For 943 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Crash
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 66 out of 943
943 movie reviews
    • 64 Metascore
    • 60 Ella Taylor
    Almost nothing comes as a surprise in this stately old fogy of a movie. The pacing is glacial, the screenplay is stiff as a board, and things heat up only in the movie's final scenes.
    • 66 Metascore
    • 60 Ella Taylor
    Sweet but slight pièce de fluff.
    • 46 Metascore
    • 60 Ella Taylor
    Ingratiating trifle.
    • 50 Metascore
    • 60 Ella Taylor
    The effects are terrific, from the two-and-a-half-minute opening sequence that tracks around the brilliantly lit liner from below, above and round about, to some amazing exterior shots of the groaning vessel rolling around in the churning sea like a giant, wounded whale.
    • 61 Metascore
    • 60 Ella Taylor
    Though far from expert filmmaking - visual clichés fly thick and fast - the movie has a swooning feel for the stark beauty of the African kingdom in which it was shot.
    • 56 Metascore
    • 60 Ella Taylor
    Bold in scope and aptly mimicking the loose structures of kinship, friendship and work most city dwellers make do with these days, Breaking and Entering nonetheless plays out too quiet and too loose for its own good.
    • 35 Metascore
    • 60 Ella Taylor
    Like the decent B-movie director that he is, Hyams tosses in two gripping car chases and blows up a few more vehicles for good measure. But otherwise, there's little in this pointless rehash to distract audiences from the pleasure of watching Tamblyn.
    • 49 Metascore
    • 60 Ella Taylor
    A decent thriller trying to overcome a rather preposterous premise.
    • 48 Metascore
    • 60 Ella Taylor
    One Day ends up fatally compromised by its glib recourse to death and cancer as moral wake-up calls.
    • 49 Metascore
    • 60 Ella Taylor
    This likable but utterly conventional movie works harder than is necessary to unpack for us Ethan Canin’s short story "The Palace Thief."
    • 72 Metascore
    • 60 Ella Taylor
    Two-thirds of the way through, Seabiscuit awakes to its duties as a perfectly presentable race movie, rising to a crescendo of satisfying --- if somewhat gaga -- inspiration.
    • 49 Metascore
    • 60 Ella Taylor
    Doesn't seem to quite know what it is or where it's headed. So it goes anywhere it can while treading thematic water.
    • 64 Metascore
    • 60 Ella Taylor
    There is something quite heartening about watching these kids earnestly guide others around their memorial.
    • 71 Metascore
    • 60 Ella Taylor
    Mulan, like all the characters in this movie, is a cookie-cutter American prototype, lazily ripped off from the Disney boilerplate that fashioned Pocahontas et al.
    • 69 Metascore
    • 60 Ella Taylor
    The movie always teeters on the verge of something deeper, and Cheadle’s rendering of Greene’s stubborn refusal to be domesticated is funny, exhilarating and then quietly tragic. But Lemmons keeps pulling back into jive-talking shtick, and for much of the time -- I felt as though someone had trapped me in a time-warped episode of "The Jeffersons."
    • 56 Metascore
    • 60 Ella Taylor
    I love what his films stand for -- inclusivity, tolerance, liberation and fun -- but I’ve always felt about his movies as I do about Monty Python: Half an hour is a riot; an hour and half starts to be a chore.
    • 74 Metascore
    • 60 Ella Taylor
    If anything, as it lathers up into an abortive attempt at scarlet-woman branding and a goofy siege on the nunnery where a dazed and confused Antoinette has holed up, The Duchess of Langeais works best as the comic bondage fantasy implied in its deliciously sly French title: "Don't Touch the Axe."
    • 44 Metascore
    • 60 Ella Taylor
    Struggles valiantly to keep its head above whimsy, and though the movie finally succumbs to an excess of heartwarming, it's a promising college try from a first-time writer-director.
    • 62 Metascore
    • 60 Ella Taylor
    Somewhere buried beneath all this ballast something is being said, again, about flawed middle-aged men falling from grace and redeeming themselves. This time I'm damned if I know what that something is.
    • 48 Metascore
    • 60 Ella Taylor
    The movie serves up a pleasant, if unsurprising, confluence of classic ballet with street dance, not to mention a seamless collusion of polite racial integration with savvy niche marketing.
    • 67 Metascore
    • 60 Ella Taylor
    Even as you're laughing, you get the uncomfortable sense you're being recruited, and not always honestly, to Moore's us-and-them point of view.
    • 62 Metascore
    • 60 Ella Taylor
    Frankel has cut, pasted and rejiggered the novel, mostly for the better. As adapted by Aline Brosh McKenna, The Devil Wears Prada is crisper, less self-righteous and mercifully shorter than its intermittently funny but interminable source.
    • 61 Metascore
    • 60 Ella Taylor
    The films, both narrative and nonfictional, range from the engagingly elliptical...to the simple-minded... to the cloying and incomprehensible.
    • 44 Metascore
    • 60 Ella Taylor
    Long on hero worship and woefully short on insight, Lula: Son of Brazil oozes good intentions, but it wouldn't look out of place in a retrospective of early Soviet workerist cinema.
    • 70 Metascore
    • 60 Ella Taylor
    Though The Cup is lovely to look at, it has none of the ceremonial rigor mortis of Scorsese's "Kundun."
    • 54 Metascore
    • 60 Ella Taylor
    What gives the movie its coltish charm is Harrison's scene-setting feel for the indomitable brio of kids.
    • 51 Metascore
    • 60 Ella Taylor
    For a movie that boasts a murder, a would-be suicide and the usual generous helping of screwing around à la français, Le Divorce is remarkably calm and contained even as it builds to its climax.
    • 69 Metascore
    • 60 Ella Taylor
    Recalls the structure of Danis Tanovic's 2001 black comedy, "No Man's Land," but not that film' hyperknowing urbanity or strident political savvy.
    • 61 Metascore
    • 60 Ella Taylor
    Bitton is Frederick Wiseman-obsessive about the practical details that make this horrific arrangement work, but she's also an unabashed polemicist.
    • 59 Metascore
    • 60 Ella Taylor
    She makes a perfectly fine role model, if you rate cheerful, sensible and chaste under the skinny tights and glow-in-the-dark tank tops.
    • 37 Metascore
    • 60 Ella Taylor
    The Words founders on a spurious dichotomy between love and art. Which is a pity, because the movie is smart and persuasive on the casually incremental way in which plagiarism becomes an option for people like Rory - and perhaps for anyone.
    • 67 Metascore
    • 60 Ella Taylor
    In the current flood of Holocaust documentaries, stories of righteous gentiles abound, but the singular beauty of Hiding and Seeking is its delicate but relentless probing of ambiguous motivation on the one hand, and its hearteningly conciliatory spirit on the other.
    • 41 Metascore
    • 60 Ella Taylor
    Despite some very welcome black comedy — Jimmi Simpson appears delightfully, but too briefly, as a passive-aggressive co-worker who threatens to unravel the cocoon of delusion in which Emanuel has wrapped herself — the movie, trapped in the weeds of self-pity and skin-deep badassery, never quite earns the sympathy it so strenuously solicits.
    • 58 Metascore
    • 60 Ella Taylor
    Tapa's poetic neorealism is less a stylistic intrusion than a keeping of faith, through the film's deliberately uneven pacing, with a life devoid of rhythms to count on.
    • 70 Metascore
    • 60 Ella Taylor
    Liberal use is made of freeze-frame and flashbacks as a kind of emotional chronology, yet it's precisely in this regard that the characters feel tentative and half-formed. I'm still trying to figure out why this perfectly serviceable movie won the Grand Jury Prize at Sundance last year.
    • 55 Metascore
    • 60 Ella Taylor
    I've never quite figured out what the poker-faced Peter Riegert does as an actor, but his matter-of-fact minimalism is always funny and affecting.
    • 61 Metascore
    • 60 Ella Taylor
    Crazy/beautiful has a leisurely local specificity, and Stockwell has a tender way with his actors.
    • 56 Metascore
    • 60 Ella Taylor
    A film without attitude or mystery...an exquisitely executed, and exquisitely banal, treatise on the banality of evil.
    • 75 Metascore
    • 60 Ella Taylor
    As a political statement it is either a cry of despair or a grim acknowledgment that in the endless cycles of history, civilization will always have its saboteurs.
    • 81 Metascore
    • 60 Ella Taylor
    You can only cram so much of this stuff into a movie without putting your audience to sleep -- The movie sags badly in the middle, swirling around itself without making headway.
    • 55 Metascore
    • 60 Ella Taylor
    Almodovar is in party mode here, and if you liked his 1990 comedy "Tie Me Up! Tie Me Down!" you'll probably love I'm So Excited! for its candied pastels and its impishly clever design, which transforms the plane into a theater and its galley into a staging area for those three theatrical stewards.
    • 71 Metascore
    • 55 Ella Taylor
    If Drinking Buddies is meant to be his ticket into mainstream comedy, it feels mumblecore-ishly vague and rambling in its construction, like "Hannah Takes the Stairs" without the raffish charm.
    • 52 Metascore
    • 55 Ella Taylor
    The City of Your Final Destination does eventually prove intelligent enough about how we all become prisoners of dependency and obsession. Yet for a movie that argues for free agency and following your bliss rather than your career, it's awfully torpid.
    • 60 Metascore
    • 55 Ella Taylor
    Cumming always gives good value, and his regular bursts into cabaret numbers are certainly an added bonus. Yet this instinctively ironic actor doesn't seem best suited to play the movie's most sentimental creation. A mouthy, heart-of-gold construct, Rudy dresses like Ratso Rizzo and comes on like The Fonz.
    • 74 Metascore
    • 50 Ella Taylor
    Estes never really completes a thought about this sorry group's moral dilemmas.
    • 51 Metascore
    • 50 Ella Taylor
    As a performer, Robin Williams has a wonderfully volatile range; as an actor, he commutes uneasily between over-sincere and over-sinister. Both modes are on full monochromatic display in this stolid noir thriller.
    • 64 Metascore
    • 50 Ella Taylor
    While it's true that most of us make our way through life without a plan, the studied arbitrariness of Page's accommodating ramble from Hicksville to Smutsville doesn't make for thrilling cinema.
    • 43 Metascore
    • 50 Ella Taylor
    Sweet, innocuous and about as fresh as yesterday's lettuce.
    • 69 Metascore
    • 50 Ella Taylor
    The movie is calamitously miscast.
    • 51 Metascore
    • 50 Ella Taylor
    I hope to God that Patrick McGrath's novel Asylum, about a bunch of repressed Brits manipulating the stuffing out of one another in a 1950s psychiatric hospital, is better than the shallowly competent exercise in nastiness that British director David Mackenzie and screenwriter Patrick Marber have made of it.
    • 65 Metascore
    • 50 Ella Taylor
    The script groans beneath a mass of symbolic winking and declamatory exposition that has the unfortunate effect of turning the villagers into credulous simpletons, ready to blow with any wind that carries them.
    • 34 Metascore
    • 50 Ella Taylor
    The clash between a winning cast, a witty script and Lansdown's technical weaknesses produces a pleasant, if not memorable, film blanc.
    • 57 Metascore
    • 50 Ella Taylor
    Set against a production design seemingly inspired by the American flag, director Kenny Ortega's choreography is industrial and efficient, if haplessly stranded somewhere between Michael Jackson and the Village People.
    • 52 Metascore
    • 50 Ella Taylor
    By herself, Bullock isn't enough to hold up this enervating movie, which lumbers along ponderously until, at the end, it takes a giant leap into the suspension of disbelief that lost me altogether.
    • 69 Metascore
    • 50 Ella Taylor
    In the sense that everyone is interesting once their lives are sufficiently unpacked, Burt and Linda's story is not boring -- but beyond its tabloid sensationalism, it's not especially significant either.
    • 51 Metascore
    • 50 Ella Taylor
    A maddeningly uneven triptych.
    • 62 Metascore
    • 50 Ella Taylor
    On a Clear Day is in most respects "The Full Monty," only with swimming, not stripping, and no bursts into song or dance - only the usual canny sequencing of tears and laughter, interspersed here with fetching underwater photography and father-son issues up the wazoo.
    • 55 Metascore
    • 50 Ella Taylor
    Joan Cusack and Kim Cattrall bring some nice ambiguity to their thankless roles as the mothers, while pintsize Kirsten Olson and punked-out Julianna Cannarozzo, both professional skaters, leaven this Disney sugarplum with much-needed wit.
    • 53 Metascore
    • 50 Ella Taylor
    If you're a Cole Porter fan you might like the songs in De-Lovely, but as a portrait of an unusual marriage it's de-lumbering, de-liberate and de-cidedly flat.
    • 51 Metascore
    • 50 Ella Taylor
    For a movie with a lesbian theme, My Mother Likes Women is absurdly coy about gay sex. It may be the most heterosexually minded film about lesbians ever made.
    • 71 Metascore
    • 50 Ella Taylor
    Stephen Frears has had more downs than ups of late, but I would never have thought the man responsible for "My Beautiful Laundrette" and "The Grifters" capable of stooping to pap as pappy as this unbearably chipper take on the real-life story of Laura Henderson.
    • tbd Metascore
    • 50 Ella Taylor
    Withdrawal From Gaza lacks both the nuance and the muscle of Yoav Shamir's excellent 2005 "5 Days," which probes far deeper into the relationship between settlers and the soldiers who came, on the orders of supersettler Ariel Sharon, to remove them.
    • 67 Metascore
    • 50 Ella Taylor
    Surprisingly wan film.
    • 32 Metascore
    • 50 Ella Taylor
    It ends up sagging into a pleasantly undistinguished pudding. The big news is that Matt Lauer, playing himself, can act. A little. Hardly at all, really. But he’s a jolly good sport, and quite handy with a fire extinguisher.
    • 53 Metascore
    • 50 Ella Taylor
    A capable, soulful thriller with a love story as steamy as is possible when its lead characters are Orthodox Jews.
    • 43 Metascore
    • 50 Ella Taylor
    Garner is no more than serviceable as the tightly wound Gray.
    • 62 Metascore
    • 50 Ella Taylor
    Worst of all is the hitching of all this extravagant suffering to an inspirational ending filled with sweet regret, healing hope and some picturesque nestling in the titular oaks with the next generation.
    • 69 Metascore
    • 50 Ella Taylor
    Excusez-moi, but I'd rather see Omar Sharif punching out croupiers in a casino than dispensing comfort and joy in this sugared-up tale.
    • 63 Metascore
    • 50 Ella Taylor
    Lunacy feels programmatic, the repetitive working through of an idea that had me checking my watch.
    • 76 Metascore
    • 50 Ella Taylor
    Loses focus and sags into a how-we-got-through-it family procedural.
    • 72 Metascore
    • 50 Ella Taylor
    What the movie lacks is a point.
    • 51 Metascore
    • 50 Ella Taylor
    That You Will Meet a Tall Dark Stranger is not more dull is due in large part to the adorably flamboyant Punch (late of Dinner for Schmucks and Hot Fuzz).
    • 35 Metascore
    • 50 Ella Taylor
    This Rob Reiner comedy jogs along pleasantly enough to the finish (Costner is charming as always in over-the-hill-ruin mode), which entails a less-than-shattering insight about love and marriage.
    • 69 Metascore
    • 50 Ella Taylor
    It plays out more like a 12-step program than a human drama.
    • 70 Metascore
    • 50 Ella Taylor
    The famously lovely mug of Tilda Swinton (cast as Kurtz’s wife) merely distracts, and I couldn’t help feeling that this potent story would have been far better served by a straight-ahead documentary.
    • 50 Metascore
    • 50 Ella Taylor
    The movie is loaded with good intentions, but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the Holocaust escape story, Minac drains his movie of all individuality.
    • 48 Metascore
    • 50 Ella Taylor
    Going down with the Titanic was a picnic compared to what Leonardo DiCaprio has to weather (an Alice in Wonderland hairdo, for starters) as Louis XIV in this unwittingly nutso adaptation of Alexandre Dumas' 1850 novel.
    • 47 Metascore
    • 50 Ella Taylor
    Adds up to little more than a cynical marriage of marketable commodities -- Lohan, NASCAR and the durably profitable Bug himself.
    • 57 Metascore
    • 50 Ella Taylor
    Michèle Ohayon falls into the old documentary trap - the illusion that once you've found yourself a lovable eccentric to follow around with a camera, you automatically have a movie.
    • 51 Metascore
    • 50 Ella Taylor
    Chugs along inoffensively enough.
    • 50 Metascore
    • 50 Ella Taylor
    Only at the end, when one of the principals makes a decision you don't see coming, does Face fleetingly weigh in as a movie you haven't seen a thousand times before at ethnically correct film festivals.
    • 63 Metascore
    • 50 Ella Taylor
    No matter how tactful and sensitive Franklin's direction, he has made himself complicit in a polarization that panders to anti-intellectual populism even as it caters to women's movement backlash.
    • 61 Metascore
    • 50 Ella Taylor
    There's something oddly moving about the film purely as a love story between two people who were more alike than was good for them, yet somehow stuck it out. What we see in Frida is not Kahlo the painter, but Kahlo the love of Rivera's life, as he was of hers.
    • 44 Metascore
    • 50 Ella Taylor
    Pressma's intermittently amusing screenplay, some good-natured cameos by a bunch of his famous friends, and an intelligent performance by Chess — playing herself opposite TV regular Alan Rosenberg -- save the day and the relationship.
    • 48 Metascore
    • 50 Ella Taylor
    Not terrible for a movie featuring John Travolta as a literature professor, but not too good either.
    • 52 Metascore
    • 50 Ella Taylor
    Watching Possession is a movie experience not much deeper than you'd get on your couch watching Masterpiece Theater or Mystery! -- pleasant enough, but oh so soft.
    • L.A. Weekly
    • 65 Metascore
    • 50 Ella Taylor
    Strip away the cavernous lofts, the minimalist art galleries and the pricey consulting rooms, and you have four characters unable to earn their keep with the audience.
    • 42 Metascore
    • 50 Ella Taylor
    Cloying, unoriginal stuff, rescued -- barely -- by the easy affection that courses between Bullock and Connick Jr., and by the lovely cinematography of Caleb Deschanel.
    • 49 Metascore
    • 50 Ella Taylor
    It's nowhere near as funny, largely because of an exhaustingly hyperactive performance by Elizabeth Hurley.
    • 52 Metascore
    • 50 Ella Taylor
    Undone by its own malignant contempt for every one of its characters, except a pathologically candid grandmother who single-handedly kept my chin from dropping to my ankles. Even Bergman would be scrambling for his Prozac.
    • 43 Metascore
    • 50 Ella Taylor
    Annemarie Jacir, who was raised in Saudi Arabia, directs with flair and loving attention to the wild, damaged beauty of the contested landscape. But Soraya's rebellious bursts of rage come off more like the tantrums of a spoiled princess than the legitimate anger of an emerging activist.
    • 72 Metascore
    • 50 Ella Taylor
    The Mother winds up unpersuasive, in large part due to writer Hanif Kureishi, who visits on all his mopey characters such calculated savagery, it's hard to care much for them or to get onboard for the hope implied in the hastily stitched-on ending.
    • 82 Metascore
    • 50 Ella Taylor
    Yet the movie, distilling into purest form the blend of viciousness and sentimentality that informs all Woo's work, winds up as emotionally bogus as it is viscerally overwhelming.
    • 46 Metascore
    • 50 Ella Taylor
    You can see what's coming five minutes into the movie, but capable acting lends it a certain superficial charm.
    • 67 Metascore
    • 50 Ella Taylor
    Barney's Version misses every opportunity for raucous picaresque fun that the book throws its way, while squandering a wealth of transatlantic performing talent led by Paul Giamatti.
    • 38 Metascore
    • 50 Ella Taylor
    The bloom is off the rose due to cynical rehash.
    • 66 Metascore
    • 50 Ella Taylor
    World Trade Center is fatally benign -- an unexceptionable and therefore unexceptional heroic narrative that does little to further the tentative creep of our pop culture toward parsing the significance of that catastrophic day.
    • 45 Metascore
    • 50 Ella Taylor
    There's nothing particularly wrong with this movie, except that it's too nice for words.
    • 44 Metascore
    • 50 Ella Taylor
    Ruiz is so intent on harnessing the painter to his own -- here, rather arid -- relativism that he never manages to convey the unfettered eros that brings crowds flocking to exhibitions of Klimt’s work, even as critics hold their noses.
    • 61 Metascore
    • 50 Ella Taylor
    The result is another powerful children's story dulled into mediocrity by the worship of technology.
    • 49 Metascore
    • 50 Ella Taylor
    In the end, Sturminger's virginal insistence on draining the mother-son relationship of all eros also drains it of interest.
    • 62 Metascore
    • 50 Ella Taylor
    The Great Water hangs heavy with sepia photography and Christ-like symbolism -- I felt as though I were watching it from the inside of a dank Russian Orthodox church.
    • 44 Metascore
    • 50 Ella Taylor
    In My Country stands closest to "Hotel Rwanda," a similarly clumsy yet inescapably moving effort to confront the brutal consequences of colonial oppression.
    • 65 Metascore
    • 50 Ella Taylor
    The film's self-limiting pacifism precludes a closer look at the poetry of war, which is not synonymous with poetry against war.
    • 55 Metascore
    • 50 Ella Taylor
    This sappy stuff gets better direction by Kidd (who made the far superior Roger Dodger) than it deserves, and Linney gives a wonderfully wistful portrayal of urban loneliness.
    • 54 Metascore
    • 50 Ella Taylor
    Jeff Daniels is a compelling-enough actor to lift almost any film out of mediocrity, but even he has his work cut out for him.
    • 54 Metascore
    • 50 Ella Taylor
    140 minutes of flat vignette, as dreary and uninvolving as the driving rain that never lets up on the benighted streets of Limerick.
    • 66 Metascore
    • 50 Ella Taylor
    Drowns in baroque mise en scène camp, frenetic musical numbers and a precious dialogue conceit that wears out its welcome very fast.
    • 54 Metascore
    • 50 Ella Taylor
    Though the movie looks gorgeous, glittering with the monochromatic beauty of noir transposed into the key of yellow, it chugs along like an overly responsible documentary, more the working out of an idea about the gambler's true nature than a story.
    • 64 Metascore
    • 50 Ella Taylor
    By inviting us to take on trust the Tipton Three's accounts of what they were doing in Afghanistan, Guantánamo falls into a familiar trap of agitprop filmmaking - turning the victim into a hero. The movie gives us no particular reason to believe that they were up to anything nefarious - or that they weren't.
    • 63 Metascore
    • 50 Ella Taylor
    Jacquot seems unwilling to either shape his story or offer commentary, a standard New Wave strategy that, in this instance, makes for a tale as vague as it is nouvelle.
    • 59 Metascore
    • 50 Ella Taylor
    What's missing from Fantasia 2000 is the shamelessly pandering Disney cutesy that made the original such a full-blooded nostalgic memory.
    • 83 Metascore
    • 50 Ella Taylor
    As a character study Vera Drake is coarsely drawn, and as pro-choice polemic, it’s both a blunt instrument and a red herring. Which may be why, among all the moviegoers who staggered from the theater wielding soaked tissues, I was among the few who remained dry of eye, and raised of brow.
    • 52 Metascore
    • 50 Ella Taylor
    Has next to no story beyond some stock clichés about bulimia, stage mothers and internal affairs in the corps de ballet.
    • 52 Metascore
    • 50 Ella Taylor
    Has the comfortable, old-fashioned, earnest idealism of a '50s Disney action-adventure.
    • 58 Metascore
    • 50 Ella Taylor
    True, Escape From Tomorrow, a handsomely mounted gallery of Mouse House cuteness inverted into grotesquerie, looks a sight more artful than do most home movies. But as an expose of Disney's manufactured happiness, and by extension the sins of corporate capitalism, it's pretty stale news.
    • 61 Metascore
    • 50 Ella Taylor
    This frenetic potboiler about a love triangle on the Salvador waterfront smacks of liberal slumming and bristles with faux authenticity.
    • 59 Metascore
    • 50 Ella Taylor
    Jordan is trying for a surrealist romp, and it's as coy and callow as you'd expect from a movie with a lead character nicknamed Kitten.
    • 78 Metascore
    • 50 Ella Taylor
    Evidently, this bloated piece of Oscar-nominated nonsense was a big hit in Denmark, which makes me think there's a glittering future in that otherwise discriminating country for several seasons of "Days of Our Lives."
    • 73 Metascore
    • 50 Ella Taylor
    As stunning to look at as "Girl on the Bridge" or indeed any of his others, but it lacks the distilled intensity — and, surprisingly for Leconte, the wit.
    • 61 Metascore
    • 50 Ella Taylor
    The set design is gung-ho Hallmark (Tinkerbell lights, that sort of thing) with a strong whiff of Fellini (the fairy glade looks like a pre-Raphaelite red-light district).
    • 56 Metascore
    • 50 Ella Taylor
    A potentially interesting tale flailing haplessly in the quicksand of holiday-movie formula.
    • 28 Metascore
    • 50 Ella Taylor
    Though Hausler's sincerity is palpable, his efforts at world-weary ennui seem premature, and his wisdom about what motivates random violence in the youth of today proves too callow for a satisfying climax.
    • 46 Metascore
    • 50 Ella Taylor
    Elegantly stylized but emotionally strained.
    • 56 Metascore
    • 50 Ella Taylor
    American-born writer-director Jeff Balsmeyer can't seem to make up his mind whether he's making a gentle romantic comedy with heartfelt trimmings, or a full-court Aussie farce.
    • 66 Metascore
    • 50 Ella Taylor
    The result is two films: a big, dreary star vehicle that sags whenever its leads spend quality time together, and a mettlesome British caper whose nutsosecondary characters walk away with the movie.
    • 57 Metascore
    • 50 Ella Taylor
    Though absorbing enough, Alila must be counted a noble failure, if only because its efforts to follow the screwed-up lives of 12 hapless souls in a seedy Tel Aviv apartment building finally add up more to mere mimicry than commentary.
    • 51 Metascore
    • 50 Ella Taylor
    The plot is slow and absurdly contrived, and if you're looking for a thriller, look elsewhere. If you love dance movies, Assassination Tango is worth a go.
    • 28 Metascore
    • 50 Ella Taylor
    If you take your ghost stories garnished with a dressing of sadism, sanctimony and silliness, go ahead and squander the nine bucks.
    • 62 Metascore
    • 50 Ella Taylor
    When it comes to the United Nations, though, the movie turns to Jell-O. Whether Pollack was softened up by his meetings with U.N. brass (all the way up to Kofi Annan), or by his own gentlemanly Midwestern liberalism, he is alarmingly circumspect about that august body.
    • 53 Metascore
    • 50 Ella Taylor
    The best that can be said for this excitable, harmless romantic comedy is that it is smoothly directed by Pierre Salvadori.
    • 71 Metascore
    • 50 Ella Taylor
    Despite its Scottish scenery and period frocks, Madden's film proves a pallid creature indeed compared to the hanky-panky leaking out of Buckingham Palace of late.
    • 54 Metascore
    • 50 Ella Taylor
    Excitably puppyish homage.
    • 50 Metascore
    • 50 Ella Taylor
    Storytelling is no more likely than "Happiness" or "Welcome to the Dollhouse" to resolve the question of whether director Todd Solondz is a serious artist or a nasty little man with a perversely glum view of the universe.
    • 54 Metascore
    • 50 Ella Taylor
    A feather-light comedy about losing emotional baggage and finding love in upper Manhattan.
    • 46 Metascore
    • 50 Ella Taylor
    To his credit, Eddie Murphy knows it well enough to deliver a team-playing performance as the critter-phobic physician who reluctantly becomes the Albert Schweitzer of the animal kingdom.
    • 33 Metascore
    • 50 Ella Taylor
    You get a bargain two high-concepts for the price of one in this amiably lame offering from Stephen Herek, who, once upon a time, cooked up an excellent Adventure for Bill and Ted, then veered off into inspirational goo with "Mr. Holland's Opus."
    • 60 Metascore
    • 50 Ella Taylor
    I have the greatest respect for Kazuo Ishiguro, whose wonderful novel "The Remains of the Day" became one of the best films in the Merchant-Ivory oeuvre. But the combination of his stately writing and James Ivory's stately directing, even when pepped by Christopher Doyle's fizzy cinematography, makes for fatally low-key viewing.
    • 45 Metascore
    • 50 Ella Taylor
    A tolerable thriller.
    • 41 Metascore
    • 50 Ella Taylor
    At full length it’s still pretty funny, but only for its natural 30 minutes, after which it grows repetitive and tiresome as only material meant for the short attention span can.
    • 64 Metascore
    • 50 Ella Taylor
    So stuck is the movie inside the heads and hearts of its indisputably gifted makers, it never quite makes the leap into ours.
    • 57 Metascore
    • 50 Ella Taylor
    Despite a hopelessly corny score, the movie is redeemed by a goofily touching final scene.
    • 38 Metascore
    • 50 Ella Taylor
    Though it's a big thrill that the world's finest character actor has his very own lead role, one wishes there were more meat on the elegant bones of Meeting Spencer to justify his cheerfully offhand wit.
    • 43 Metascore
    • 50 Ella Taylor
    Director Volker Schlöndorff is ponderously out of his depth with comic pulp, and fatally heavy-handed with his actors.
    • 42 Metascore
    • 50 Ella Taylor
    Has the airiness of a well-made souffle, springing delicate small surprises at calibrated intervals.
    • 76 Metascore
    • 50 Ella Taylor
    Shuttles between schoolboy humor, calculated savagery and, at the end, a rank sentimentalism in which love all too easily conquers all.
    • 64 Metascore
    • 50 Ella Taylor
    Without its cast -- the cream of France's female acting elite -- François Ozon's ambivalent musical-comedy homage to the 1950s wouldn't be much.
    • 69 Metascore
    • 50 Ella Taylor
    The family flags palpable agony... provides the movie's only earned emotional tension.
    • 45 Metascore
    • 50 Ella Taylor
    Crowe, for his part, is decency itself, but unlike Amenábar he's a pop romantic with no stomach or aptitude for noir.
    • 73 Metascore
    • 50 Ella Taylor
    This overcrowded, overheated scenario, with many scenes repeated from the first two films, keeps us so busy tracking all the overlapping storylines, we have no time to imagine what they might mean.
    • 70 Metascore
    • 50 Ella Taylor
    Not even Altman's loose-limbed shooting style can redeem Cookie’s Fortune, a bafflingly pointless farce that belongs more properly in the vaudeville halls than on the director's sporadically lustrous résumé.
    • 62 Metascore
    • 50 Ella Taylor
    Silberling and writer Robert Gordon have made the fatal error of trying to jolly up the novels, which are often funny but never, ever cute.
    • 47 Metascore
    • 50 Ella Taylor
    Mostly, though, 44 Inch Chest is complacently in love with the rhythmically profane talk that came so easily to writers Louis Mellis and David Scinto in "Sexy Beast."
    • 71 Metascore
    • 50 Ella Taylor
    Everything about the movie seems excessive to the material. What should have been a small, independent feature without marquee casting -- the story's protagonists, after all, are meant to be the kind of people nobody ever notices.
    • 59 Metascore
    • 50 Ella Taylor
    I can't think of another contemporary novel -- unless it be Cunningham's far more ambitious and less successful "The Hours" -- less suited for the journey to film under any direction but that of, say, Russian dreamer Alexander Sokurov.
    • 23 Metascore
    • 50 Ella Taylor
    The last half-hour is a decent enough ride, with Dafoe controlling the ship by Powerbook and product placement, while Bullock and Patric demonstrate the triumph of American gumption over high tech, the better to save all hands on deck.
    • 56 Metascore
    • 50 Ella Taylor
    A movie saved by great acting.
    • 74 Metascore
    • 50 Ella Taylor
    After half an hour spent drooling over its visual splendors, I found the movie every bit as sickening as its creators intended it to be, minus the kicks they so palpably got out of making it.
    • 56 Metascore
    • 50 Ella Taylor
    As social satire, though, the movie is a nonstarter, completely lacking in the zany lunacy of "M*A*S*H" and "Dr. Strangelove," or the whacked savagery of "Catch-22."
    • 60 Metascore
    • 50 Ella Taylor
    This hastily slapped-together festival of talking heads is so staid, one longs for some of Moore's look-at-me theatrics, and despite the movie's sober-citizen approach, it's no less one-sided than "Fahrenheit 9/11."
    • 70 Metascore
    • 50 Ella Taylor
    Now there is inconclusive but reasonable doubt, based on a letter that turned up in 2005 from Upton Sinclair, who had heard their disgruntled first lawyer say they were guilty. You'd think this nugget might show up in a new documentary about the case, but Peter Miller, known for his 2001 film about that other beloved song of the left, "The Internationale," has recast the story into a tale of prejudice against Italian immigrants and the violation of civil rights.
    • 57 Metascore
    • 50 Ella Taylor
    Though Beloved sags into repetition after two of its three hours, this beautiful movie is suffused with an intensity that holds our attention for the conclusion.
    • 33 Metascore
    • 50 Ella Taylor
    David Duchovny’s debut as a writer-director puts little flesh on the bones of the roguish tricks he got up to as a lad in Greenwich Village in the 1970s.
    • 58 Metascore
    • 50 Ella Taylor
    On and on drags this amour fou, with its one-liners, ripostes, elaborate misunderstandings and chastened reaction shots, all courtesy of writer-director Ben Younger, straining to let out his inner femme after the testosterone excesses of "Boiler Room."
    • 65 Metascore
    • 50 Ella Taylor
    Slick moralizing grows exponentially as the plot, wrapped in travelogue photography, transparently expository dialogue, and cheap thrills, drives home spurious parallels between the first and third worlds.
    • 67 Metascore
    • 50 Ella Taylor
    Though The Page Turner clearly aims for ambiguity of meaning, you'd have to be blind, or deaf to the strenuously long-faced score, to miss the signs and portents that keep piling up in this dispiritingly transparent movie, which brandishes its foregone conclusion 20 minutes in.
    • 65 Metascore
    • 50 Ella Taylor
    Cuesta works well with underage actors, but there's no hiding the fact that these kids amount to little more than the sum of their suffering at the hands of cardboard parental incompetents
    • 64 Metascore
    • 50 Ella Taylor
    Seeks to establish a pioneering role for the movie in liberating America’s sex life. To me it’s far from clear that that cheerfully cheesy slice of hardcore, made for $25,000 by a middle-aged hairdresser named Gerard Damiano, has spawned much in the way of a cultural legacy.
    • 42 Metascore
    • 50 Ella Taylor
    Jeanne is no fun at all. This is no fault of Swank, who's caught in the overall confusion of a movie crippled by its ambitions to be both caper and heartfelt melodrama, to say nothing of a cautionary tale about the politics of celebrity in our own culture.
    • 66 Metascore
    • 50 Ella Taylor
    Jack, the actor, smiles obligingly, but you can practically feel him rolling his eyes.
    • 47 Metascore
    • 50 Ella Taylor
    Plays cleverly to adults, but will fly straight over the heads of minors, who have little but a lone fart joke and wave upon wave of flying fur to keep them laughing.
    • 81 Metascore
    • 50 Ella Taylor
    It is a dull and boring film, pretty as a Turner landscape and as sweetly becalmed as the glassy Sargasso Sea in which the men of the unfortunately named “Surprise” find themselves trapped for what felt, to me at least, like weeks on end.
    • 52 Metascore
    • 50 Ella Taylor
    Abeles sheds little new light on why few parents, teachers, politicians or administrators seem willing to get off the bus.
    • 52 Metascore
    • 50 Ella Taylor
    Don’t Tell is intelligent on the schizoid mental strategies of incestuous families, but its style and mood are so heavily drawn from television soap opera, I found myself more absorbed in the seriocomic lesbian subplot that rambles along entertainingly, if irrelevantly, on the periphery.
    • 54 Metascore
    • 50 Ella Taylor
    Save the Date has the vapid, beige feel of an off-the-peg product made to exploit a niche market rather than a film with something on its mind about what it means to make the jump from youth to adulthood today.
    • 54 Metascore
    • 50 Ella Taylor
    Alas, the hopelessly miscast Green is too darn French, lacking the voraciously loony brio it takes to play Miss G.
    • 55 Metascore
    • 50 Ella Taylor
    Crafted by hand and computer, Mirrormask is as breathtakingly beautiful to behold as it is tedious to slog through.
    • 72 Metascore
    • 50 Ella Taylor
    Match Point is a perfectly presentable, entirely unremarkable domestic melodrama parked queasily between opera and realism, two irreconcilable forms if ever there were.
    • 47 Metascore
    • 50 Ella Taylor
    Shall We Dance?, which roams all over the emotional map without landing anywhere, is an unwieldy mess that gives every impression of having been made under a mandate to fill the Miramax crowd-pleaser slot.
    • 31 Metascore
    • 50 Ella Taylor
    This is a gay men's movie whose primary function is to doll Fonda up like a drag queen and let her rip.
    • 53 Metascore
    • 50 Ella Taylor
    Hobbled by a schizoid desire to make a deep human drama on the one hand and a blistering IRA shoot-'em-up on the other, Alan Pakula's new movie is less a story than a plodding sequence of debates punctuated by gunfire.
    • 45 Metascore
    • 50 Ella Taylor
    As ambitious in scope as it is interpretively timid, The Situation delivers the requisite incendiary climax, but collapses in on itself with daft speeches about the elusiveness of truth in something called "the fourth dimension of time."
    • 55 Metascore
    • 50 Ella Taylor
    It is a truth universally acknowledged that had Jane Austen lived to see the profits that have been squeezed from her most marketable premise, she'd doubtless have wept, then lobbied for her share of the royalties.
    • 62 Metascore
    • 50 Ella Taylor
    5x2
    There’s precious little character development forward or backward.
    • 50 Metascore
    • 45 Ella Taylor
    A raucously funny comic romance that's deaf and blind to the blithe spirit of romantic comedy.
    • 50 Metascore
    • 45 Ella Taylor
    Even as a fantasy about where a lack of transparency might go, left unchecked, it's storytelling informed by sloppy, absolutist thinking, and it lends one more uncritical voice to the many who seem unable to distinguish between kinds and degrees of evil.
    • 51 Metascore
    • 45 Ella Taylor
    Awkward, incoherent and plodding.
    • 37 Metascore
    • 45 Ella Taylor
    To begin with, how painful is it to watch actors as intelligent as Naomi Watts and Robin Wright mug their way through the story of two hard-bodied middle-aged Australian besties hitting the sack with one another's teenaged sons?
    • 54 Metascore
    • 40 Ella Taylor
    The only decent actors in Entrapment are high-tech tools of global robbery.
    • 43 Metascore
    • 40 Ella Taylor
    Meant as a return to the form and substance of Allen's far superior early work satirizing the equivocations and betrayals with which we ruin our lives. In fact, the movie only comes alive as a hostile critique of psychoanalysis.
    • 51 Metascore
    • 40 Ella Taylor
    IMAX magnifies everything, including flaws, which are legion in this listless, awkward prequel to the 1979 movie based on the novel by Walter and Steven Farley.
    • 53 Metascore
    • 40 Ella Taylor
    Stephen Campbell Moore is miserably out of his depth as the playboy trying to tempt Scarlett, leaving poor Tom Wilkinson to sound a lone note of sophisticated intelligence.
    • 48 Metascore
    • 40 Ella Taylor
    Falls prey to the lazy assumption that a parade of whiz-bang CGI will cover for the absence of a muscular story.
    • 58 Metascore
    • 40 Ella Taylor
    Without the actor’s name and amiably demented grin, Go Further would be an unspeakably tedious and preachy travelogue. With them, this insupportably long home movie, unremarkably directed by Ron Mann, is merely dull.
    • 53 Metascore
    • 40 Ella Taylor
    As a thriller, People I Know -- which has languished unreleased since 2001 -- is barely plausible. As a critique of the meshing of power politics between East and West coasts, the movie is more smart-alecky than wise.
    • 54 Metascore
    • 40 Ella Taylor
    Where else could this flabby excuse for a women's movie go? Straight to the Oxygen Channel, if it's lucky.
    • 55 Metascore
    • 40 Ella Taylor
    The movie has a script (by Paul Pender) made of wood, and it's relentlessly folksy, a procession of stagy set pieces stacked with binary oppositions.
    • 57 Metascore
    • 40 Ella Taylor
    The director is Christian Volckman, whose skills as an animator greatly exceed his grasp of an idea worth pursuing.
    • 26 Metascore
    • 40 Ella Taylor
    Basic Instinct 2 pushes diligently along in a murder-and-mayhem-stuffed effort to demonstrate that (a) a sillier and more hackneyed movie than "Basic Instinct" is possible and (b) that shrinks have ids too, by golly.
    • 73 Metascore
    • 40 Ella Taylor
    A disappointed meditation on the '60s.
    • 65 Metascore
    • 40 Ella Taylor
    Lacking energy and pace and enslaved by a ghastly score, this tepid movie left me longing alternately for David Lean's thrillingly grim 1948 masterpiece, and Carol Reed's chipper 1968 sing-along, with pretty tunes by Lionel Bart.
    • 40 Metascore
    • 40 Ella Taylor
    You'd have to be either an avid New Ager or willing to see Nick Nolte in absolutely anything to get fully onboard for this visually overexcited tale of salvation-by-gas-station-guru.
    • 62 Metascore
    • 40 Ella Taylor
    Bug
    Our traumatized soldiers deserve better representation than this irretrievably ridiculous drama, which will do nothing to revive the flagging fortunes of the man whose career lay down and died after "The Exorcist" and "The French Connection."
    • 63 Metascore
    • 40 Ella Taylor
    The movie’s glib trafficking in illness, death and pinched little faces to jury-rig our emotional responses (Gibb was inspired by the equally likable, equally pandering Czech film "Kolya") lost me at hello.
    • 40 Metascore
    • 40 Ella Taylor
    Something there is about the '60s that undoes the most intelligent of filmmakers.
    • 59 Metascore
    • 40 Ella Taylor
    Too sensitive for this world or any other, this stifling portrait of a family stuck in bereavement offers the painful sight of at least two highly accomplished actors frozen for lack of direction from novice writer-director Josh Sternfeld.
    • 57 Metascore
    • 40 Ella Taylor
    Anemic.
    • 36 Metascore
    • 40 Ella Taylor
    Remember the Daze has the irony-free, instant-nostalgia earnestness of your high school yearbook, but watching it is not likely to conjure your own youthful emotions -- it’s more like flipping through the generic memories of a complete stranger.
    • 38 Metascore
    • 40 Ella Taylor
    Raising Helen is the kind of movie you watch on a plane while muttering “utter crap” under your breath -- and then burst into tears.
    • 57 Metascore
    • 40 Ella Taylor
    My own view is that, like me, the LAPD was defeated by the movie's incestuously proliferating plots. I've seen Dark Blue twice, and I still don't have a handle on all its comings and goings.
    • 27 Metascore
    • 40 Ella Taylor
    Under Peter Hewitt's phoned-in direction, Garfield chugs along like the slow train to Chattanooga, with only Jennifer Love Hewitt, as the local vet, twittering pertly in a desperate effort to raise Jon's feeble pulse.
    • 44 Metascore
    • 40 Ella Taylor
    The question is not how bad this excuse for a domestic comedy is (medium cringe), but how the gifted Fred Schepisi got suckered into directing a vanity project.
    • 61 Metascore
    • 40 Ella Taylor
    Mired in noir cliché, the movie manages to be simultaneously overwrought and undercooked, with the Bambi-eyed Akhtar giving such a relentlessly inscrutable performance, one wants to poke him with a stick.
    • 44 Metascore
    • 40 Ella Taylor
    Might have something interesting to say about cultural ambivalence by and toward the maternal impulse if only it had a spark of originality or verve.
    • 60 Metascore
    • 40 Ella Taylor
    Too long, too slow, too self-consciously chatty and too much at the mercy of a slim premise that doesn't wear well under endless repetition.
    • 60 Metascore
    • 40 Ella Taylor
    Cliché, or experiment with cliché? Really, it’s not worth sticking around to find out, since the action mostly involves the monotonous Romain Duris standing around in his underpants or sitting on the toilet banging on about why love has fled.
    • 57 Metascore
    • 40 Ella Taylor
    This suffocatingly pleasant cross between "Sliding Doors" and "Six Degrees of Separation" is barely rescued by one beautiful scene.
    • 41 Metascore
    • 40 Ella Taylor
    The setup and execution of this quietly histrionic tale of the distorting power of thwarted love are so patently ridiculous that the urge to laugh gets in the way.
    • 39 Metascore
    • 40 Ella Taylor
    A stripling of 24, Tierney has a very young man's immature passion for unrelieved misery, which borders at times on the tedious, at others on the downright comical.
    • 53 Metascore
    • 40 Ella Taylor
    If it were less prone to soap-opera histrionics, this screechy saga of an upscale family collapsing under the weight of its members' self-absorption might have something worth saying about domestic politics in post-fascist, post-communist, post-socialist Italy.
    • 45 Metascore
    • 40 Ella Taylor
    Unless your child has a close working knowledge of the role of homing pigeons in World War II British espionage, he or she is likely to be bamboozled for the duration.
    • 53 Metascore
    • 40 Ella Taylor
    Another drearily sadistic and pointless crime thriller.
    • 53 Metascore
    • 40 Ella Taylor
    The question for skittish distributors is not whether Looking for Comedy will play in Peshawar, but how long the movie will take to put Peoria to sleep.
    • 61 Metascore
    • 40 Ella Taylor
    A threadbare plot peeks through the shameless run of shopworn jokes about Viagra, stashed-away dildos, eager old dames delivering unsolicited casseroles to freshly widowed men.
    • 35 Metascore
    • 40 Ella Taylor
    Young's well-intentioned dramatic re-enactment of their encounters is burdened by sepia-period accessorizing, laborious flashbacks, spurious comparisons between the two men's domestic lives, and the downright bizarre casting of Franka Potente as Less's ailing wife and Stephen Fry as an Israeli pol who wants the case wrapped up in five minutes or less.
    • 66 Metascore
    • 40 Ella Taylor
    The movie is crudely jokey and, finally, a wimpy betrayal of its source.
    • 61 Metascore
    • 40 Ella Taylor
    The movie charts a journey from belief to despair with occasional touches of humor, but by the end I was so deadened by its minimalist style and method, I could barely summon the energy to ask why.
    • 58 Metascore
    • 40 Ella Taylor
    The whole seems disjointed, incoherent and lacking in the startling originality of the other two Edwards (Scissorhands and Wood) who, half a career back, poured from Burton's distended outsider imagination.
    • 36 Metascore
    • 40 Ella Taylor
    Thunderbirds is devoted to the principle that character and story are but rude interruptions to the real order of business, an endless display of profound vehicle fetish.
    • 50 Metascore
    • 40 Ella Taylor
    As [Roberts'] gay best friend, Rupert Everett is the only one with any backbone, any sense of humor or any decent lines.
    • 43 Metascore
    • 40 Ella Taylor
    Slovenly writing by Shondra Rimes doesn't help, and the movie bows out with an omigod-we-forgot-the-feminism twist — too little, too late to redeem this lumpish excuse for a contemporary fairy tale.
    • 63 Metascore
    • 40 Ella Taylor
    There’s nothing postmodern about this "family," unless postmodern means never having to grow up.
    • 40 Metascore
    • 40 Ella Taylor
    (Leder's) camera won't sit still long enough to complete a scene and tell a coherent story, skittering all over the map until you're dizzy from all the degrees of separation and spurious connection.
    • 48 Metascore
    • 40 Ella Taylor
    Milla Jovovich, as Steven's Yiddish-spouting punk-rocker friend, is so bad, she's downright entertaining.
    • 42 Metascore
    • 40 Ella Taylor
    Austenland, a clunky broadside aimed at the cult of Jane Austen, is worth seeing primarily for its end credits, a mix of pop oil and water so joyfully dippy it might have produced a stifled giggle even in Herself.
    • 53 Metascore
    • 40 Ella Taylor
    From the first soft piano that accompanies white geese flying toward a humongous orange sunset, The Notebook racks up the sugary clichés till you’re screaming for mercy.
    • 44 Metascore
    • 40 Ella Taylor
    This undeniably talented writer-director has been repeating himself with steadily decreasing potency ever since the wonderful "The Sixth Sense," and his latest excursion does nothing to buck the trend.
    • 28 Metascore
    • 40 Ella Taylor
    There's so much happening in the movie that it feels like nothing is happening at all. Which leaves you free to gaze, slack-jawed, on the true glory of Batman & Robin -- its fabulously color-coded set design.
    • 43 Metascore
    • 40 Ella Taylor
    Emerges a weakling comedy of manners.
    • 44 Metascore
    • 40 Ella Taylor
    A Michael Bay movie: bang bang, paper-thin characters, wooden screenplay.
    • 56 Metascore
    • 40 Ella Taylor
    Max
    Suggests that had young Adolf Hitler managed to get his art show, the Holocaust might never have happened. This seems absurd, not to say insensitive.
    • 78 Metascore
    • 40 Ella Taylor
    Essentially a TV movie souped up by the divinely skittish cinematography of Chris Menges, the film suffers from a screenplay full of labored attempts at wit by Steven Knight, and characters who barely make it off the page alive.
    • 52 Metascore
    • 40 Ella Taylor
    This is not comedy - it's mugging. And there's no excuse for making Bean cuddly; he only works with an evil edge.
    • 34 Metascore
    • 40 Ella Taylor
    Motherhood doesn't really need a recession to call attention to its flaws. The movie's a perfect dud on its own terms.
    • 41 Metascore
    • 40 Ella Taylor
    La Mujer lumbers along, trapped in a long-faced score that appears to have been borrowed from a thriller, and without a smidgen of the saving irony that might have made of it a decent screwball comedy.
    • 38 Metascore
    • 40 Ella Taylor
    Has spread itself so thin between plot, subplots and great scads of floppy pop-psych, it has nothing else to do but lie down and die of exhaustion.
    • 33 Metascore
    • 40 Ella Taylor
    Full of It abandons the de rigueur hot pastels of the average high school caper in favor of distressed browns and greens, but in the end, all the funky style masks little more than a Pinocchio retread for the adolescent grunge set.
    • 47 Metascore
    • 40 Ella Taylor
    Leven's tepid screenplay and the passionless self-control of Redford's direction make this bloodless movie a chore to sit through.
    • 43 Metascore
    • 40 Ella Taylor
    The movie becomes so cluttered with concept and design, it fails to get even a toehold on the humanistic subtext it's clearly reaching for. A pallid performance by Mira Sorvino, as Williams' girlfriend and advocate for the fully lived and recorded life, doesn't help.
    • 49 Metascore
    • 40 Ella Taylor
    Never lets up: A door can't shut without sounding like a bomb going off; mutilated bodies show up with clockwork punctuality, gratuitously underscored by a relentlessly overbearing soundtrack.
    • 29 Metascore
    • 40 Ella Taylor
    Looking tired and sallow and drained of her customary glow, Lindsay Lohan marches grimly through this mechanical tween comedy as if it were a particularly tedious homework assignment. Which it is.
    • 73 Metascore
    • 40 Ella Taylor
    Queasily parked between halfhearted satire and overcooked melodrama, this adaptation of a well-received 2003 novel by British writer Zoë Heller offers the unhappy spectacle of a raft of acting talent trying to do right by slimy material.
    • 61 Metascore
    • 40 Ella Taylor
    Domestic farce always has a potentially compelling dark side when it reveals the tenuousness of love and the fragility of all human relationships, but Belvaux seems far too busy orchestrating the copious action to pause for anything approaching insight.
    • 43 Metascore
    • 40 Ella Taylor
    Ordinarily it's kind of hard to screw up a Richard Price story, but the writer is his own worst enemy here, with a screenplay so filled with bromides and object lessons from God, you can't tell what he's trying to say.
    • 48 Metascore
    • 40 Ella Taylor
    Curiously flat and immobile.
    • 52 Metascore
    • 40 Ella Taylor
    The movie is prettily shot by Almodóvar collaborator Affonso Beato, but no amount of tastefully desaturated color or imaginary friends going whoo-whoo in the deserted apartment upstairs can save this lumbering echt-thriller from fatal tedium.
    • 52 Metascore
    • 40 Ella Taylor
    One expects neither subtlety nor surprise from a scenario boasting a household pet named Freud. If there's any reason at all to see Running With Scissors, it' Bening.
    • 63 Metascore
    • 40 Ella Taylor
    Undertow seems to be straining to say something at once tragic and heartwarming about fathers, sons and brothers, but I'm damned if I know what it is.
    • 19 Metascore
    • 40 Ella Taylor
    Myers is the movie's fatal flaw, squeezing out the other characters who fatten the plot, mostly with an eye to parents.
    • 44 Metascore
    • 40 Ella Taylor
    Ends up a flabby vehicle for the most banal of road-movie messages: The journey's the thing; the goal inevitably disappoints.
    • 25 Metascore
    • 40 Ella Taylor
    Under the charmless direction of Mark Rosman, the actors seem to be frozen at the rehearsal stage, with the blessed exception of a sublimely funny Jennifer Coolidge as the Botoxed horror of a stepmother.
    • 63 Metascore
    • 40 Ella Taylor
    The story is so flat and transparent in the telling, so empty of psychological mystery and depth, it skates dangerously close to condescension.
    • 47 Metascore
    • 40 Ella Taylor
    Bruni-Tedeschi is her usual radiantly libidinal presence, but channeling Bette Midler doesn't become her, and even she can't redeem all the redundant vaudeville carry-on.
    • 57 Metascore
    • 40 Ella Taylor
    The flabbiest of cop-outs. Moore gives a flat, spiritless performance, almost matched by that of Anthony Hopkins, who, notwithstanding the Armani threads, shuffles around like a pensioner in bedroom slippers.
    • 56 Metascore
    • 40 Ella Taylor
    Comes so freighted with tragedy and sensitivity that I left dreaming of converting the abject misery of one and all to everyday unhappiness with free drinks and a raucous sing-along down at the pub.
    • 59 Metascore
    • 40 Ella Taylor
    Juliette Binoche is the only reason to see Diane Kurys' florid, incoherent movie.
    • 57 Metascore
    • 40 Ella Taylor
    Sympathetic, if lackluster.
    • 53 Metascore
    • 40 Ella Taylor
    The pre-posterous plot is a far-fetched way to dis-cuss the power and meaning of the Consti-tution in the context of international terror-ism.
    • 45 Metascore
    • 40 Ella Taylor
    My own little critic-in-training laughed her head off. Lacks taste, must try harder.
    • 70 Metascore
    • 40 Ella Taylor
    There's no emotional weight to either character, or to this far-from-dangerous liaison. All you can do is watch the slight story sputter, and try to figure out whether Bèart's formidable lips were made by God or man.
    • 56 Metascore
    • 40 Ella Taylor
    Owen, perhaps for want of any definition to his character, turns in a performance at once so blank and so bloated with lugubrious bombast, one wants to chuck him under the chin and make him giggle.
    • 54 Metascore
    • 40 Ella Taylor
    Oh, Mr. Craven, give us a "Scream."
    • 51 Metascore
    • 40 Ella Taylor
    Slobbery wet kiss of a family movie.
    • 51 Metascore
    • 40 Ella Taylor
    In the studied excess of his Hong Kong action movies, Woo's swooning sentimentality plays like grand opera. With its dogged Hollywood naturalism and the inexorable passage of its characters toward sainthood, Windtalkers is nothing but a sticky-sweet soap.
    • 63 Metascore
    • 40 Ella Taylor
    Anchorman has one amusing character, a dumb weatherman played by Steve Carell, and a nicely observed set piece about what newscasters really say to one another when they're shuffling papers between segments. Otherwise it's a long string of heavy-footed sight and sound gags.
    • 72 Metascore
    • 40 Ella Taylor
    Like a date who's primped too long to arrive at dinner with something to talk about, Road to Perdition is beautifully groomed and a perfect drag to be with.
    • 57 Metascore
    • 40 Ella Taylor
    It takes a pristine gift for mediocrity to ruin Mary O'Hara’s muscular children's novel about a wild boy and his wild horse, but director Michael Mayer has brought off the massacre with aplomb.
    • 61 Metascore
    • 40 Ella Taylor
    De Niro is damned if he's going to make a standard thriller out of this view from within the CIA, which might be refreshing if his solemn moral parable weren't so lacking in any other kind of juice, and if its hero were less of a round-shouldered, whey-faced organization man.
    • 28 Metascore
    • 35 Ella Taylor
    The Ugly Truth serves up yet another tightly wound career woman, ripe for chopping up, tenderizing and ravishing by an alpha male who knows what's good for her.
    • 22 Metascore
    • 30 Ella Taylor
    This is less a coming-out tale than a showcase for late-middle-aged hysterical divas in flowing caftans to yell, scream and ride roughshod over the young homosexuals who are nominally the movie's center.
    • 45 Metascore
    • 30 Ella Taylor
    The pivotal secret of God's Sandbox is no secret minutes into the story, and director Doron Eran doesn't seem to know, or care much, whether he's making feminist agitprop or softcore porn. The two don't mix well.
    • 17 Metascore
    • 30 Ella Taylor
    If it's about anything at all, the lame new comedy All About Steve is mostly about Mary, a logorrheic crossword compiler with too much arcane information in her head -- and the social skills of an excitable 6-year-old boy.
    • 71 Metascore
    • 30 Ella Taylor
    By all current standards it's a startlingly ingenuous film.
    • 71 Metascore
    • 30 Ella Taylor
    A viscerally effective thriller ends up a repugnant exercise in moral relativism, delivered with the grandstanding swagger of the self-styled provocateur.
    • 51 Metascore
    • 30 Ella Taylor
    Heartless piece of ill will.
    • 37 Metascore
    • 30 Ella Taylor
    I'd take almost any colorful-character shtick over the gloomy gravitas that settles over All the King's Men early on and never leaves.
    • 44 Metascore
    • 30 Ella Taylor
    What a letdown that Vincent Ward, who gave us a fabulous gift with Map of the Hu-man Heart, has made this big old tub of schmaltz.
    • 46 Metascore
    • 30 Ella Taylor
    As a movie, it must stand or fall by intense chemistry between the lead characters. Sadly, as co-written by Campion and Moore, In the Cut suffers from a fatal emotional and erotic imbalance.
    • 42 Metascore
    • 30 Ella Taylor
    As reasoning, this is manipulative -- as filmmaking, it’s dull.
    • 40 Metascore
    • 30 Ella Taylor
    Directed by Swedish filmmaker Mikael Håfström, who's clearly new at the genre, this aptly named movie is riddled with obvious parallels, crude moral talking points, a script so awful it's practically avant-garde, and a vain attempt at comic relief by RZA.
    • 52 Metascore
    • 30 Ella Taylor
    Like so many movies of its kind, Dead Man's Shoes gets hopelessly lost in vicious process, and so loses all sight of anything you might optimistically call insight.
    • 44 Metascore
    • 30 Ella Taylor
    The best I can say for Smiling Fish is that it's capable and pleasant, which ought to sound a warning note louder than if I'd said it was awful.
    • 43 Metascore
    • 30 Ella Taylor
    Undisciplined and overstuffed with enough surplus plot twists to make your neck ache, The Mexican affects the tousled look of a self-conscious indie.
    • 35 Metascore
    • 30 Ella Taylor
    Both character and metaphor have gone to the dogs, leaving a slew of fart and burp jokes and laying bare Dreamcatcher's driving purpose, which is to make multiplexes full of little boys yuk it up, then gross them out, creep them out.
    • 50 Metascore
    • 30 Ella Taylor
    Birth may be the most futile application of cinematic and acting skill I've seen all year. A little "Twilight Zone" flummery would have livened up the proceedings to no end.
    • 42 Metascore
    • 30 Ella Taylor
    For all its strenuous feints at fair play, though, Won't Back Down is something less honorable - a propaganda piece with blame on its mind.
    • 64 Metascore
    • 30 Ella Taylor
    Or
    Doggedly refusing artifice as if cinematic beauty were a filthy capitalist plot, Yedaya drowns her characters in realist grit, a colorless screenplay and no score to speak of, rendering this open book of a movie alienating in all the wrong ways.
    • 60 Metascore
    • 30 Ella Taylor
    As dull to listen to as it is gorgeous to look at.
    • 47 Metascore
    • 30 Ella Taylor
    Anne Heche is just another neo-noir minx on the make, while Vince Vaughn, grinning and leering as Norman Bates, sinks the movie.

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