that feels like straight-to-video material.
    • 47 Metascore
    • 25 Elizabeth Weitzman
    A mediocre movie that will be wiped from its stars' résumés with head-spinning speed.
    • 32 Metascore
    • 25 Elizabeth Weitzman
    Adam Rifkin's dank, relentless drama puts you savagely through the wringer without bothering to enlighten or entertain.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 31 Metascore
    • 25 Elizabeth Weitzman
    Too superficial to shock or surprise.
    • 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.
    • 36 Metascore
    • 25 Elizabeth Weitzman
    The movie's a botch, but at least it'll make you feel good about your own daily drudgery.
    • 30 Metascore
    • 25 Elizabeth Weitzman
    This warmed-over slop feels as if it's been congealing for twice that long.
    • 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.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 25 Elizabeth Weitzman
    You'd be better off spending an evening with the collected works of Rob Schneider.
    • 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.
    • 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."
    • 30 Metascore
    • 25 Elizabeth Weitzman
    The worst kind of horror movie: trash that takes itself seriously.
    • 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.
    • 27 Metascore
    • 25 Elizabeth Weitzman
    It's hard to know who is the intended audience for this misguided mess.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    The real culprit is first-time director Marcel Langenegger, who seems to have studied for his debut by watching nothing but Cinemax. The score hints at ominous activities that never happen, a rain machine provides the only atmosphere and the actors have to suffer through the silliest sex scenes in recent memory.
    • 62 Metascore
    • 20 Elizabeth Weitzman
    The performances are expert, but can't make up for a flat script and direction. Unless you, like Claire, are a glutton for punishment, we suggest you choose nothing over something.
    • 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.
    • 15 Metascore
    • 20 Elizabeth Weitzman
    Why would you watch a bad movie about better movies, when you could just rent the originals instead?
    • 26 Metascore
    • 20 Elizabeth Weitzman
    The plot makes absolutely no sense.
    • 27 Metascore
    • 20 Elizabeth Weitzman
    Is it an exaggeration to call The Women the worst movie of the year? Well, yeah, probably. But it may be the most disappointing, given all the effort that went into it.
    • 36 Metascore
    • 20 Elizabeth Weitzman
    Forgive us for being demanding, but shouldn't an animated kids movie like this one be, at the very least, fun? Cute? Watchable?
    • 26 Metascore
    • 20 Elizabeth Weitzman
    As for that title, neither character is Italian, but each thinks the other is - a weak device designed purely to inspire a slew of stereotypes.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.
    • 20 Metascore
    • 20 Elizabeth Weitzman
    This year's installment is as disappointing as a Halloween bag filled with nothing but raisins.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    The story has more holes than a shot-up metal door, the acting feels bored at best, and the intermittent action, while passable, hardly makes up for the downtime.
    • 24 Metascore
    • 20 Elizabeth Weitzman
    Hudson has, if nothing else, traded up: last winter she was stuck in "Fool's Gold."
    • 28 Metascore
    • 20 Elizabeth Weitzman
    A movie without a moment of truth to be found.
    • 11 Metascore
    • 20 Elizabeth Weitzman
    Ever fast-forward through a late-night cable romance just to get to the good parts? This amateurish relationship dramedy features all the stuff you'd skip, and nothing else.
    • 43 Metascore
    • 20 Elizabeth Weitzman
    Unfortunately, this strained comedy relies entirely on clichés and contrivances to tell the story of Sherman.
    • 38 Metascore
    • 20 Elizabeth Weitzman
    Dano is a talented actor who needs to aim higher, and it should go without saying that Deschanel can do - and should know - better.
    • 20 Metascore
    • 20 Elizabeth Weitzman
    Ellis' stamp is immediately apparent, from the absurdly vapid characters to the undercurrent of barely repressed anger.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    None of it makes any sense, but it is just nutty enough to provide a few (entirely unintended) laughs.
    • 22 Metascore
    • 20 Elizabeth Weitzman
    Glatzer's self-consciously quirky indie is misguided on every level.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    The performances are dreadful, the direction shoddy and the final twist so idiotic, your mind can’t help but drift toward all the better scripts just waiting, sadly and silently, for the chance wasted here.
    • 17 Metascore
    • 20 Elizabeth Weitzman
    Unfortunately, Vardalos has no one else to blame for a shockingly amateurish effort that goes from bad (her oddly insincere performance) to worse (consistently sloppy camera work) to make-it-stop (it would be an insult to television to call the script sitcomish).
    • 47 Metascore
    • 20 Elizabeth Weitzman
    The Box is its own kind of awful, a disconnected mess that never finds its reason for being.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    The filmmakers were too busy throwing together potential blockbuster material to notice all the loose ends and gaping holes in logic. Which may, ultimately, explain why Willis looks so confused throughout. Maybe he, too, is straining to locate some intelligence amid all the machinery.
    • 28 Metascore
    • 20 Elizabeth Weitzman
    Yep, Hess wrote and directed "Dynamite," and here's proof we shouldn't have rewarded him. The hollow "Broncos" is even more cruelly disdainful, designed primarily to scorn the pathetic lives within.
    • 19 Metascore
    • 20 Elizabeth Weitzman
    Travolta, who delivers an impressively enthusiastic performance, seems to have no idea that he's stuck in one of the year's worst movies. The perpetually pained expression on Williams' face, however, suggests he knows otherwise.
    • tbd Metascore
    • 20 Elizabeth Weitzman
    Does John Leguizamo need a better manager, or does he just have terrible taste in scripts? Because aside from voicing the "Ice Age" movies, he wastes too much time on misfires like this one.
    • 27 Metascore
    • 20 Elizabeth Weitzman
    The movie even has the nerve to start with a montage of moments from his better films, a bad idea that sets off an escalating tumble downhill.
    • 40 Metascore
    • 20 Elizabeth Weitzman
    Thirteen-year-old boys big enough to sneak into R-rated movies are presumably the prime audience for this witless comedy from the Broken Lizard troupe.
    • 33 Metascore
    • 20 Elizabeth Weitzman
    On the plus side, the Irish landscape is gorgeous, and Scott and John Lithgow are amusing in small roles. But Goode barely makes an effort, so Adams' frantic exertions feel especially disheartening
    • 22 Metascore
    • 20 Elizabeth Weitzman
    This synthetic comedy is instantly grating.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    A tacky 'Fatal Attraction' for the lesbian set.
    • 34 Metascore
    • 20 Elizabeth Weitzman
    Charmless and derivative.
    • 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.
    • 52 Metascore
    • 20 Elizabeth Weitzman
    This Spanish sequel to a 2007 cult hit uses the way-overdone conceit of videotaped terror.
    • 43 Metascore
    • 20 Elizabeth Weitzman
    Both written and played in broad strokes, each character quickly devolves into the most simplistic of symbols. The results comes across more as an agenda than art.
    • 57 Metascore
    • 20 Elizabeth Weitzman
    While all four leads deserve better, it's especially galling to see Burstyn - still so lovely - wasting her time and talents on a film with so little wisdom to share.
    • 30 Metascore
    • 20 Elizabeth Weitzman
    Jonathan, who was so great in "Roll Bounce," deserves better. It'd be overly generous, however, to say the same about anyone else involved.
    • 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.
    • 41 Metascore
    • 20 Elizabeth Weitzman
    Other than those related to cast and crew, it's difficult to imagine who else would sit through Ry Russo-Young's self-obsessed indie.
    • 18 Metascore
    • 20 Elizabeth Weitzman
    Do not, in fact, go at all. Because aside from the actual nutcracker, most of the crucial elements are missing from Andrei Konchalovsky's bizarre miscalculation. Magic and joy top the list.
    • 24 Metascore
    • 20 Elizabeth Weitzman
    Franchise morphs into generic slasher series without Jigsaw.
    • 46 Metascore
    • 20 Elizabeth Weitzman
    Brooks' shallow screenplay feels half-finished, and he never compensates with additional guidance or directorial flair. So all his actors are forced to flail about ineffectually. Apparently, none of them read the script in advance. Because surely then they'd have known to take a pass.
    • 50 Metascore
    • 20 Elizabeth Weitzman
    On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
    • 33 Metascore
    • 20 Elizabeth Weitzman
    If I were to guess how Hollywood envisions the inside of a teenage boy's brain, it would look exactly like Zack Snyder'sSucker Punch."
    • 45 Metascore
    • 20 Elizabeth Weitzman
    Perry's characters have always been drawn with broad strokes, as heroes or villains. In this case, all the villains are young women, and all the young women in this film-without exception--are monstrous.
    • 36 Metascore
    • 20 Elizabeth Weitzman
    Even if you've got a soft spot for silly rom-coms, know that this one is as empty-headed as it gets.
    • 13 Metascore
    • 20 Elizabeth Weitzman
    What's most baffling is that such a canny actor is so unable to direct his own cast.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Anyone hoping to engage even a single brain cell, however, is out of luck. Which is too bad, since popcorn blockbusters don't actually have to be mind-numbingly stupid or soul-suckingly empty.
    • 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.
    • 46 Metascore
    • 20 Elizabeth Weitzman
    It must be said that everyone - including Dominic West and Rosamund Pike -- works awfully hard to entertain us. But that just makes it all the more depressing when joke after joke falls painfully flat. Stay home and introduce your kids to Mr. Bean, instead.
    • 26 Metascore
    • 20 Elizabeth Weitzman
    The only real reason to see this movie is to show unwavering loyalty to Cena. And even so, he'll never know if you wait to watch it on cable for free.
    • 41 Metascore
    • 20 Elizabeth Weitzman
    Unless your own horoscope recommended wasting two perfectly useful hours of your day, take a pass.
    • 26 Metascore
    • 20 Elizabeth Weitzman
    It almost seems unfair to mention that Carla Gugino shows up as a cop 80 minutes into these overlong proceedings; by then, viewers who walk out would never even have known that she was involved.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Albatross is the kind of movie that looks good, begins with promise, and then nosedives into deep disappointment.
    • 22 Metascore
    • 20 Elizabeth Weitzman
    She's (Heigl) disastrously miscast as a character beloved by fans of novelist Janet Evanovich.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    "War" is depressingly mean-spirited.
    • 48 Metascore
    • 20 Elizabeth Weitzman
    Though the central blowout is as epic as advertised, so is the movie's self-congratulatory obnoxiousness.
    • 38 Metascore
    • 20 Elizabeth Weitzman
    The biggest trouble with "Bliss" is the way it wastes a cast that deserves so much more.
    • 37 Metascore
    • 20 Elizabeth Weitzman
    The most charitable approach to this unfortunate diversion in Jackson's career would be to pretend it never happened. Now, who wants to go see "The Avengers" again?
    • 9 Metascore
    • 20 Elizabeth Weitzman
    It's bluntly written, poorly shot and edited, and cruel without being clever.
    • 62 Metascore
    • 20 Elizabeth Weitzman
    What's most notable about this aggressively cynical project is how much talent it wastes.
    • 30 Metascore
    • 20 Elizabeth Weitzman
    How does a comedy troupe even get from the frat-humor antics of "Beerfest" to the middle-class suburbanality of Babymakers? Well, everybody gets old eventually. Growing up, on the other hand, is optional.
    • 21 Metascore
    • 20 Elizabeth Weitzman
    As generic and forgettable as its title, this half-hearted attempt at a teen comedy feels like a term paper you might buy online: poorly written and cribbed from a million other sources.
    • 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.
    • 52 Metascore
    • 20 Elizabeth Weitzman
    While plenty of gross-out comedies have come and gone in the last two decades, Leslye Headland's Bachelorette may be the most vulgar of them all.
    • 37 Metascore
    • 20 Elizabeth Weitzman
    It's hard to know whether Sebastian Gutierrez is imitating or satirizing the hard-boiled noirs of Hollywood's past, but either way it feels like a botched attempt.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    Though Jaglom intends for us to be charmed by show folk, the amateurish performances and perennially misjudged direction wind up portraying them instead as boundlessly needy narcissists.
    • 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.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    In this group, only Hemsworth stands out.
    • 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.
    • 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.
    • 52 Metascore
    • 20 Elizabeth Weitzman
    Who could have predicted that one day we would long for the relative subtlety of “Twilight”? Richard LaGravenese’s Beautiful Creatures is so outrageously florid, Bella and Edward’s baroque courtship looks understated by comparison.
    • 34 Metascore
    • 20 Elizabeth Weitzman
    How ironic (depressing? predictable?) that the week after we celebrate the best in movies, we are force-fed its very worst. 21 & Over is filmmaking by formula, and evidence of Hollywood’s assumption that appealing to viewers’ basest instincts will always pay off.
    • 35 Metascore
    • 20 Elizabeth Weitzman
    It would be nice to say that Rourke, at least, offers a reason to see this junky thriller, about an American agent who gets involved in an Indonesian terrorist plot. But as entertaining as it is to watch him adopt a strange accent and swan around in sarongs as an eccentric jewel thief, it’s also a little depressing. The paycheck cannot possibly be worth it.
    • 33 Metascore
    • 20 Elizabeth Weitzman
    There’s no explaining the presence of Guy Pearce in Pauline Chan’s sappy, atonal family drama. But it’s easy enough to understand why he looks so uncomfortable throughout.
    • 27 Metascore
    • 20 Elizabeth Weitzman
    There probably is an interesting story in Van’s rags-to-riches tale. But all we get in this extended publicity stunt is clichéd filmmaking, stilted performances and a self-aggrandizing hero.
    • 44 Metascore
    • 20 Elizabeth Weitzman
    Skip the movie and go buy yourself a drink instead.
    • 8 Metascore
    • 20 Elizabeth Weitzman
    Even if we had never heard of Woody Allen or Adam Sandler, this schlocky effort would feel about as fresh as a week-old bagel.
    • 23 Metascore
    • 20 Elizabeth Weitzman
    There is no reason a film with an agenda can’t also be engaging or thought-provoking. But what we have here is not so much a movie as a blunt Sunday sermon.
    • 38 Metascore
    • 20 Elizabeth Weitzman
    Shabby on the surface and indulgent at its core.
    • 35 Metascore
    • 20 Elizabeth Weitzman
    You certainly won’t learn anything of interest about the Princess of Wales in Oliver Hirschbiegel’s misguided new biopic. But Diana can be declared a success in one regard — its vacant inanity serves to remind us of the perpetual indignities forced upon this unlucky Lady.
    • 42 Metascore
    • 20 Elizabeth Weitzman
    Despite the revved-up start and a suitably dusty setting, the movie stalls almost immediately. The story is uninspired, Lyons looks lost, and Booth makes for a bland femme fatale. Clarke tries to inject some energy into the action, but even he seems to realize this ride’s going nowhere.
    • 35 Metascore
    • 20 Elizabeth Weitzman
    A director who really wanted to honor these actors’ legendary roles, rather than simply use them as a marketing hook, might have found a way to make this concept palatable. Segal (“Get Smart”) is not that director.
    • 37 Metascore
    • 20 Elizabeth Weitzman
    From an artistic perspective, Ron Krauss’ heavy-handed drama, Gimme Shelter, fails almost entirely. But if the director set out to combine the stilted falsity of 1980s after-school specials with leaden political dogma, he’s certainly achieved his goals.
    • 25 Metascore
    • 20 Elizabeth Weitzman
    The real challenge is for viewers, who must tolerate overacting, idiotic scatological jokes and juvenile innuendo. The only way it might be endurable is if you’re wasted, too.
    • 23 Metascore
    • 20 Elizabeth Weitzman
    Painfully dull thriller.
    • 30 Metascore
    • 20 Elizabeth Weitzman
    If you’re looking for a Valentine’s Day date, this version is probably a better choice than the uncomfortably swoony original would have been. You might be bored, but at least you won’t be embarrassed.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    The whole movie hinges on the allegedly miraculous romance between Beverly and Peter, but Goldsman’s leads are distractingly mismatched and lack even a spark of chemistry.
    • 22 Metascore
    • 20 Elizabeth Weitzman
    This ill-advised romance from director Andrew Fleming is the sort of indie lark that nearly drowns in its own whimsy. Wade in at your own risk.
    • 28 Metascore
    • 20 Elizabeth Weitzman
    So do the minutes. They stretch on as one tiresomely quirky sadist after another appears. Cusack is typically likable and De Niro is amusing in his brief scenes. But unlike Jack, you’re too smart to make big sacrifices for so little return.
    • 34 Metascore
    • 20 Elizabeth Weitzman
    Jessica Goldberg’s sluggish directorial debut feels like a leftover from the 1990s, when dank indie dramas littered film-festival lineups.
    • 55 Metascore
    • 20 Elizabeth Weitzman
    When you name your movie Dom Hemingway and then require the titular antihero to repeatedly declare, “I am Dom Hemingway!” the filmmakers must be very confident that there is something special about their character. Too bad there isn’t.
    • 67 Metascore
    • 20 Elizabeth Weitzman
    How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.
    • 54 Metascore
    • 20 Elizabeth Weitzman
    Haven’t Cleveland fans suffered enough? Not only have they never won a Super Bowl, but now the Browns serve as the center of Ivan Reitman’s painfully creaky sports drama.
    • 16 Metascore
    • 20 Elizabeth Weitzman
    You can always tell when filmmakers get their ideas from watching other movies. First-time writer David Congalton must be a Christopher Guest fan, because his derivative mockumentary feels like the work of someone who’s seen “Waiting for Guffman” and “Best in Show” too many times.
    • 39 Metascore
    • 20 Elizabeth Weitzman
    So instead of the rom-com, we now have the “non-com.” The cardboard characters and predictable rhythms remain. But this time, we get all the comic cliches with none of the romance.
    • 63 Metascore
    • 20 Elizabeth Weitzman
    All we’re left with is the sight of older men hiring a gorgeous young woman to take her clothes off and fulfill their desires. If nothing else, Ozon does leave us wondering whether he intended such an uncomfortable parallel between life and art.
    • 26 Metascore
    • 20 Elizabeth Weitzman
    Michael (Hansen) fakes his death and announces it online, solely so he can see who shows up at his funeral. His plans only grow more dimwitted from there.
    • 25 Metascore
    • 20 Elizabeth Weitzman
    If Meghan's misadventures were funny, or creatively told, or even just mildly entertaining, perhaps Brill ("Little Nicky") could get away with such lazy filmmaking. Instead he wastes all of his resources, including two top-flight comic actors, shamelessly.
    • 25 Metascore
    • 20 Elizabeth Weitzman
    There’s nothing inherently wrong with faith-based entertainment. The problem comes when, as with any heavily slanted perspective, the faith takes precedence over the entertainment.
    • 45 Metascore
    • 20 Elizabeth Weitzman
    If there were a Lifetime Channel for Men, Emilio Aragón’s unabashedly sentimental take on old age would surely wind up there.
    • 21 Metascore
    • 20 Elizabeth Weitzman
    Phil Alden Robinson’s overheated dramedy feels disconnected from reality in every emotional way.
    • 31 Metascore
    • 20 Elizabeth Weitzman
    Before you spend good money to see the purported comedy, Blended, watch the trailer. The entire movie is packed into those 152 seconds.
    • 22 Metascore
    • 20 Elizabeth Weitzman
    The story itself is fairly straightforward, but lands with a thud.
    • 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.”
    • 34 Metascore
    • 20 Elizabeth Weitzman
    The blatantly misogynistic treatment of the female characters, who exist solely to service Rob and his best friend (Craig Roberts), would have felt retrograde in a movie made decades ago.
    • 28 Metascore
    • 20 Elizabeth Weitzman
    As for our leading man, he’s clearly just messing with us now. Who else would make a revenge thriller called Rage and then sleepwalk his way through it?
    • 24 Metascore
    • 12 Elizabeth Weitzman
    The result is a throwaway story hidden beneath a messy jumble of weird camera angles, worthless editing tricks and an ill-placed, obnoxious score.
    • 43 Metascore
    • 12 Elizabeth Weitzman
    With its amateurish performances and sloppy script, Hey, Happy! has the homemade feel of a cult movie, but very little of the charm.
    • 33 Metascore
    • 12 Elizabeth Weitzman
    Less a movie than a very expensive display of Afro wigs and macrame wall hangings.
    • 9 Metascore
    • 12 Elizabeth Weitzman
    The cinematic equivalent of a gangsta rap song, State Property is little more than a marketing tool for Roc-A-Fella Records.
    • 38 Metascore
    • 12 Elizabeth Weitzman
    Racist, misogynistic and breath­takingly cynical, Ernest Dickerson's clichéd crime drama Never Die Alone shamelessly exploits the degrada­tion of its irredeemable characters.
    • 11 Metascore
    • 12 Elizabeth Weitzman
    Dumber than the worst UPN sitcom.
    • 54 Metascore
    • 12 Elizabeth Weitzman
    Just because Dimension considered Greg McLean's nasty exploitation flick worthy of their time and money doesn't mean it deserves yours.
    • 25 Metascore
    • 12 Elizabeth Weitzman
    The humor is infantile at best (projectile vomiting and bathroom jokes) and meanspirited at worst (midgets and gays, look out).
    • 17 Metascore
    • 12 Elizabeth Weitzman
    Grim, bloody and relentless, without even a spark of fun or intelligence, Evil is barely good enough for late-night cable.
    • 26 Metascore
    • 12 Elizabeth Weitzman
    Well, it was bound to happen: The Wayans brothers have made a movie that's even more two-dimensional than a cartoon.
    • 57 Metascore
    • 12 Elizabeth Weitzman
    Every movie's gotta have a gimmick, and Crank's is that it has an excellent shot at ending 2006 as the worst film of the year.
    • 23 Metascore
    • 12 Elizabeth Weitzman
    The film is smugly hypocritical at every turn, loudly preaching the evils of sick voyeurism while encouraging its audience to cheer every gruesome death. It's not only morally bankrupt but, between the ludicrous script and Z-level acting, scrapes the bottom of the entertainment barrel, too.
    • 18 Metascore
    • 12 Elizabeth Weitzman
    As appealing as acid-washed jeans, Kickin' It Old Skool exists solely to provide employment for aggressively abrasive comic actor Jamie Kennedy.
    • 16 Metascore
    • 12 Elizabeth Weitzman
    The truth is, no review could really do justice to the monumental trashiness of this mess; it really has to be seen to be believed. Although if Lohan is lucky, no one will bother.
    • 18 Metascore
    • 0 Elizabeth Weitzman
    Lacking the requisite post-"Scream" irony, the film is simply a package of gougings, stabbings, drillings and guttings, all tied up with a "twist" ending that anyone with a still-functioning brain could figure out in a matter of minutes.
    • 22 Metascore
    • 0 Elizabeth Weitzman
    Where Boll's movies were once amusingly atrocious, Postal is so aggressively tasteless and knowingly idiotic, there's just no fun to be had.
    • 20 Metascore
    • 0 Elizabeth Weitzman
    If freshman film students were assigned to make a movie on race relations, this contrived attempt is probably what they'd come up with.
    • 26 Metascore
    • 0 Elizabeth Weitzman
    This desperate effort by ­professional frat boy Tucker Max may be the most dismal movie of the decade.