Elizabeth Weitzman
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For 2,189 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 4.4 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 Valentine
Score distribution:
2,189 movie reviews
    • 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.
    • 53 Metascore
    • 20 Elizabeth Weitzman
    While plenty of gross-out comedies have come and gone in the last two decades, Leslye Headland's Bachelorette may be the most vulgar of them all.
    • 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?
    • 39 Metascore
    • 20 Elizabeth Weitzman
    It’s admirable that writer/director Michael Walker wanted to make a socially conscious thriller. But surely he didn’t have to replace all the thrills with broadly moralizing messages.
    • 37 Metascore
    • 20 Elizabeth Weitzman
    The compelling Draper’s the creation of “Mad Men” mastermind Matthew Weiner, the writer-director of Are You Here. Which begs the question: how could Weiner make, as his debut comedy, a movie as amateurish and off-putting as this one?
    • 49 Metascore
    • 20 Elizabeth Weitzman
    Writer-director Carter Smith got his start as a successful fashion photographer. But you wouldn’t know it from the murky look of this generic thriller.
    • 26 Metascore
    • 20 Elizabeth Weitzman
    There are no twists or even surprises, except the final realization that director Alan White is taking his culturally clueless, ineptly shot B-movie totally seriously. Judging from the uniformly underwhelming performances, he’s the only one.
    • 36 Metascore
    • 20 Elizabeth Weitzman
    In a movie, nothing good ever seems to happen at a country house. And when it comes to this film, nothing very interesting happens, either.
    • 19 Metascore
    • 20 Elizabeth Weitzman
    As for Jackson, he strolls through the nonsensical story so casually, one suspects his mind is on other things — like what he’ll do with his paycheck. He has probably already moved on. We’ll happily do the same.
    • 29 Metascore
    • 20 Elizabeth Weitzman
    There have been times when the right team has been able to transcend the gooey schmaltz of Sparks’ stories. This effort, however, sinks like a rock thrown into a sun-dappled lake shaded by magnolia trees sparkling under a sky of shooting stars.
    • 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.
    • New York Daily News
    • 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.
    • 26 Metascore
    • 10 Elizabeth Weitzman
    Where's the comedy?
    • 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.
    • 24 Metascore
    • 0 Elizabeth Weitzman
    Both visually and emotionally ugly from start to finish, this empty crime thriller doesn't have a moment that's genuinely worth watching.
    • 22 Metascore
    • 0 Elizabeth Weitzman
    "If you don't want something," Twelve informs us, "you've got nothing." Well, I wanted to watch a good movie. But Joel Schumacher's shallow teen drama gave me nothing, instead.
    • 18 Metascore
    • 0 Elizabeth Weitzman
    Despite the filmmakers' desperate attempts to scandalize us, the only real shock is that a movie this disastrous ever managed to get made.
    • 44 Metascore
    • 0 Elizabeth Weitzman
    Don’t be fooled by the smoke and mirrors. There is nothing here that is great, or powerful. Worst of all, there’s nothing here that even feels like Oz.
    • 12 Metascore
    • 0 Elizabeth Weitzman
    Rare is the film so ineptly made that it barely deserves the dignity of a review. Which, on the one hand, makes this slapdash horror romance somewhat unusual. On the other, however, you’re wasting valuable time just reading about it.
    • 24 Metascore
    • 0 Elizabeth Weitzman
    A few barely conceived scenes allow Carl Reiner, Tom Arnold and Jay Mohr to show up for a quick paycheck. What’s that title again?
    • 12 Metascore
    • 0 Elizabeth Weitzman
    This failed epic — really, an epic failure — would barely be noticed, were it not for former Oscar-winner Nicolas Cage taking on a “Sharknado”-quality remake of a Kirk Cameron movie.