For 887 reviews, this critic has graded:
  • 49% higher than the average critic
  • 6% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 7.4 points lower than other critics. (0-100 point scale)

Frank Scheck's Scores

  • Movies
Average review score: 52
Highest review score: 100 Best Kept Secret
Lowest review score: 0 InAPPropriate Comedy
Score distribution:
887 movie reviews
    • 36 Metascore
    • 40 Frank Scheck
    Sacrifices the quietly creepy qualities of the original in favor of ramped-up horror film techniques that by now seem distressingly familiar.
    • 37 Metascore
    • 40 Frank Scheck
    Genuine scares are few and far between, and the climactic explanation for the ghost's appearances comes as something less than a revelation.
    • 33 Metascore
    • 40 Frank Scheck
    By-the-numbers screen parody fails to resurrect an increasingly tired genre.
    • 37 Metascore
    • 40 Frank Scheck
    The ambitions and intentions of War, Inc., co-written by and starring John Cusack, are laudable, but the film is a nearly complete misfire.
    • 35 Metascore
    • 40 Frank Scheck
    This remake of a South Korean movie ultimately provides fewer scares than the average aging baby boomer feels every time they look into a reflective surface.
    • 20 Metascore
    • 40 Frank Scheck
    The sole laughs are scored by Robert Davi, amusingly playing it straight as a Muslim terrorist who wants to hire Malone to make a suicide bomber recruitment film.
    • 26 Metascore
    • 40 Frank Scheck
    This war-horror movie basically plays like "Blair Witch" in Afghanistan.
    • 35 Metascore
    • 40 Frank Scheck
    The lack of charisma exhibited by leads Jesse Metcalfe and Amber Tamblyn doesn't help matters, and not even the stalwart presence of Michael Douglas fails to provide the proceedings with sufficient gravitas.
    • 34 Metascore
    • 40 Frank Scheck
    A lot of comedic talent founders in this new Harold Ramis comedy that doesn't exactly recall his glory days of "Caddyshack" and "Groundhog Day."
    • 24 Metascore
    • 40 Frank Scheck
    There's little to distinguish this from the rest of the entries coming down the horror film assembly line, though the presence of Carrie Fisher as a shotgun-toting housemother who taunts the killer by shouting "Come to mama!" offers some camp value.
    • 28 Metascore
    • 40 Frank Scheck
    Has little to offer besides unrelenting strangeness.
    • 32 Metascore
    • 40 Frank Scheck
    In the depiction of this unlikely journey -- it is supposedly based on a real-life story -- the film awkwardly veers between naturalism and a striving for poetic myth.
    • 57 Metascore
    • 40 Frank Scheck
    Has the feel of a home movie of greater interest to its participants than to an audience.
    • 32 Metascore
    • 40 Frank Scheck
    Not only doesn't provide any real information, it barely manages to convey why we should care. It represents a true squandering of a potentially fascinating subject.
    • 45 Metascore
    • 40 Frank Scheck
    Unfortunately, Love Object, which uncomfortably totters from psychological suspense to black comedy to pull-out-the-stops horror, never quite lives up to its bizarre premise, and despite its audacious subject matter, it will even have difficulty attaining future cult status.
    • 37 Metascore
    • 40 Frank Scheck
    Unlike such similar efforts as "A Mighty Wind," this would-be satire isn't funny enough to be entertaining, nor is it clever enough to fool us.
    • 48 Metascore
    • 40 Frank Scheck
    An unfortunately muddled portrait of a teenage girl going through a moral and spiritual crisis.
    • 53 Metascore
    • 40 Frank Scheck
    Achieves the dubious distinction of featuring a large gallery of nearly all unlikable characters.
    • 45 Metascore
    • 40 Frank Scheck
    A highly awkward blending of gay porn and political satire, this latest effort from cinematic provocateur Bruce LaBruce ("Hustler White," "Skin Flick") is the sort of film John Waters would make if he were more political, less funny and completely willing to shed all aspirations of mainstream respectability.
    • 53 Metascore
    • 40 Frank Scheck
    It uses numerous hoary techniques -- including tabloid-television-style editing and ominous background music -- that tend to detract from the seriousness of the issues being addressed. Morgan Freeman delivers the portentous narration.
    • 26 Metascore
    • 40 Frank Scheck
    Although not exactly original in its aspirations or execution, the film's engaging performances and occasional funny moments lift it a notch above the pack of similarly themed fare.
    • 49 Metascore
    • 40 Frank Scheck
    The latest example of a distressing wave of undistinguished theatrical versions of Saturday-morning kid shows.
    • 19 Metascore
    • 40 Frank Scheck
    The filmmakers are clearly most interested in re-creating the murders in a gruesome and repugnant fashion. It's a shame the film is so exploitative, because Howell and especially Turturro deliver chilling, all too convincing performances.
    • 46 Metascore
    • 40 Frank Scheck
    An overly ambitious, overly complex and overly long opus that bites off more than it can chew.
    • 59 Metascore
    • 40 Frank Scheck
    One of those infuriating comedies that practically nudges you in the ribs while you're watching to remind you how cute and funny it is.
    • 47 Metascore
    • 40 Frank Scheck
    Effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors.
    • 29 Metascore
    • 40 Frank Scheck
    What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance.
    • 45 Metascore
    • 40 Frank Scheck
    Unfortunately, the film lacks the hypnotizing strangeness of Foreman's best stage efforts and also pales in comparison to cinematic works like Matthew Barney's far more ambitious "Cremaster" series.
    • 46 Metascore
    • 40 Frank Scheck
    A less than satisfying cinematic experience.
    • 36 Metascore
    • 40 Frank Scheck
    Repellant to look at and fairly inscrutable, the film does at least offer vivid if at times overly broad performances from the three leads.
    • 42 Metascore
    • 40 Frank Scheck
    Crudely shot and edited, the film is most notable for the strong performances by its two leads.
    • 36 Metascore
    • 40 Frank Scheck
    Telling an obviously lived-in tale, this small-scale indie drama suffers from a compendium of cliches.
    • 51 Metascore
    • 40 Frank Scheck
    While The Empire in Africa offers a litany of talking heads and shockingly violent images in its exploration of the conflict, it is more confusing and disturbing than enlightening.
    • 50 Metascore
    • 40 Frank Scheck
    Doesn't quite manage to elevate its subject to a sufficiently interesting level for anyone who isn't already one of its frequent visitors. A good stroll inside your nearest city park would provide a more edifying experience.
    • 54 Metascore
    • 40 Frank Scheck
    A failed cinematic experiment mainly notable for its fine starring performance by a pre-"Juno" Ellen Page, The Tracey Fragments provides more evidence (not that any was needed) that an extensive use of split-screen visuals is far more irritating than arresting.
    • 33 Metascore
    • 40 Frank Scheck
    The resulting cat-and-mouse game -- occupies most of the film's running time, to gradually diminishing results.
    • 35 Metascore
    • 40 Frank Scheck
    Undeniably offers cheap laughs, its most receptive audiences will likely be found in retirement-community auditoriums.
    • 21 Metascore
    • 40 Frank Scheck
    With neither the dramatic nor comedic aspects of the story line being remotely convincing, the best efforts of the talented cast go for naught.
    • 73 Metascore
    • 40 Frank Scheck
    Rather than delving deep into its subject, the film loses focus by concentrating on the feelings of Harlan's descendants rather than a deep analysis of the man himself.
    • 36 Metascore
    • 40 Frank Scheck
    One hates to say it, but after this and "Black Snake Moan," it might be time for the talented actress (Ricci) to keep her clothes on.
    • 31 Metascore
    • 40 Frank Scheck
    Writer-director David Kittredge clearly has serious things on his mind about such subjects as voyeurism, the thin line between fantasy and reality, the link between sex and violence, etc., but whatever points he is trying to make are lost in the general muddle.
    • 58 Metascore
    • 40 Frank Scheck
    This mostly unfunny effort -- though it might have made them laugh silly in its home country -- is unlikely to appeal to art house audiences on this side of the Atlantic.
    • 45 Metascore
    • 40 Frank Scheck
    A horror spoof that has little reason for being, Rosencrantz and Guildenstern are Undead pretty much uses up its quotient of wit with the title.
    • 34 Metascore
    • 40 Frank Scheck
    Hamm is unable to do much with his underwritten role, and the present-day sequences don't really hold interest.
    • 35 Metascore
    • 40 Frank Scheck
    Ultimately, there's not enough material to sustain a feature-length film, and the sloppy editing, cheesy re-enactments and cheap graphics don't exactly make for compelling viewing.
    • 45 Metascore
    • 40 Frank Scheck
    Largely devoid of the sex-farce style comic wit to which it aspires, the film is palatable largely because of the charm of lead actress Cheung.
    • 25 Metascore
    • 40 Frank Scheck
    Dull, talk-heavy snoozer that most closely resembles something that would show up on the CW network.
    • 31 Metascore
    • 40 Frank Scheck
    They don't make movies like Jolene anymore, and that's a good thing.
    • 72 Metascore
    • 40 Frank Scheck
    This tedious exercise in abstraction by Belgian filmmakers Helene Cattet and Bruno Forzani well apes the visual stylization of such filmmakers as Mario Bava and Dario Argento without bothering to provide anything equivalent in terms of theme or content.
    • 38 Metascore
    • 40 Frank Scheck
    The Rite becomes more ludicrous as it goes along, with more than a few lines of dialogue from Michael Petroni's over-the-top screenplay eliciting unintended titters.
    • 35 Metascore
    • 40 Frank Scheck
    Bound to disappoint diehard Winters fans while leaving the uninitiated baffled, Certifiably Jonathan doesn't begin to fully suggest the range of the comedian's brilliance and lasting influence.
    • 33 Metascore
    • 40 Frank Scheck
    Levesque, soon to be seen in an action movie, "Inside Out," that is probably more suited to his talents, is a reasonably engaging and likeable screen presence.
    • 28 Metascore
    • 40 Frank Scheck
    Squanders its timely illegal alien theme with a predictable and unconvincing story line that makes "Green Card" seem a classic by comparison.
    • 47 Metascore
    • 40 Frank Scheck
    Monogamy doesn't manage to find anything particularly new to say, and says it very, very slowly.
    • 38 Metascore
    • 40 Frank Scheck
    The supporting players are either nondescript or overact to the point of exhaustion.
    • 26 Metascore
    • 40 Frank Scheck
    The formulaic script by Steve Koren doesn't manage to exploit the absurd premise with any discernible wit or invention, and the star is left floundering.
    • 54 Metascore
    • 40 Frank Scheck
    Cheesy reality shows monopolize the TV schedule, but must they infect our multiplexes as well? Love, Etc., Jill Andresevic's documentary depicting the romantic travails of various New Yorkers, is a disturbing example of a trend that is to be soundly discouraged.
    • 31 Metascore
    • 40 Frank Scheck
    Unlike the restrained 1974 film which cleverly relied mainly on suggestion, this version piles on the graphic, often CGI-enhanced gore.
    • 26 Metascore
    • 40 Frank Scheck
    A lame action-comedy that seems ready made for undiscerning late-night cable viewing.
    • 34 Metascore
    • 40 Frank Scheck
    ATM
    As with so many films of this ilk, plot holes and inconsistencies abound, with audiences likely to express in loudly vocal fashion their opinions about what the characters should or shouldn't be doing.
    • 53 Metascore
    • 40 Frank Scheck
    Presumably intended as an inspiring portrait of a private individual daring to live his dream of traveling in space, Man on a Mission instead comes across as a cautionary tale about having too much time and money on your hands.
    • 23 Metascore
    • 40 Frank Scheck
    Despite a talented cast lead by Halle Berry, director John Stockwell fails to take more than a bite out of this lackluster shark thriller.
    • 31 Metascore
    • 40 Frank Scheck
    Battlefield America manages to pack every cliché imaginable into its overstuffed and overlong 106 minutes.
    • 40 Metascore
    • 40 Frank Scheck
    Filmmaker Alan Govenar misses the mark in his attempt to document the historical French dwelling of once famous beatniks.
    • 42 Metascore
    • 40 Frank Scheck
    The result, Chronicling a Crisis, is an admittedly harrowing exercise in solipsism that will be of little interest to anyone besides the director's diehard fans and perhaps his therapist.
    • 31 Metascore
    • 40 Frank Scheck
    An ineffective indie variation on the sort of generic romantic comedy that should be starring Matthew McConaughey and Kate Hudson.
    • 20 Metascore
    • 40 Frank Scheck
    The action sequences are strictly pro forma and -- despite the sleek killer's resemblance to the similarly lethal heroine of "La Femme Nikita" -- this dull effort lacks the excitement generated by any of its incarnations.
    • 34 Metascore
    • 40 Frank Scheck
    Unfortunately, the alternately melodramatic and comic Bringing Up Bobby fails to impress, despite a showy turn by Milla Jovovich in a sharp departure from her usual zombie butt-kicking in the Resident Evil series.
    • 44 Metascore
    • 40 Frank Scheck
    Unfortunately, the thin storyline isn't substantial enough to sustain the nearly two-hour running time.
    • 52 Metascore
    • 40 Frank Scheck
    Six Million and One suggests the need for both a more ruthless editor and a well-trained family therapist.
    • 45 Metascore
    • 40 Frank Scheck
    This informative but scattershot documentary about the Occupy Wall Street suffers from a surfeit of facts and figures.
    • 29 Metascore
    • 40 Frank Scheck
    This thriller about child sex trafficking is well-intentioned but dramatically stilted.
    • 37 Metascore
    • 40 Frank Scheck
    This tale of an elite military unit assigned to rescue a war correspondent kidnapped by the Taliban is as frenetic and ultimately mind-numbing as a "Call of Duty" videogame, only without the thematic depth.
    • 37 Metascore
    • 40 Frank Scheck
    Not quite able to make up its mind whether it's a parody or homage, this tired exercise wastes both its gorgeous visuals and a first-rate cast.
    • 31 Metascore
    • 40 Frank Scheck
    This Chekhovian-style comedy about a group of neurotic actors endlessly kibitzing during a weekend at a country house might have some appeal for self-absorbed thespians, but "civilians," as they're derisively referred to in the film, will find little of interest here.
    • 32 Metascore
    • 40 Frank Scheck
    Least Among Saints has the strained feel of a basic cable television movie, with modest production values to match.
    • 45 Metascore
    • 40 Frank Scheck
    Eventually, though, Waiting For Lightning suffers greatly from the absence of Way himself.
    • 29 Metascore
    • 40 Frank Scheck
    About as subtle as its subtitle, Gloria Z. Greenfield's documentary attempts to be both a comprehensive exploration of anti-Semitism throughout the ages and a forceful alarm about its modern-day threat. Not fully successful on either level...
    • 31 Metascore
    • 40 Frank Scheck
    Interweaving clumsily staged action sequences with endless pontificating about evil mega-corporations privatizing public resources, the mediocre environmental-themed thriller A Dark Truth wears its good intentions on its sleeve.
    • 35 Metascore
    • 40 Frank Scheck
    The film never achieves any real depth in its unabashedly admiring portrait. What might have made a mildly interesting short feels vastly attenuated even with its brief 72-minute running time.
    • 24 Metascore
    • 40 Frank Scheck
    Mixing soap-opera melodramatics with pithy one-liners, the film never achieves a coherent tone, with the uneven performances by the ensemble adding to the problem.
    • 46 Metascore
    • 40 Frank Scheck
    This bloody exercise in camp quickly wears out is welcome, although its copious doses of nudity and gore, as well as its undeniably catchy title, should help it stand out on video shelves.
    • 51 Metascore
    • 40 Frank Scheck
    This meta-theatrical attempt at creating a comically subversive film is far too self-indulgent to provide insight into its important themes.
    • 35 Metascore
    • 40 Frank Scheck
    Unfortunately, Allegiance is less sure-footed in the filmmaking department, rendering its potentially suspenseful storyline stilted and uncompelling.
    • 52 Metascore
    • 40 Frank Scheck
    Essentially "Alien" set in a self-storage facility, the British low-budget horror flick Storage 24 doesn't manage to rise above the limitations of its bare-bones concept.
    • 35 Metascore
    • 40 Frank Scheck
    Unfortunately, while director/co-writer Ed Gass-Donnelly displays an admirable restraint in his general eschewing of gratuitous gore, quick editing and flashy visuals, the results have a generally soporific feel.
    • 34 Metascore
    • 40 Frank Scheck
    Aims to be a cutting-edge portrait of cutthroat political machinations. But it's a mostly toothless affair that, like so many of our current political figures, proves alienating.
    • 52 Metascore
    • 40 Frank Scheck
    Considering the importance of the still active 93-year-old poet’s art and social activism, the film seems slight and discursive, more of an introduction than a definitive portrait.
    • 29 Metascore
    • 40 Frank Scheck
    Although directed in effectively creepy fashion by Roberto Buso-Garcia, the film’s leisurely pacing and overall restraint will likely leave genre fans dissatisfied even as its lack of depth will turn off art-house patrons.
    • 52 Metascore
    • 40 Frank Scheck
    A mockumentary obviously inspired by his landmark 1990 series The Civil War, misses the Christopher Guest mark by a mile.
    • 26 Metascore
    • 40 Frank Scheck
    Part adventure saga, part elaborate home movie, the documentary showcases both the emotional and physical pitfalls faced by this emotionally fraught crew.
    • 35 Metascore
    • 40 Frank Scheck
    Features a winning performance by Sara Rue as its titular heroine but otherwise has little to recommend it. Playing a wallflower who blossoms when she finally meets the right guy, the actress has charm to spare.
    • 28 Metascore
    • 40 Frank Scheck
    The strained results eventually prove wearisome, although the sexy Winter is effectively scary and at times even moving as the psycho femme fatale.
    • 21 Metascore
    • 40 Frank Scheck
    The ideal animated film for Ron Paul to watch with his grandchildren, the bizarre Silver Circle certainly deserves points for sheer eccentricity.
    • 29 Metascore
    • 40 Frank Scheck
    This farcical romantic comedy lacks the charm and star power to compensate for its contrived plotting and only mildly amusing situations.
    • 33 Metascore
    • 40 Frank Scheck
    Equal parts thriller and feel-good inspirational tale, 33 Postcards succeeds mainly in provoking the viewer’s sense of disbelief.
    • 29 Metascore
    • 40 Frank Scheck
    Lacking the objectivity or contextual analysis to more fully examine the important issues it raises, it’s a minor chapter in an unfinished story.
    • 20 Metascore
    • 40 Frank Scheck
    By the time the proceedings reach their "Paranormal Activity"-style violent conclusion, the viewer’s interest has long since waned.
    • 25 Metascore
    • 40 Frank Scheck
    The execution, however, leaves something to be desired, as this effort seems more visually muddled and choppier than previous installments.
    • 54 Metascore
    • 40 Frank Scheck
    While this is indeed a likeable enough group, watching them interact with each other over the course of 80 minutes becomes a bit wearisome.
    • 50 Metascore
    • 40 Frank Scheck
    Watching your friends’ actual wedding videos, however painful, would be a more edifying experience than sitting through Breakup at a Wedding.
    • 25 Metascore
    • 40 Frank Scheck
    Annette Haywood-Carter’s slow-paced film features a plethora of colorful characters and incidents that register with little dramatic impact.
    • 39 Metascore
    • 40 Frank Scheck
    The fight sequences are staged with admirable proficiency despite the often cheesy special effects.
    • 32 Metascore
    • 40 Frank Scheck
    A formulaic comedy that displays as much subtlety as its title.
    • 33 Metascore
    • 40 Frank Scheck
    With a running time of nearly two hours the overall silliness wears thin rather quickly.
    • 40 Metascore
    • 40 Frank Scheck
    This static, talky effort ultimately doesn’t justify its feature-length running time despite some strong performances and the occasional moving moment.
    • 23 Metascore
    • 40 Frank Scheck
    Glossier and more lavishly produced than most faith-based films, the film directed by Steve Race is ultimately undone by a relentless preachiness that gives it the feel of a two-hour sermon.
    • 33 Metascore
    • 40 Frank Scheck
    Its hopelessly stodgy execution will test the patience of even the most enthusiastic audiences for faith-based films.
    • 24 Metascore
    • 40 Frank Scheck
    If it was still the 1980s, then Dumbbells might actually be a hit.
    • 34 Metascore
    • 40 Frank Scheck
    Directors Patrick Alexander Stewart, Gina M. Angelone and Mouna B. Stewart have failed to construct the often emotional personal accounts into a compelling film.
    • 37 Metascore
    • 40 Frank Scheck
    While the actor lends his formidable presence to the proceedings, this rote thriller mainly succeeds in squandering his talents.
    • 57 Metascore
    • 40 Frank Scheck
    Frustratingly devoid of any background information about the director’s storied career, the film is ultimately repetitive and tedious.
    • 39 Metascore
    • 40 Frank Scheck
    It relies too heavily on shock value rather than solid facts.
    • 19 Metascore
    • 40 Frank Scheck
    Cavemen has absolutely nothing fresh to say about its subject, and its tired genre conventions wouldn’t pass muster on a Fox sitcom.
    • 43 Metascore
    • 40 Frank Scheck
    While this low-budget effort seems to have its heart in the right place and features a sensitive, moving performance by Oscar winner Melissa Leo, it ultimately feels like a compendium of bizarre character quirks adding up to a barely coherent whole.
    • 33 Metascore
    • 40 Frank Scheck
    Features fine performances from the veterans in its cast. But it ultimately comes across as little more than a compendium of cliches.
    • 40 Metascore
    • 40 Frank Scheck
    This effort offers some mild amusement but lacks the anarchic wit to make it anything more than a slight diversion.
    • 41 Metascore
    • 40 Frank Scheck
    Hough’s dancing is far more impressive than his acting, and BoA, despite her perky sexiness, is an even less compelling screen presence. But they certainly move well together, and that’s pretty much all that matters here.
    • 28 Metascore
    • 30 Frank Scheck
    Claustrophobic, tedious sci-fi thriller.
    • 32 Metascore
    • 30 Frank Scheck
    After nearly two hours of nonstop mayhem, the film ends on a surprisingly muted note, though pains have been taken to make sure that the hoped-for sequel has been carefully set up.
    • 13 Metascore
    • 30 Frank Scheck
    The sort of soft-core, erotic thriller that would benefit from a lot more trash and a lot more sex.
    • 25 Metascore
    • 30 Frank Scheck
    This misbegotten horror film deserved to go direct to video. Or cable. Or oblivion.
    • 18 Metascore
    • 30 Frank Scheck
    Attention, Ben Kingsley (I mean, Sir Ben Kingsley): It's officially time to turn in your Oscar.
    • 48 Metascore
    • 30 Frank Scheck
    Ultimately Adam & Steve mainly goes to prove that indie gay romantic comedies can be just as witless, vulgar and over the top as their straight, major studio counterparts.
    • 25 Metascore
    • 30 Frank Scheck
    You have to credit the filmmakers for at least acknowledging their level of dreck during the final credits, when Lovitz rhetorically asks, "This was a complete waste of time, wasn't it?"
    • 37 Metascore
    • 30 Frank Scheck
    An indie ethnic comedy clearly hoping to become the Jewish equivalent to "My Big Fat Greek Wedding," this well-timed offering, which arrived in time for Passover, is unlikely to have that sort of crossover appeal, or any appeal at all, for that matter.
    • 47 Metascore
    • 30 Frank Scheck
    A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.
    • 19 Metascore
    • 30 Frank Scheck
    For the most part, the proceedings are slow, solemn and tedious.
    • 27 Metascore
    • 30 Frank Scheck
    Let's Go to Prison ultimately feels as long as a stint in the big house.
    • 35 Metascore
    • 30 Frank Scheck
    A low-rent monster movie that could well have been released by American International in the early 1970s, Primeval boasts a level of cheesiness that should well merit it a regular rotation on late-night cable.
    • 35 Metascore
    • 30 Frank Scheck
    All of [Cages's] natural charisma is unable to compensate for the plodding narrative and thin characterizations.
    • 17 Metascore
    • 30 Frank Scheck
    The hilariously dirty insult comic Lisa Lampanelli shows up all too briefly as Engvall's shrewish wife.
    • 33 Metascore
    • 30 Frank Scheck
    A thoroughly undistinguished addition to a genre that probably reached its peak a quarter-century ago with "An American Werewolf in London."
    • 18 Metascore
    • 30 Frank Scheck
    Ultimately this is utterly forgettable stuff, not even managing to fulfill its mandate of mindless summer fun.
    • 30 Metascore
    • 30 Frank Scheck
    While this actor-filmmaker has delivered such worthy films as "A Rage in Harlem" and "Deep Cover" in the past, this misbegotten effort would be instantly forgettable if not for its potential as future camp classic.
    • 37 Metascore
    • 30 Frank Scheck
    A top-notch varied group of actors, no doubt attracted by the colorfulness of their roles, has been assembled, but their hardworking efforts are ultimately done in by the supremely pretentious nature of the material.
    • 7 Metascore
    • 30 Frank Scheck
    Ultimately best suited for the confines of late-night cable.
    • 17 Metascore
    • 30 Frank Scheck
    At least a fright-wigged Joe Mantegna, delivering an execrable cameo as a whacked-out doctor, has a good excuse for his presence; the writer-director is one of his former film students.
    • 55 Metascore
    • 30 Frank Scheck
    A particularly nasty slice of medical-themed horror, Marc Scholermann's film is the sort of thriller in which the tenderest scene depicts an autopsy.
    • 20 Metascore
    • 30 Frank Scheck
    Managing to make the films of Michael Moore and Morgan Spurlock look like dry, scholarly treatises by comparison, Expelled: No Intelligence Allowed more than lives up to its subtitle.
    • 31 Metascore
    • 30 Frank Scheck
    Too much of the proceedings are silly rather than horrifying, with the nadir being the appearance of some particularly athletic Yetis who briefly pitch in to lend a hand.
    • 15 Metascore
    • 30 Frank Scheck
    This low-rent frat house comedy is at once far more vulgar and decidedly less anarchic than its obvious inspiration and should flunk out of theaters before this year's crop of freshman students even finish unpacking their bags.
    • 28 Metascore
    • 30 Frank Scheck
    Playing somewhat like a juvenile version of "Rosemary's Baby," this inept, incoherent attempt to cash in on young girls who can't buy a ticket to the R-rated "Saw V" (or are too lazy to sneak in) will be out of theaters long before the Halloween pumpkins start to rot.
    • 21 Metascore
    • 30 Frank Scheck
    Ultimately, the film doesn't succeed in its thematic aspirations, proving yet again that great literature doesn't usually transfer successfully to the screen.
    • 30 Metascore
    • 30 Frank Scheck
    So unrelentingly violent that all but teen boys might as well stay home.
    • 17 Metascore
    • 30 Frank Scheck
    Director Andrzej Bartkowiak ("Romeo Must Die") works hard to supply the appropriate grittiness, but other than a few reasonably well-staged fight sequences, the proceedings are dull and visually uninspired. Justin Marks' solemn screenplay lacks any trace of wit.
    • 31 Metascore
    • 30 Frank Scheck
    Fix
    The sole redeeming factor is the presence of Olivia Wilde (Fox's "House"), who manages to keep the proceedings watchable for at least a portion of the running time.
    • 25 Metascore
    • 30 Frank Scheck
    Director Christian Alvart ("Pandorum") is unable to invest much stylization into the proceedings, and Ray Wright's by-the-book screenplay only serves as a reminder of the innumerable demon-child movies that have preceded this one.
    • 23 Metascore
    • 30 Frank Scheck
    Manages to be insulting both to slasher movies and lesbians. Where's the gay rights movement when you need it?
    • 43 Metascore
    • 30 Frank Scheck
    Ultimately a hollow and pointless exercise.
    • 39 Metascore
    • 30 Frank Scheck
    Even more egregious than the film's concept is its execution, as it somehow manages to make scenes of drug addiction, hustling and even brotherly incest quite tedious.
    • 27 Metascore
    • 30 Frank Scheck
    Ultimately, the film staggers under the weight of its pretensions, its plot spiraling into murky illegibility.
    • 29 Metascore
    • 30 Frank Scheck
    Definitely third-rate Holocaust material.
    • 18 Metascore
    • 30 Frank Scheck
    The main performers do a reasonably good job of parodying the "Twilight" leads, with Proske particularly effective in subtly lampooning Kristen Stewart's moody mannerisms.
    • 41 Metascore
    • 30 Frank Scheck
    An aimlessly wandering DIY-indie that will send viewers retreating to popcorn movies at their local multiplex.
    • 42 Metascore
    • 30 Frank Scheck
    Extremely crude in its technical elements, the low-budget film does reveal stylistic ambitions through devices like frequently reverting from color to black-and-white film stock. But the shaky narrative style and broad characterizations undo its effectiveness.
    • 24 Metascore
    • 30 Frank Scheck
    This lame comedy about a big doofus who enters the fight game manages to take every cliche in the book and render them even more cliched.
    • 39 Metascore
    • 30 Frank Scheck
    Features sitcom-style stock characters and situations, not to mention the sort of ethnic stereotypes to be found in TV ads for fast-food Mexican restaurant chains.
    • 33 Metascore
    • 30 Frank Scheck
    A "non sequel" to Alex Cox's 1984 classic "Repo Man," the crazily plotted and deliberately garish Repo Chick only serves to provide further evidence of the cult director's diminishing talents.
    • 24 Metascore
    • 30 Frank Scheck
    Not only is this film's form clichéd, so is its content.
    • 22 Metascore
    • 30 Frank Scheck
    Starring a painfully awkward Katherine Heigl, One for the Money mostly resembles a failed television pilot.
    • 17 Metascore
    • 30 Frank Scheck
    Whatever gothic originality the first Human Centipede possessed is altogether lacking in this sorry follow-up.
    • 44 Metascore
    • 30 Frank Scheck
    This dour, uninspired, Hispanic-themed variation on the profitable "Step Up" dance movies is unlikely to similarly rouse teens.
    • 39 Metascore
    • 30 Frank Scheck
    She's (Milla Jovovich) constantly being besieged by a seemingly never-ending series of monsters, and we -- at least every couple of years or so -- are forced to sit through yet another installment of the mind-numbing series.
    • 11 Metascore
    • 30 Frank Scheck
    This latest installment of the horror movie spoof franchise is mainly notable for its Charlie Sheen/Lindsay Lohan cameos.
    • 30 Metascore
    • 30 Frank Scheck
    Director/screenwriter Stuart Beattie, adapting the graphic novel by Kevin Grevioux, employs a strictly humorless, gothic approach to the material that makes one long for the satirical touches of James Whale, let alone Mel Brooks.
    • 27 Metascore
    • 30 Frank Scheck
    Onscreen, it somehow manages to be at once wildly overblown and terminally boring.
    • 19 Metascore
    • 30 Frank Scheck
    The good news is that it will be a good 15 years before we're forced to encounter the character again in Spring. Maybe by then he'll be less of a downer.
    • 38 Metascore
    • 30 Frank Scheck
    The "Dexter" star gives it his all in this indie comedy about a 35-year-old unemployed man coping with various romantic and life crises, but by the end of this terminally cute effort you'll wish that he just stop moping and kill somebody already.
    • 29 Metascore
    • 30 Frank Scheck
    It's a good thing that forgiveness is a predominant theme of Woman Thou Art Loosed: On the 7th Day, because viewers will have to look deep into their hearts to forgive this kidnapping drama for its heavy-handed melodrama and tawdry plot elements.
    • 15 Metascore
    • 30 Frank Scheck
    Silent Hill is not a place you want to go, and that applies for moviegoers as well as this videogame adaptation's characters.
    • 32 Metascore
    • 30 Frank Scheck
    If the target audience for this film were any younger, they'd be embryos.
    • 51 Metascore
    • 30 Frank Scheck
    Self-destructs in its quest for comic outrageousness.
    • 25 Metascore
    • 30 Frank Scheck
    Smiley, is unfortunately less scary than, say, the prospect of your significant other accidentally discovering your search engine history.
    • 12 Metascore
    • 30 Frank Scheck
    It ultimately devolves into yet another rote horror film that in this case lives up to its name by also being seriously underlit.
    • 20 Metascore
    • 30 Frank Scheck
    Too often settles for raunchiness instead of wit.
    • 24 Metascore
    • 30 Frank Scheck
    Making her feature directorial debut at the tender age of 70, veteran actress Connie Stevens delivers an obviously heartfelt but sadly unfocused melodrama in the form of Saving Grace B. Jones.
    • 40 Metascore
    • 30 Frank Scheck
    Despite the world-changing ramifications inherent to the plot, the results are more tedious than thrilling.
    • 35 Metascore
    • 30 Frank Scheck
    Although Rulin displays a compelling neurotic edge as the driven Emily, Chenoweth and Modine are unable to breathe much life into their schematic roles, while the supporting players are basically saddled with conveying a compendium of quirks.
    • 28 Metascore
    • 30 Frank Scheck
    A modern cinematic equivalent of the sort of tired sex farces that used to populate Broadway with regularity, If I Were You simultaneously exploits and squanders the talents of its star, Marcia Gay Harden.
    • 25 Metascore
    • 30 Frank Scheck
    Playing the emotionally shut-down driver for an escort service, the actor provides what little interest there is to be found in this otherwise aimless depiction of urban alienation.
    • 36 Metascore
    • 30 Frank Scheck
    Now that the filmmaker has reached a certain age, she no longer seems to have her finger on her generation’s pulse. Case in point: The Hot Flashes, a ribald comedy whose menopause-referencing title is all too indicative of its pandering humor.
    • 14 Metascore
    • 30 Frank Scheck
    Whatever suspense that might have been generated by the violently gory goings-on is dissipated by the sheer visual incomprehensibility.
    • 33 Metascore
    • 30 Frank Scheck
    As with most found footage films, there’s a lot of tediousness, with the early proceedings resembling the sort of home movies from which anyone not directly involved would normally flee.
    • 46 Metascore
    • 30 Frank Scheck
    Featuring murky visuals, an even murkier narrative that lamely sputters to its conclusion, and frequently amateurish performances — the effectively low-key Isabelle is a notable exception — the film never explores its undeniably disturbing issues with enough thematic depth to compensate for its ragged execution.
    • 28 Metascore
    • 30 Frank Scheck
    Despite its noteworthy cast who presumably had some time to fill between better gigs, this is the sort of instantly disposable B-movie effort that Quentin Tarantino would have chucked in the wastebasket after a first draft.
    • 19 Metascore
    • 30 Frank Scheck
    This second feature based on a best-selling book by Jim Stovall is mainly repetitive in its themes and suffers from a melodramatic plotline and hamfisted execution.
    • 39 Metascore
    • 30 Frank Scheck
    The film’s reluctance to fully explore its provocative moral conflict renders it terminally bland.
    • 8 Metascore
    • 30 Frank Scheck
    Jewtopia feels like a failed sitcom pilot that might have been created by Jackie Mason.
    • 35 Metascore
    • 30 Frank Scheck
    Unfortunately, the power of the message is diluted by the pedestrian filmmaking, with the overall effect resembling a compendium of public service announcements.
    • 36 Metascore
    • 30 Frank Scheck
    This overly convoluted and contrived farce features a typically scenic setting and an engaging performance by Helena Noguerra in the central role but otherwise has little to recommend it.
    • 42 Metascore
    • 30 Frank Scheck
    Wedding Palace is being billed as the first Asian-American romantic comedy and the first U.S.-Korea independent co-production. Too bad, then, that this shrill, unfunny effort from director/co-writer Christine Yoo features such broad clichés and stereotypical characters that it doesn’t exactly reflect well on the Korean-American community.
    • 11 Metascore
    • 30 Frank Scheck
    There certainly are moving moments in this inspiring if necessarily somewhat morbid travelogue... but they’re buried in the sloppiness and self-indulgence that too often marks this vanity project.
    • 32 Metascore
    • 30 Frank Scheck
    What starts out as a reasonably effective ghost story devolves into familiar torture porn in Cassadaga, Anthony DiBlasi’s muddled horror film ineffectively blending two genre styles.
    • 33 Metascore
    • 30 Frank Scheck
    The screenplay by Eddie and Chris Borey fails to live up to the juiciness of the original premise, lacking meaningful character development and teasing out its unveiling of its mysterious plot elements in dull, plodding fashion.
    • 39 Metascore
    • 30 Frank Scheck
    Strictly for the Beliebers.
    • 33 Metascore
    • 30 Frank Scheck
    Ultimately, there’s little to distinguish the proceedings other than their brevity. By the time the piece reaches its familiar death-strewn conclusion, with guns taking the place of swords, it has come to seem like little more than an ill-conceived exercise.
    • 29 Metascore
    • 30 Frank Scheck
    Sluggish pacing and sub-par special effects mar this would-be epic adventure film.
    • 32 Metascore
    • 30 Frank Scheck
    Brightest Star is too dim to sustain interest even with its very brief running time.
    • 48 Metascore
    • 30 Frank Scheck
    This lugubrious drama fails in its essential goal of making us care about its central character’s existential crisis.
    • 37 Metascore
    • 30 Frank Scheck
    Although it displays far more imagination than is usual for such teen-oriented fare, After the Dark ultimately sinks under the weight of its pretensions.
    • 23 Metascore
    • 30 Frank Scheck
    It’s especially sad to see such notable actors as Caan and Patric reduced to appearing in this sort of bottom of the barrel, direct-to-video fare.
    • 29 Metascore
    • 30 Frank Scheck
    A blandly generic romantic comedy mainly notable for its largely centering on Iranian-American characters, Shirin in Love demonstrates that clichés cross all ethnic boundaries.
    • 24 Metascore
    • 30 Frank Scheck
    This sentimental French farce unsuccessfully strains for laughs while lurching towards its all too predictable denouement.
    • 33 Metascore
    • 30 Frank Scheck
    The proceedings quickly degenerate into deafening video game-style fiery mayhem featuring endless explosions and depictions of human combatants melted into anguished looking skeletons.
    • 22 Metascore
    • 30 Frank Scheck
    The overstuffed film is definitely less than the sum of its admittedly occasionally scary parts.
    • 8 Metascore
    • 20 Frank Scheck
    The lame gags, ineptly staged, don't produce anything in the way of genuine laughs, though there is the occasional funny line.
    • 31 Metascore
    • 20 Frank Scheck
    Cursed, a modern-day werewolf tale that fails to provide either Craven's trademark chills or Williamson's trademark satirical wit, is a distinctly subpar film that, but for the current boxoffice streak enjoyed by such formulaic genre entries, deserved to go direct to video.
    • 11 Metascore
    • 20 Frank Scheck
    A desperately strained comedy.
    • 1 Metascore
    • 20 Frank Scheck
    Amateurishly shot, written and acted, the film lacks any redeeming values to compensate for its horrific aesthetic.
    • 18 Metascore
    • 20 Frank Scheck
    The latest entry in the "This film is so bad we're not screening it for critics" genre.
    • 28 Metascore
    • 20 Frank Scheck
    While the 1986 edition was no classic, it's light years better than this update, which naturally opened without being screened for those ultimate villains, the critics.
    • 18 Metascore
    • 20 Frank Scheck
    Fails to live up to even the feeble potential of its premise.
    • 9 Metascore
    • 20 Frank Scheck
    Writer-directors Jason Friedberg and Aaron Seltzer basically reprise the tired formula from their earlier efforts, which is to throw in as many pop culture references as possible to cover up the lack of any real wit.
    • 20 Metascore
    • 20 Frank Scheck
    By-the-numbers retread.
    • 20 Metascore
    • 20 Frank Scheck
    What seemed sharp and pointed onstage comes across pedantically in the film, which treats its subject with a clumsy heavy-handedness.
    • 45 Metascore
    • 20 Frank Scheck
    Completely lacking in visual, narrative or stylistic coherence, the film also suffers from cheap-looking visual effects and poorly staged and edited action sequences that will not exactly please the fanboys.
    • 36 Metascore
    • 20 Frank Scheck
    Unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away.
    • 29 Metascore
    • 20 Frank Scheck
    Despite its copious nudity, it is less likely to incite lust among its viewers than a strong desire for a long hot shower.
    • 15 Metascore
    • 20 Frank Scheck
    The sketchy characterizations, laughable dialogue and less-than-stellar performances by the formidable cast, all of whom have done far better work in the past, provide further reasons why Darkness should never have seen the light of day.
    • 21 Metascore
    • 20 Frank Scheck
    An action comedy that nearly renders the term an oxymoron, Killers is devoid of suspense and laughs.
    • 24 Metascore
    • 20 Frank Scheck
    The end result doesn't even satisfy on its own sleazy terms. Not only does it lack the satirical nihilism of the "Hostel" films or the admittedly clever torture machinations of the "Saw" series, it doesn't even provide its target young male audience with the requisite nudity.
    • 24 Metascore
    • 20 Frank Scheck
    As ineptly directed by Robby Henson, the violent (but not too graphically so) goings-on are largely incoherent, with matters not helped by subpar performances, laughably inane dialogue and cheap CGI effects.
    • 28 Metascore
    • 20 Frank Scheck
    Whatever sociological interest it engenders is smothered by its hamfisted execution, including stubbornly lugubrious pacing, overly self-conscious performances and awkward dialogue and voice-over narration that all too bluntly lays out its themes.
    • 31 Metascore
    • 20 Frank Scheck
    Film noir is combined with horror to zero effect in Dylan Dog: Dead of Night.
    • 28 Metascore
    • 20 Frank Scheck
    Relentlessly unpleasant and nihilistic in its approach and execution, The Divide is best appreciated as a virtual instruction manual on how not to behave during a crisis.
    • 14 Metascore
    • 20 Frank Scheck
    An awkward mixture of melodrama and whimsical romantic comedy that should make the briefest of appearances in theaters before, like its main character, moving on to other planes. It might serve a valuable purpose if it at least prompts viewers to finally schedule those long delayed colonoscopies.
    • 20 Metascore
    • 20 Frank Scheck
    Clearly aiming for high artistic ground, the film doesn't even satisfy on an arousal level, with the discreet nudity and endless yakking not exactly proving a turn-on.
    • 17 Metascore
    • 20 Frank Scheck
    This witlessly antic sex farce about a yuppie substance abuser coping with myriad personal issues during a stint in a rehab facility pretty much fails on every level, other than providing big-screen exposure for a passel of veteran older actors.
    • 19 Metascore
    • 20 Frank Scheck
    Long on mood but short on just about everything else, this would-be thriller directed by David Jacobson is as boring as it is baffling.
    • 12 Metascore
    • 20 Frank Scheck
    More scares are induced by the creepy soundtrack composed by Slash and Nicholas O'Toole than by the perfunctory special effects.
    • 28 Metascore
    • 20 Frank Scheck
    The clunky narrative doesn’t ring true for a second, and the hackneyed dialogue is even worse.
    • 23 Metascore
    • 20 Frank Scheck
    Its Hitchcockian aspirations are sabotaged by a tendency towards lurid melodrama that is more laughable than chilling.
    • 16 Metascore
    • 20 Frank Scheck
    A tediously unfunny comedy that is chiefly distinguished by the fact that it marks one of the last screen appearances by the late Dennis Farina who steals the film as a Tom Clancy-obsessed, would-be military thriller writer.
    • 42 Metascore
    • 20 Frank Scheck
    Awful Nice, about two perpetually warring brothers, grates on the nerves from first moment to last.
    • 3 Metascore
    • 20 Frank Scheck
    This low-rent, convoluted tale about a young woman returning home to solve the mystery of her mother’s violent death is amateurish to the extreme.
    • 22 Metascore
    • 20 Frank Scheck
    Suffering from tonal inconsistency and all-too-familiar thematic elements, as well as an absurd framing device whose logic is not even consistently maintained, Locker 13 hardly deserves being opened.
    • 26 Metascore
    • 10 Frank Scheck
    Achieves a certain cinematic distinction by outdoing "Dumb and Dumber" in sheer grossness and detail with its depiction of the unfortunate effects of explosive diarrhea.
    • 15 Metascore
    • 10 Frank Scheck
    It's completely undone by its terrible screenplay, inept direction, oppressive musical score and muddy visual palette.
    • 15 Metascore
    • 10 Frank Scheck
    A painfully unfunny, would-be comedy.
    • 47 Metascore
    • 10 Frank Scheck
    The film is nearly unendurable.
    • 32 Metascore
    • 10 Frank Scheck
    An experimental, transgressive work that pretty much fails on every level, A Hole in My Heart, depicting the efforts of a trio of amateur porn filmmakers, eventually will be considered a minor footnote to a talented director's career. In the meantime, it's the audience members that will have to suffer.
    • 23 Metascore
    • 10 Frank Scheck
    A dreary indie ensemble drama about six thirtysomethings coping with the emotional aftermath of their friend's suicide, the ultra-talky and static Walking on the Sky would barely pass muster as an Off-Off-Broadway offering.
    • 9 Metascore
    • 10 Frank Scheck
    Unfortunately, the R rating will prohibit the target audience -- namely teenage boys who find penis jokes endlessly hilarious - from seeing this relentlessly unfunny and vulgar effort until it shows up on video and cable.
    • 19 Metascore
    • 10 Frank Scheck
    This is a film so bad that not only was it not screened in advance for critics, it's publicists wouldn't even provide background information. It might as well have been entered into the Witness Protection Program.
    • 15 Metascore
    • 10 Frank Scheck
    Barely qualifies as late-night cable television fodder.
    • 44 Metascore
    • 10 Frank Scheck
    This stupefying dull mockumentary purports to explore themes of media manipulation and political propaganda, but whatever points it’s attempting to make are buried amidst the ponderous goings-on that will result in a quick exit from theaters.
    • 17 Metascore
    • 10 Frank Scheck
    This witless found-footage comedy — doesn’t so much satirize its chosen genre as shamelessly rip it off.
    • 31 Metascore
    • 10 Frank Scheck
    The only things left out of The Single Moms Club are genuine humor and emotion.
    • 17 Metascore
    • 0 Frank Scheck
    Even by the low standards of the genre it represents, this female teen comedy represents a new nadir.
    • 32 Metascore
    • 0 Frank Scheck
    Featuring one-note characterizations, laughable dialogue, an overwrought musical score and technically poor filmmaking values, the film ultimately is utterly reprehensible.
    • 33 Metascore
    • 0 Frank Scheck
    Crosses the line from horror to just plain sick.
    • 18 Metascore
    • 0 Frank Scheck
    Despite the dizzying array of talent involved both in front of and behind the camera, this godawful exercise is so painfully unfunny, so screamingly bad that it immediately qualifies as one of the worst films of all time.
    • 1 Metascore
    • 0 Frank Scheck
    Offering nary a single funny moment in its seemingly endless 84 minutes, the film...provides evidence that cinematic sketch comedy is clearly a lost art. The inevitable outtakes seen during the end credits seem to indicate that the actors, at least, were having fun. Too bad none of it managed to find its way onto the screen.
    • 9 Metascore
    • 0 Frank Scheck
    Barely managing to fill its brief running time despite its surfeit of smuttily vulgar gags, 3 Geezers! proves a less than subtle argument for euthanasia.