Elizabeth Weitzman
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For 2,173 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 4.4 points lower than other critics. (0-100 point scale)

Elizabeth Weitzman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Thin Red Line
Lowest review score: 0 Postal
Score distribution:
2,173 movie reviews
    • 30 Metascore
    • 38 Elizabeth Weitzman
    It's always admirable when a director decides to make a risky film. On the other hand, it's not quite as commendable to also make a boring one.
    • 35 Metascore
    • 38 Elizabeth Weitzman
    Aside from the shamelessly promoted corporate sponsors, nobody emerges from this game a winner. But the biggest losers are the ones who paid good money to watch it.
    • 36 Metascore
    • 38 Elizabeth Weitzman
    The movie's strongest draw is its kitsch value -- along with a wisecracking Bruce Vilanch, the cast includes '80s TV refugees Jm J. Bullock ("Too Close for Comfort") and the Greatest American Hero himself, William Katt.
    • 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.
    • 52 Metascore
    • 38 Elizabeth Weitzman
    Alternates between being amusingly pretentious and studiously dull.
    • 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
    • 13 Metascore
    • 38 Elizabeth Weitzman
    Preposterous collegiate drama that exists simply to show pretty girls kissing, pretty boys undressing and pretty people of every sexual orientation drinking, doing drugs and otherwise wreaking postadolescent havoc.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    Only a memorably commanding Ruehl transcends the limitations of her two-dimensional character.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Although it's recycled from start to finish, there are some decent jokes laced throughout, plus enough gore to satisfy the most bloodthirsty tastes.
    • 29 Metascore
    • 38 Elizabeth Weitzman
    All the subtlety of an Olive Garden commercial.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    A classic case of good intentions and bad filmmaking.
    • 27 Metascore
    • 38 Elizabeth Weitzman
    If you want to direct a movie that's already been done, it's a good idea to pick one you can improve on.
    • 41 Metascore
    • 38 Elizabeth Weitzman
    Unless you're struck by the urge to watch strangers work out their petty issues in couples therapy, it's hard to find a compelling reason to sit through Gregg Lachow's irritatingly self-absorbed indie drama.
    • 68 Metascore
    • 38 Elizabeth Weitzman
    Feels like reading someone else's diary. Undoubtedly, there's some very important stuff in there, but it's most interesting to the person who wrote it.
    • 21 Metascore
    • 38 Elizabeth Weitzman
    Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.
    • 16 Metascore
    • 38 Elizabeth Weitzman
    Though Flicker based the story on real events, the execution is so melodramatic that none of it feels remotely true.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    Director and screenwriter Adam Brooks, adapting Jennifer Egan's novel, doesn't seem to understand what makes a movie relevant.
    • 47 Metascore
    • 38 Elizabeth Weitzman
    The truth about Lies is that it's a case of art-house porn being more porn than art.
    • 61 Metascore
    • 38 Elizabeth Weitzman
    While it's visually stunning, the pretentiousness makes it hard to take seriously.
    • 39 Metascore
    • 38 Elizabeth Weitzman
    Would that the film were as interesting as the setting.
    • 40 Metascore
    • 38 Elizabeth Weitzman
    The movie veers so wildly between being zany and grim, we're left feeling more empty than entertained.
    • 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.
    • New York Daily News
    • 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.