For 1,376 reviews, this critic has graded:
  • 47% higher than the average critic
  • 6% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 10.5 points lower than other critics. (0-100 point scale)

Frank Scheck's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Best Kept Secret
Lowest review score: 0 InAPPropriate Comedy
Score distribution:
1376 movie reviews
    • 34 Metascore
    • 50 Frank Scheck
    The fairly routine plot is made somewhat more interesting by the infusion of issues regarding morality and faith, but ultimately Three, for all its philosophizing, is little more than a standard serial-killer movie with pretensions.
    • 51 Metascore
    • 50 Frank Scheck
    The gorgeous physicality is more impressive than the sketchy storyline of this dance-centric drama.
    • 39 Metascore
    • 50 Frank Scheck
    Despite Meat Loaf’s hammily entertaining turn as the desperate owner of a musical theater summer camp, the film fails to live up to its obvious inspirations.
    • 53 Metascore
    • 50 Frank Scheck
    Remakes of '80s-era cult-favorite horror flicks seem to be all the rage these days. But they have to be better than this formulaic effort to replace the already not-so-great originals.
    • 33 Metascore
    • 50 Frank Scheck
    The film lacks the originality or wit to differentiate it from the countless other indie romantic comedies littering our screens.
    • 45 Metascore
    • 50 Frank Scheck
    Boasts an uncommon stylization and some first-rate comic performances. But its provocative setup is undercut by its lengthy depiction of an all-too-familiar game of cat and mouse between the culprits and a dogged detective.
    • 69 Metascore
    • 50 Frank Scheck
    The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.
    • 44 Metascore
    • 50 Frank Scheck
    Modest comedy-drama.
    • 57 Metascore
    • 50 Frank Scheck
    Although it has a visceral intensity, this teen-centered prison movie doesn't avoid the familiar tropes of its genre.
    • 34 Metascore
    • 50 Frank Scheck
    Written by "Final Destination" screenwriter Jeffrey Reddick, the film has its dubious pleasures, not the least of which is the extended sight of nubile lead actress Jenna Dewan in a bustier, high heels and killer miniskirt.
    • 64 Metascore
    • 50 Frank Scheck
    Although The Reception boasts some moments of emotional truth, its small scale and claustrophobic atmosphere make it a tough sit despite its brief time.
    • 36 Metascore
    • 50 Frank Scheck
    Swing does have the advantage of boasting a fair amount of genuine onscreen talent.
    • 53 Metascore
    • 50 Frank Scheck
    What might have made for an interesting short film lacks the weight to sustain its feature (albeit, brief) length, and even the presence of Mel Gibson, Jim Caviezel (in full bloody Christ mode) and Monica Bellucci is unlikely to attract any but the "Passion" obsessed.
    • 58 Metascore
    • 50 Frank Scheck
    Despite the melodramatic plot twists, there's little emotional resonance to the proceedings, and the film's attempts to link them in metaphysical fashion prove overly ambitious and pretentious.
    • 60 Metascore
    • 50 Frank Scheck
    Golhardt's screenplay has enough quirkily charming moments to compensate for its plethora of stereotypical characters and cliched situations, and director Sherry Hormann provides a light enough touch to make the proceedings palatable, if not quite enjoyable.
    • 36 Metascore
    • 50 Frank Scheck
    Dallas Jenkins’ dramedy about a washed-up actor who learns the error of his ways through being exposed to religion doesn’t have an original cinematic bone in its body. But it’s also refreshingly genial and lacking in preachiness for a faith-based film, demonstrating that a lighter touch doesn’t necessary dilute the obvious messaging.
    • 36 Metascore
    • 50 Frank Scheck
    No one will mistake director Alejandro Chomski's Feel the Noise for great drama. But there's an undeniable sweetness to the characters, the performers are highly appealing, and the music sizzles.
    • tbd Metascore
    • 50 Frank Scheck
    Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.
    • 42 Metascore
    • 50 Frank Scheck
    Predictable from first moment to last, it does at least provide a showcase for lacrosse, a sport heretofore cinematically unexploited.
    • tbd Metascore
    • 50 Frank Scheck
    While its blending of philosophy and B-movie conventions will produce more bemused chuckles than converts, the film certainly earns points for sheer audacity.
    • 36 Metascore
    • 50 Frank Scheck
    Bears more than a slight connection to the landmark of the genre, 1974's "Death Wish," starring Charles Bronson. It is based on novelist Brian Garfield's sequel to his original book, though any resemblance is tenuous at best.
    • 43 Metascore
    • 50 Frank Scheck
    Although well-meaning in its attempt to dramatize the stigma the subject evokes in the South Asian American community, Hiding Divya ultimately falters in its execution.
    • 57 Metascore
    • 50 Frank Scheck
    The film doesn't quite manage to sustain interest for the duration of its 86-minute running time. But it does exert a certain voyeuristic fascination, thanks in no small part to the eccentricities of its central figure.
    • 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.
    • 54 Metascore
    • 50 Frank Scheck
    Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.
    • 54 Metascore
    • 50 Frank Scheck
    As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.
    • 39 Metascore
    • 50 Frank Scheck
    While the screenplay by T.J. Cimfel and David White eventually proves unsatisfying in its plot revelations, the film certainly holds your attention thanks to Schindler's tautly paced direction and Riegraf's emotionally nuanced performance.
    • 38 Metascore
    • 50 Frank Scheck
    Much of what transpires is wholly unconvincing, although the proceedings are made palatable by the highly appealing performances by the two leads, who display a genuine onscreen chemistry.
    • 53 Metascore
    • 50 Frank Scheck
    Anyone who has seen the original knows exactly where things are heading, with the result that the proceedings seem far more manipulative than unnerving.
    • 57 Metascore
    • 50 Frank Scheck
    Ultimately suffers from an uneven execution and repetitive overload.
    • 49 Metascore
    • 50 Frank Scheck
    Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.
    • 36 Metascore
    • 50 Frank Scheck
    Unfortunately, the Collector simply isn't a very interesting screen villain. Clad in a black mask that reveals only his eyes and mouth, he mainly communicates by heavy breathing. It makes one yearn for the perversely witty chatter of Jigsaw.
    • 64 Metascore
    • 50 Frank Scheck
    Although Martin Sulik's drama sheds light on typically unseen populations of Eastern Europe, the film, heavy on "Hamlet" allusions, may be overstuffed.
    • 57 Metascore
    • 50 Frank Scheck
    The result is more promotional film - Springfield happens to have recently released both a new album and an autobiography - than intriguing sociology, although the rabidly intense middle-aged female fans on display are probably deserving of psychological study.
    • 74 Metascore
    • 50 Frank Scheck
    Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.
    • 65 Metascore
    • 50 Frank Scheck
    This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.
    • 42 Metascore
    • 50 Frank Scheck
    Part murder mystery, part dysfunctional family drama and part meditation on the elusiveness of the American dream, Motherland doesn't fully succeed on any of its levels.
    • 51 Metascore
    • 50 Frank Scheck
    While this tale of a couple experiencing myriad romantic ups and downs has its occasional amusing and insightful moments, Meet Me in Montenegro doesn't quite render its characters' foibles endearing.
    • tbd Metascore
    • 50 Frank Scheck
    More stylishly filmed than many others of its ilk, but at the end of the day, is just an ordinary slasher film.
    • 64 Metascore
    • 50 Frank Scheck
    More trick than treat.
    • 48 Metascore
    • 50 Frank Scheck
    This week's campaign commercial, er, political documentary, is a portrait of Democratic candidate Sen. John Kerry's service in Vietnam.
    • 66 Metascore
    • 50 Frank Scheck
    Family dysfunction has proved a rich resource for documentary filmmakers in recent years, but "October" lacks the narrative drive and emotional resonance of such examples of the genre as "Tarnation" and "Capturing the Friedmans."
    • 61 Metascore
    • 50 Frank Scheck
    While Giuliani Time offers a wealth of important information that many might have long forgotten, its impact is diluted by its heavily biased nature and lack of balance.
    • 30 Metascore
    • 50 Frank Scheck
    It might well be time for a creative rebooting; the freshness, if not the viscera, has begun to strongly diminish.
    • 38 Metascore
    • 50 Frank Scheck
    More notable for its small, incisive moments than as a moving depiction of the way that familial relationships are affected by life crises, the film makes only a minor impact.
    • 60 Metascore
    • 50 Frank Scheck
    The sort of sweeping romantic saga rarely attempted on our shores these days, Bride Flight should well please art house audiences, especially of older females, starved for this sort of old-fashioned fare.
    • 45 Metascore
    • 50 Frank Scheck
    A playfully self-reflexive exercise whose endless in-jokes will best be appreciated by only the most ardent genre aficionados.
    • 52 Metascore
    • 50 Frank Scheck
    Much like the recent, similarly themed "Life in a Day," the results are more admirable than enlightening or even entertaining.
    • 42 Metascore
    • 50 Frank Scheck
    Good People follows a familiar thriller template without managing to be particularly compelling.
    • 46 Metascore
    • 50 Frank Scheck
    This mildly engaging comedy drama has enough quirky charms to compensate for its rough spots.
    • 55 Metascore
    • 50 Frank Scheck
    The feature-length film ultimately becomes repetitive, with the lack of contextual information about the subjects’ lives rendering the proceedings shallow.
    • 64 Metascore
    • 50 Frank Scheck
    The provocative issues of Silent Waters are unfortunately undercut by schematic plotting and one-dimensional characterizations, but the forcefulness of its message makes it a rewarding cinematic experience.
    • 43 Metascore
    • 50 Frank Scheck
    Part somber character study and part revenge thriller, Steven Knight‘s debut feature lacks the thematic depth necessary to take it seriously while not featuring enough of the high-octane action that its star’s fans have come to expect.
    • 54 Metascore
    • 50 Frank Scheck
    For all its thoughtful analysis, the film is more anecdotal than truly enlightening. While its cheerleading approach to the problem is admirable, it seems more designed to appeal to the heart than the head.
    • 34 Metascore
    • 50 Frank Scheck
    The director-screenwriter does manage to invest the familiar proceedings with some quirky, original touches.
    • 29 Metascore
    • 50 Frank Scheck
    Voyeurs, at least, will relish the opportunity to ogle, in 3D no less, the frequently unclothed star as well as the equally gorgeous Bowden, who spends much of the proceedings clad only in sexy underwear.
    • 52 Metascore
    • 50 Frank Scheck
    It's a nice little human interest story, but hardly seems worthy of this full-length treatment.
    • 59 Metascore
    • 50 Frank Scheck
    As with many films of its ilk, Surviving Progress takes on more than it can comfortably handle, veering haphazardly from subject to subject.
    • 19 Metascore
    • 50 Frank Scheck
    The film earns a few laughs thanks to the energetic efforts of its hardworking cast, but they’re decidedly of the hit-or-miss variety.
    • 48 Metascore
    • 50 Frank Scheck
    Despite the filmmaker's obvious good intentions in trying to impart valuable life lessons to younger viewers, We the Party suffers from any number of problems, including uneven acting (talent isn't always hereditary); stereotypical characters and situations; and a manic visual style featuring the sort of split-screen obsession that felt outdated decades ago.
    • 65 Metascore
    • 50 Frank Scheck
    This adaptation of South African writer Olive Schreiner's cult novel is too cute by far, sapping emotional resonance from a story that was in its original incarnation apparently far darker.
    • 58 Metascore
    • 50 Frank Scheck
    Outfoxed would have benefited from a greater exploration of exactly why Fox News has become so popular and so trusted by its viewers.
    • 42 Metascore
    • 50 Frank Scheck
    American Hero, which intermittently uses a faux-documentary style to awkward effect, never quite decides what it wants to be.
    • 42 Metascore
    • 50 Frank Scheck
    Stacey Menear's screenplay doesn't manage to sustain its clever premise, with the final act featuring a banal and formulaic revelation that unfortunately takes what had been a spooky haunted house tale into familiar slasher movie territory.
    • 61 Metascore
    • 50 Frank Scheck
    How much of this you'll find enlightening and how much simply creepy will depend on your tolerance for cinematic navel-gazing.
    • 55 Metascore
    • 50 Frank Scheck
    American Fable possesses an amorphous, dreamlike quality that proves increasingly irritating as it wears on.
    • 33 Metascore
    • 50 Frank Scheck
    Christensen delivers a low-key performance that is ultimately quite appealing, and he's well matched by the beautiful Alba. Olin brings unexpected depths to what could have been a stock role, and Terrence Howard uses his easy ability to project innate decency to excellent effect.
    • 45 Metascore
    • 50 Frank Scheck
    The Point Break-style plotline is merely an excuse for an endless series of scenes showing off the parkour practitioners in action.
    • 56 Metascore
    • 50 Frank Scheck
    Ultimately more laughable than illuminating, at times approaching a level of camp commensurate with John Waters.
    • 35 Metascore
    • 50 Frank Scheck
    This mash-up of cop thriller and torture porn features some clever twists and provides the opportunity for some terrific characters actors to strut their stuff. But Poker Night ultimately deals a losing hand.
    • 47 Metascore
    • 50 Frank Scheck
    If there's one defining characteristic among English criminals, it's that they apparently are a quirky lot. That, at least, is the conclusion one draws from the endless series of comically tinged British crime thrillers that have come down the pike during recent years, of which the mediocre Perrier's Bounty is the latest example.
    • 56 Metascore
    • 50 Frank Scheck
    Spoken Word, which centers on the tense reunion between a recovering addict poet and his dying father, features more cliches than it can comfortably handle and is not helped by its grindingly slow pacing.
    • 49 Metascore
    • 50 Frank Scheck
    Despite the performer’s engaging charisma, One Track Heart ultimately lacks the contextual depth to make it more than mildly interesting.
    • tbd Metascore
    • 50 Frank Scheck
    It’s all about as clichéd and predictable as it sounds, although the proceedings are mildly enjoyable in an old-fashioned, Andy Hardy sort of way.
    • 66 Metascore
    • 50 Frank Scheck
    Vita Activa: The Spirit of Hannah Arendt wrestles with its unwieldy subject with only sporadic success.
    • 48 Metascore
    • 50 Frank Scheck
    It ultimately lacks the singularity to make it stand out among the glut of similarly themed entries.
    • 48 Metascore
    • 50 Frank Scheck
    Features a profusion of provocative ideas and a wealth of vintage film clips but is unable to avoid having the inevitable feel of a college thesis.
    • 66 Metascore
    • 50 Frank Scheck
    A fascinating historical tale is rendered with less than compelling results in this pseudo-documentary.
    • 33 Metascore
    • 50 Frank Scheck
    Never quite achieves the balance of melodrama and dark comedy for which it's aiming.
    • 45 Metascore
    • 50 Frank Scheck
    Director-screenwriter Kuryla displays some talent and an audaciously daring sensibility but ultimately fails to display the assured cinematic style that would make the unsavory proceedings more palatable.
    • 65 Metascore
    • 50 Frank Scheck
    The glacially paced film is ultimately more interesting for its ethnographic and technical aspects than its rudimentary storyline, although the marvelous deadpan performance by Nyima, an acclaimed Tibetan theater performer, provides a much-needed humanistic quality.
    • 62 Metascore
    • 50 Frank Scheck
    For every emotionally resonant scene, there's another that seems to drag on pointlessly, although the filmmaker once again displays a talent for delineating the emotional tensions that develop when disparate characters are thrown together.
    • tbd Metascore
    • 50 Frank Scheck
    So muted and internal in its focus that its entire running time feels like a preamble to a drama that never quite begins.
    • 59 Metascore
    • 50 Frank Scheck
    The actress (Amanda Plummer) delivers a beautifully understated, emotive turn that gives this otherwise opaque movie some much needed heart.
    • 56 Metascore
    • 50 Frank Scheck
    While both plots work reasonably well separately, they're unnecessarily padded and don't tie together strongly. As a result, the film doesn't achieve its goal of its sum being bigger than its parts.
    • 48 Metascore
    • 50 Frank Scheck
    The film's saving grace is its fine performances.
    • 29 Metascore
    • 50 Frank Scheck
    The young dancers' undeniable skill and athleticism is squandered in this formulaic, overly familiar dance movie.
    • 43 Metascore
    • 50 Frank Scheck
    Moore displays a low-key deadpan charm and Zima, although a little too prone to constant giggling, is sexy and charming. But by the time the film is over viewers are likely to wind up feeling like they've been stuck in traffic themselves.
    • 59 Metascore
    • 50 Frank Scheck
    Deeply frustrating because of its brevity and its lack of solid information and historical context.
    • 45 Metascore
    • 50 Frank Scheck
    This directorial debut from C. Jay Cox is a sometimes comic melodrama.
    • 48 Metascore
    • 50 Frank Scheck
    Despite the affecting performances by the two leads, this overly muted drama fails to make much of an impact.
    • 40 Metascore
    • 50 Frank Scheck
    Features a top-notch cast, a few beautifully observed moments, and some amusingly bitchy dialogue. But its rambling, episodic structure and gallery of troubled characters will ultimately prove too off-putting to attract theatrical audiences.
    • 58 Metascore
    • 50 Frank Scheck
    The Best Democracy Money Can Buy certainly makes many valid points, but they tend to be lost amidst the overriding cutesiness.
    • 52 Metascore
    • 50 Frank Scheck
    An Argentine comedy that, despite some interestingly offbeat moments, is unlikely to reach much commercial traction on these shores.
    • 45 Metascore
    • 50 Frank Scheck
    The film's saving grace are its fast pacing and generous doses of humor, the latter of which is mostly provided by Robert Patrick's sly delivery of the many wisecracks doled out by his villainous character.
    • 49 Metascore
    • 50 Frank Scheck
    Suffers from an awkward, plodding structure that robs it of much of its dramatic effect.
    • 41 Metascore
    • 50 Frank Scheck
    Reveals itself to be far too stagebound to function effectively onscreen.
    • 32 Metascore
    • 50 Frank Scheck
    As spooky as The Shining's Overlook Hotel and Rosemary Baby's Bramford, the location -- actually multiple locations -- of the atmospheric horror film The Abandoned is spectacular. It's too bad that the same can't be said about the story.
    • 60 Metascore
    • 50 Frank Scheck
    A very important subject gets too dry a treatment to keep one's attention focused.
    • 39 Metascore
    • 50 Frank Scheck
    Unfortunately, as rendered here by the average-looking CGI effects, the characters are underwhelming in their appeal, lacking the charm of their previous animated incarnations.
    • 40 Metascore
    • 50 Frank Scheck
    Viewers will likely be as confused as the protagonist as to what is going on, and the vague, episodic proceedings ultimately prove repetitive.
    • 39 Metascore
    • 50 Frank Scheck
    While the idea of a German romantic comedy may seem like an oxymoron, What a Man proves an amiable diversion that at least has the distinction of not starring Katherine Heigl or Kate Hudson.
    • tbd Metascore
    • 50 Frank Scheck
    A Little Game is a sweetly well-intentioned effort that displays a personal stamp even while occasionally descending into mawkishness.
    • 31 Metascore
    • 50 Frank Scheck
    Provocative without being especially thoughtful or credible, Harry and Max registers as a severe disappointment coming from this talented filmmaker.
    • 59 Metascore
    • 50 Frank Scheck
    Overlong and overstuffed with characters and situations, Ping Pong doesn't really succeed on a dramatic level. But there is no denying its skill in rendering its chosen milieu with an intense visual immediacy.
    • 40 Metascore
    • 50 Frank Scheck
    The film fares best when it slows down a bit and allows the Turtles' personalities, which are quite engaging, to shine through via their amusing comic banter.
    • 70 Metascore
    • 50 Frank Scheck
    Ultimately, the film, for all its evident verisimilitude, never really demonstrates a compelling reason for being.
    • tbd Metascore
    • 50 Frank Scheck
    Don't watch the new documentary The Lost Key if you want to have good sex. Well, to be accurate, don't watch The Lost Key while you're actually having sex. A strict taboo on televisions in the bedroom is one of the tenets laid down in this film whose tagline promises "The Universal Secret of Jewish Sexuality Revealed."
    • 55 Metascore
    • 50 Frank Scheck
    It offers a plethora of personal accounts, practically all of which are unabashedly laudatory, that provide a fuller picture of its subject's complex personality even if the results border on hagiography.
    • 43 Metascore
    • 50 Frank Scheck
    Unfortunately, while the film has some fascinating and compelling arguments, it quickly assumes the tone of an angry diatribe rather than a well-reasoned political discussion.
    • 56 Metascore
    • 50 Frank Scheck
    Proves alternately inspiring and depressing even while skirting uncomfortably close to voyeurism.
    • 55 Metascore
    • 50 Frank Scheck
    A promotional video masquerading as a documentary.
    • 49 Metascore
    • 50 Frank Scheck
    Despite its fast pacing and well-staged action set-pieces, the film fails to make much of an impression.
    • 55 Metascore
    • 50 Frank Scheck
    Despite its shameless manipulations and unsubtle approach, it’s an ambitious and well-intentioned feature debut from a director whose future efforts bear attention.
    • 49 Metascore
    • 50 Frank Scheck
    An odd little comedy drama set in Ireland that boasts more onscreen talent than it deserves.
    • 44 Metascore
    • 50 Frank Scheck
    The film’s attempt at blending humor, poignancy and melodrama results in an awkward mish-mosh. But it has heart to spare, and the performances by the multi-generational ensemble are very effective, with particularly moving work by the veterans in the cast.
    • tbd Metascore
    • 50 Frank Scheck
    Despite some evocative moments...the film is too elliptical and fragmented to have the desired impact. It ultimately leaves the viewer, much like its hero, in a state of dazed confusion.
    • 57 Metascore
    • 50 Frank Scheck
    Ultimately lacks the textural depth and emotional precision that marks the work of obvious influences here like Robert Altman, but it does offer a pungent slice of contemporary Israeli life that should prove resonant for audiences interested in the social complexities of the region.
    • 43 Metascore
    • 50 Frank Scheck
    The convoluted, cliché-ridden storyline, apparently inspired by the director’s father’s real-life experiences in the drug trade, is the least interesting element, while the brief, perfunctory action sequences no doubt reflect the low budget. But the film certainly looks and sounds good.
    • 46 Metascore
    • 50 Frank Scheck
    Although reasonably compelling to watch and featuring fine performances from its charismatic and attractive lead performers, it ultimately displays little reason for being other than to serve as a transatlantic cinematic calling card.
    • 51 Metascore
    • 50 Frank Scheck
    Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.
    • 47 Metascore
    • 50 Frank Scheck
    Despite a neat narrative twist delivered during the end credits, Alien Abduction is ultimately a by-the-numbers enterprise that will please only the most undemanding audiences at midnight screenings.
    • 47 Metascore
    • 50 Frank Scheck
    A dramatic story, to be sure, but not exactly grippingly told by its first-time filmmaker.
    • 58 Metascore
    • 50 Frank Scheck
    Hammering home every gag as if to make sure we don't miss them, Balls Out garners a few laughs but mostly seems far too taken with itself.
    • 37 Metascore
    • 50 Frank Scheck
    In his director's statement, filmmaker Todd Stephens proclaims that he wants his latest effort to be "the gayest movie ever made." Damn if he doesn't succeed.
    • 58 Metascore
    • 50 Frank Scheck
    Roving Mars is bound to inspire hordes of young science geeks to dream about sending in their resumes. The rest of us may not feel so excited.
    • 39 Metascore
    • 50 Frank Scheck
    Featuring a stellar cast apparently seeking to prove that they're interested in being popular in red states as well as blue, Big Stone Gap goes down relatively easy, but it contains lots of empty calories.
    • 50 Metascore
    • 50 Frank Scheck
    This amiable, Western-themed animated effort from the Walt Disney Co. is a clear attempt to return to the more lighthearted cartoon style that was so prevalent before its onslaught of stately musical epics.
    • 65 Metascore
    • 50 Frank Scheck
    Whether outsiders will find much to appreciate in The TV Set is another question because the film fails to provide the thematic resonance of similarly themed predecessors like the brilliant "Network."
    • 38 Metascore
    • 50 Frank Scheck
    Ultimately, it’s little more than a trifle that’s enlivened by the older Huston’s inevitably referential performance.
    • tbd Metascore
    • 50 Frank Scheck
    Featuring enough clanging sword fights, severed limbs, slit throats and bare-bones dialogue to satisfy genre fans while pretty much failing to provide something of interest to anyone else, Sword of Vengeance has the feel of an 11th century-set video game.
    • 43 Metascore
    • 50 Frank Scheck
    This soapy effort about a prosperous businessman having a midlife crisis finds Perry working in the heavily melodramatic mode that marks his weakest efforts.
    • 54 Metascore
    • 50 Frank Scheck
    Ultimately, the film is best appreciated as a welcome big-screen starring vehicle for Fischer, who expertly navigates the comedic and dramatic demands of a role that keeps her onscreen for virtually the entire running time.
    • 48 Metascore
    • 50 Frank Scheck
    While its sexy young lead performers and enjoyable dance sequences should provide some boxoffice enticement, this directorial debut from choreographer Anne Fletcher likely will score bigger on video.
    • 41 Metascore
    • 50 Frank Scheck
    Although not without a certain cheeky, outrageous charm, Chris Kennedy's film isn't nearly as much fun as it seems to think it is.
    • 55 Metascore
    • 50 Frank Scheck
    The filmmaker clearly has a gift for incisive characterizations and dialogue, but the overall impact of the vignettes is muted by an overall artificiality.
    • 48 Metascore
    • 50 Frank Scheck
    Although it's refreshing that Alien Trespass doesn't indulge in the sort of mindless, gross-out humor that afflicts so many current cinematic spoofs, it errs too much on the other side, offering mere pastiche instead of witty satire.
    • 70 Metascore
    • 50 Frank Scheck
    Attempts to achieve a Pedro Almodovar-level of humor without much success... Degenerating into witless slapstick.
    • 52 Metascore
    • 50 Frank Scheck
    Unfortunately lacks much in the way of compelling narrative or credible characterizations, but it once again reaffirms Huppert's place in the pantheon of French film actors.
    • 50 Metascore
    • 50 Frank Scheck
    The uneven collection is guaranteed to permanently tarnish at least one of your favorite days.
    • 35 Metascore
    • 50 Frank Scheck
    The sort of lumbering epic drama that went out of fashion by the late 1960s, For Greater Glory is mainly notable for shedding light on a little-known historical conflict, namely the Cristero War that took place in 1920s Mexico.
    • 41 Metascore
    • 50 Frank Scheck
    Follows the same formula as the first, with one difference: They've managed to ramp up the action and vulgarity beyond the insane heights of the original.
    • 42 Metascore
    • 50 Frank Scheck
    Madea is starting to look a little tired.
    • 36 Metascore
    • 50 Frank Scheck
    A routine mob thriller.
    • 54 Metascore
    • 50 Frank Scheck
    Although distinguished by some wildly staged vehicular chase sequences and genuinely witty deadpan dialogue, the film inevitably feels like a footnote to the plethora of similarly themed movies and television shows that seem to arrive on a weekly basis.
    • 66 Metascore
    • 50 Frank Scheck
    Most of this is fairly predictable spoofing, and Englund is wasted as a psycho-hunting shrink clearly modeled after Donald Pleasence's character in "Halloween." But there are moments when the proceedings are unsettling and original.
    • 70 Metascore
    • 50 Frank Scheck
    For those less interested in horticultural matters, however, this Dutch documentary is akin to, well, watching plants grow. The sort of film frequently described as "meditative," it produces a calming but ultimately soporific effect.
    • 41 Metascore
    • 50 Frank Scheck
    Despite strong performances and impressive cinematography, the film ultimately has a paint-by-numbers feel that detracts from its overall effectiveness.
    • 54 Metascore
    • 50 Frank Scheck
    This relentlessly quirky tale of a teen-age hermaphrodite displays some creativity on the part of debuting writer/director J.B. Ghuman, Jr. but not enough.
    • 49 Metascore
    • 50 Frank Scheck
    "Gift" comes across as a television-ready effort that would work perfectly for Hallmark.
    • 42 Metascore
    • 50 Frank Scheck
    A reasonably entertaining popcorn movie experience.
    • 37 Metascore
    • 50 Frank Scheck
    Largely forgoing the CGI effects usually endemic to such efforts, the film has the actors clad in werewolf suits and make-up designed by Dave and Lou Elsey that produce a slightly ludicrous effect, as if they were unusually large kids trick-or-treating. That the characters maintain their full powers of speech only adds to the silliness, although the hunky lead performers manage to carry it off with hirsute sexiness.
    • 35 Metascore
    • 50 Frank Scheck
    Slickly executed with glossy, neon-drenched cinematography and a throbbing techno-music score, Paris Countdown sacrifices substance for stylishness, as has become the distressing tendency of so many recent crime dramas. But its fast pacing, compelling lead performances and frequent doses of action prevent boredom from settling in.
    • 26 Metascore
    • 50 Frank Scheck
    The Squeeze is bound to appeal to aficionados of the sport. But despite the fact that it's (loosely) based on a true story, it fares less well in dramatic terms.
    • 54 Metascore
    • 50 Frank Scheck
    Squanders its potentially rich possibilities.
    • 62 Metascore
    • 50 Frank Scheck
    Never really decides whether it wants to concentrate on providing information or sociological analysis, with the result that it fails to fully satisfy on either level.
    • 63 Metascore
    • 50 Frank Scheck
    Its observations seem more suited to the op-ed pages of a magazine than the big screen.
    • 50 Metascore
    • 50 Frank Scheck
    Lavishly staged and beautifully photographed, Northmen—A Viking Saga features enough energetic sword clanging to satisfy its target audience.
    • tbd Metascore
    • 50 Frank Scheck
    Strong performances by Lily Rabe and LisaGay Hamilton aren’t quite enough to redeem Redemption Trail.
    • 59 Metascore
    • 50 Frank Scheck
    Part concert film, part narrative, it isn't fully successful on either level, coming across more like an overlong DVD extra than a fully stand-alone work.
    • 24 Metascore
    • 50 Frank Scheck
    This seventh installment does at least provide a reasonably satisfying conclusion to the series in the unlikely event they choose to give it a rest.
    • 35 Metascore
    • 50 Frank Scheck
    What should have been a tautly paced B-movie thriller instead comes to feel like a mini-series, leaving the viewer too much time to ponder the silliness of its narrative contrivances.
    • 53 Metascore
    • 50 Frank Scheck
    While Downtown Express suffers from a derivative storyline, it offers enough musical authenticity to provide ample compensations.
    • 49 Metascore
    • 50 Frank Scheck
    That the film works to the extent that it does is a testament to Murphy’s ability to command the screen with stillness. His anguished expressions and halting body language go a long way toward filling in the frustrating narrative blanks.
    • 39 Metascore
    • 50 Frank Scheck
    More aggressively violent and thankfully less mythology driven than previous installments, Underworld: Awakening is strictly for the converted.
    • 39 Metascore
    • 50 Frank Scheck
    Boasting uncommonly handsome production values and a stellar cast, the awkwardly titled The Adventurer: The Curse of the Midas Box nonetheless feels like a stillborn attempt at a franchise starter.
    • 45 Metascore
    • 50 Frank Scheck
    While it does render scientific and philosophical principles in a highly accessible format, the film is nonetheless a real chore to sit through.
    • 61 Metascore
    • 50 Frank Scheck
    While all this might have made for a potent short subject, the abstract visual monotony begins to wear thin shortly into the 98-minute running time.
    • 59 Metascore
    • 50 Frank Scheck
    Eventually gets so bogged down in its own quirkiness that its humanistic message gets lost.
    • 65 Metascore
    • 50 Frank Scheck
    The scattershot results, while admittedly providing plenty of fascinating details, doesn't quite do its subject justice.
    • 45 Metascore
    • 50 Frank Scheck
    This head-scratcher boasts visual imagination to spare even as its logistical complexities and heavy-handed symbolism ultimately prove off-putting.
    • 47 Metascore
    • 50 Frank Scheck
    Filmmaker Julia Haslett lacks focus in her ode to the French philosopher.
    • 59 Metascore
    • 50 Frank Scheck
    Far too bloody for the art house crowd and too leisurely paced and obscure for more general audiences.
    • 48 Metascore
    • 50 Frank Scheck
    Neither an inspirational faith-based film nor an attack on Christian dogma, Will Bakke’s comedy/drama Believe Me plays like a religious variation of "Risky Business" minus the sex.
    • 76 Metascore
    • 50 Frank Scheck
    The director attempts to infuse the film with a dreamy poeticism via slow motion and other stylistic devices, with the results feeling mildly pretentious.
    • 55 Metascore
    • 50 Frank Scheck
    Ultimately suffers from an overabundance of plot and a paucity of depth, but it does provide some fleeting comic pleasures along the way.
    • 47 Metascore
    • 50 Frank Scheck
    The film's chief asset is its superbly atmospheric evocation of its period milieu.
    • 44 Metascore
    • 50 Frank Scheck
    It all adds up to somewhat less than the sum of its parts, but it's made palatable by the well-evoked rural atmosphere and the typically expert performances by the two leads.
    • 61 Metascore
    • 50 Frank Scheck
    Visual artist and filmmaker Matthew Barney's follow-up to his acclaimed "Cremaster" film series continues this provocateur's penchant for outrageous imagery and numbing non-narratives.
    • 30 Metascore
    • 50 Frank Scheck
    While director-screenwriter Preston A. Whitmore II's film is to be admired for its proponing the values of a higher education over the dream of a career in the NBA, its dialogue, characterizations and situations rarely transcend the level of cliche.
    • 50 Metascore
    • 50 Frank Scheck
    Although more than a little familiar in its road movie-style romantic banter and bickering, the film is easy to take for a number of reasons, including the witty and frequently caustic dialogue. Modest in its aspirations, "Race You" succeeds by not trying to do too much.
    • 72 Metascore
    • 50 Frank Scheck
    Donald Cries demonstrates that cringeworthy isn’t necessarily the same as funny.
    • 46 Metascore
    • 50 Frank Scheck
    Unfortunately, the back story behind FireDancer is ultimately more interesting than the finished product, a thematically ambitious but rough-hewn combination of love story and examination of cultural dislocation.
    • 55 Metascore
    • 50 Frank Scheck
    Ultimately has the air of a home movie project blown up to feature-length proportions.
    • 57 Metascore
    • 50 Frank Scheck
    Very much reminiscent of "Napoleon" in numerous ways only minus the wit, the film is made somewhat palatable by its inherent sweetness and its treatment of typical adolescent angst.
    • 27 Metascore
    • 50 Frank Scheck
    Designed to capitalize on the title and premise of the original but offers little to those who fondly remember it.
    • 27 Metascore
    • 50 Frank Scheck
    A love story that veers uneasily between mysticism and melodrama.
    • 61 Metascore
    • 50 Frank Scheck
    The film’s true MVP is Cusack, delivering a wittily subtle and acerbic turn that well displays his gift for deadpan comedy. He elevates the material whenever he’s onscreen, providing hints as to the more interestingly subversive film Adult World might have been.
    • 34 Metascore
    • 50 Frank Scheck
    Depending on your age and memory, you’ll recognize cinematic DNA from everything from "Three Days of the Condor" to the "Taken" and "Bourne" franchises in this tale of a father and daughter on the run from an evil conspiracy.
    • 53 Metascore
    • 50 Frank Scheck
    Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.
    • 36 Metascore
    • 50 Frank Scheck
    Ultimately adds up to less than the sum of its parts. But it possesses a visual power, as well as a lingering resonance, that gives it a certain distinction.
    • 64 Metascore
    • 50 Frank Scheck
    The film should please his (Sokurov's) fans even while proving a frustrating, tedious experience for most art house audiences.
    • 37 Metascore
    • 50 Frank Scheck
    It's historically accurate, since Electric Slide is set in 1983, but it only emphasizes the hollow emptiness of this faux New Wave-style crime drama that emphasizes style over substance to an enervating degree.
    • 66 Metascore
    • 50 Frank Scheck
    The widely heralded musical auteur deserves a more insightful documentary treatment than the one afforded in Strange Powers: Stephin Merritt and the Magnetic Fields.
    • 49 Metascore
    • 50 Frank Scheck
    Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
    • 36 Metascore
    • 50 Frank Scheck
    Director Darren Lynn Bousman, who also helmed the past two installments, doesn't deviate from the stylistic formula, which includes grinding industrial music, frenzied editing and a blue-gray color palette.
    • 56 Metascore
    • 50 Frank Scheck
    This ultra-violent revenge thriller is far more notable for its baroque excesses than coherence or credibility.
    • 59 Metascore
    • 50 Frank Scheck
    The proceedings too often smack of melodrama and, with the profusion of characters, some inevitably come across as stereotypes.
    • 43 Metascore
    • 50 Frank Scheck
    The problem is, despite the fact that the cast is filled with a gallery of veteran comic performers, few of the characters they portray are very interesting.
    • 23 Metascore
    • 50 Frank Scheck
    Managing nary a single original idea throughout its 93-minute running time, the film does benefit from a cast of sexy young TV stars who should attract the desired female teen demographic.
    • 45 Metascore
    • 50 Frank Scheck
    Features a fine performance by Angela Bassett, but her work is the sole subtle element.
    • 53 Metascore
    • 50 Frank Scheck
    Ejecta is ultimately too disjointed and incoherent to have the desired impact. But it certainly features some arresting moments during its wild ride.
    • 60 Metascore
    • 50 Frank Scheck
    All too ironically titled as it details in lethargic and sometimes convoluted fashion the stories of the many heroic and often unsung figures involved.
    • 44 Metascore
    • 50 Frank Scheck
    The lead performers deliver faultless performances, and are certainly not tough on the eyes. But their efforts are not enough to lift this moody erotic thriller above its pretensions.
    • 36 Metascore
    • 50 Frank Scheck
    Park Hong-soo’s debut feature includes enough kinetic action sequences to satisfy genre fans even while its dramatic elements leave something to be desired.
    • 57 Metascore
    • 50 Frank Scheck
    A would-be provocative satire that too often settles for sitcom-grade silliness, The Infidel represents an opportunity wasted.
    • 40 Metascore
    • 50 Frank Scheck
    This debut feature by Anne Renton doesn't quite find the proper tone to convey its heartfelt message.
    • 46 Metascore
    • 50 Frank Scheck
    Oddly bereft of scares or tension, the film is mainly notable for its sustained atmosphere of weirdness.
    • 46 Metascore
    • 50 Frank Scheck
    What could have served as a colorful episode in a more expansive film about the famed singer has instead become the premise of a mildly entertaining but overextended road movie that doesn't succeed on either dramatic or comedic terms.
    • 42 Metascore
    • 50 Frank Scheck
    A bland romantic comedy in the Richard Curtis style, The Decoy Bride is mainly notable for its proof, if any was needed after "Boardwalk Empire," that Kelly Macdonald is a major talent.
    • 63 Metascore
    • 50 Frank Scheck
    Ultimately neither funny nor touching enough to make much of an impact, but it does offer many small, insightful moments along the way.
    • 49 Metascore
    • 50 Frank Scheck
    The filmmaker's attempt to explore the outer boundaries of erotic and violent obsession are undone by the murkiness of the execution, and only the highly committed and forceful performances by the two leads give the aptly titled Bad Guy any distinction.
    • 35 Metascore
    • 50 Frank Scheck
    While Stanford is more annoying than endearing as the self-righteous slacker, the charming Deschanel provides the film with its few moments of genuine fun with her offbeat turn as the wily, put-upon girlfriend.
    • tbd Metascore
    • 50 Frank Scheck
    Despite the strong efforts of everyone involved, Havenhurst proves all too unimaginative in its formulaic recycling of genre tropes.
    • 45 Metascore
    • 50 Frank Scheck
    Imagine a teenage lesbian love story directed by David Cronenberg and you'll have some sense of the weirdness of Jack and Diane. Bradley Rust Gray's attempt to weave horror elements into a fairly conventional narrative yields diminishing returns in this overly stylized effort.
    • tbd Metascore
    • 50 Frank Scheck
    Smurfs: The Lost Village is a mediocre effort that nonetheless succeeds in its main goal of keeping its blue characters alive for future merchandising purposes.
    • 63 Metascore
    • 50 Frank Scheck
    Sequins will tax the patience of most viewers not enthralled with endless close-ups of beads and brocades.
    • 56 Metascore
    • 50 Frank Scheck
    The film's unrelenting bleakness and misanthropic tone is likely to be a turnoff to mainstream performances, but it provides its lead actor with another opportunity to display his riveting intensity.
    • 43 Metascore
    • 50 Frank Scheck
    Despite the author’s scripting and the fine central performances by Joan Allen and Anthony LaPaglia, this low-key effort directed by Peter Askin fails to fulfill the potential of its provocative premise.
    • 49 Metascore
    • 50 Frank Scheck
    While the violent sequences are very effectively staged, the results are a strange hybrid that doesn't quite work. Lacking the antic, witty humor of something like the similarly conceived Gremlins or the full-out gore of a traditional horror flick, Krampus never really finds it niche.
    • 32 Metascore
    • 50 Frank Scheck
    This would-be cult film is unlikely to inspire "Rocky Horror"-style devotion.
    • 54 Metascore
    • 50 Frank Scheck
    Another effective civics lesson that, unfortunately, will probably never be seen by the people whose minds it seeks to change.
    • 33 Metascore
    • 50 Frank Scheck
    David Duchovny delivers a clearly heartfelt but terminally mawkish and awkward directorial debut in House of D.
    • 51 Metascore
    • 50 Frank Scheck
    A feel-good tale with undeniably good intentions, this Canadian comedy-drama doesn't really manage to convince on any level.
    • 25 Metascore
    • 50 Frank Scheck
    Ultimately comes across as a soporific costume drama featuring a gallery of miscast stars.
    • 39 Metascore
    • 50 Frank Scheck
    Depicting the travails of an emotionally troubled Manhattan woman who returns to the remote Maine village of her childhood, Frank the Bastard doesn't reward the viewer's considerable investment of time and patience.
    • 46 Metascore
    • 50 Frank Scheck
    While the experience may have been highly rewarding for its participants, viewers may be less than enthralled.
    • 52 Metascore
    • 50 Frank Scheck
    Vivid if scattershot documentary examines today's sexualized culture by focusing on three subjects.
    • 62 Metascore
    • 50 Frank Scheck
    La Vie au Ranch boasts an undeniable authenticity. But how much you enjoy it will depend on your affection for its aimless if attractive characters.
    • 48 Metascore
    • 50 Frank Scheck
    Kate Clere McIntyre and Saraswati Clere's less than revelatory documentary that incessantly makes the point that yoga is really, really good for you.
    • 56 Metascore
    • 50 Frank Scheck
    Many of the film's most entertaining moments are, ironically, its most peripheral: Namely, the extensive archival clips of news conferences in which an alternately relaxed and tense Kennedy jostled with journalists
    • 55 Metascore
    • 50 Frank Scheck
    King of the Corner has been adapted from Gerald Shapiro's "Bad Jews and Other Stories" and suffers from an odd, disjointed quality.
    • 62 Metascore
    • 50 Frank Scheck
    This disappointingly conventional effort pales in comparison to the filmmaker's wildly audacious comedies.
    • 57 Metascore
    • 50 Frank Scheck
    Distinctly and proudly old-fashioned in its retro, film noir vibe, A Walk Among the Tombstones is notable for its dark atmospherics and strong performance by Liam Neeson.
    • 43 Metascore
    • 50 Frank Scheck
    The film simply has too many tiredly predictable elements for its own good, and despite the handsome cinematography of the extremely picturesque California locations, "Sherman's" never really finds its way.
    • tbd Metascore
    • 50 Frank Scheck
    The characters are defined in the sketchiest of terms, with Julia herself emerging as little more than a cipher. But as ciphers go, she's an arresting one, with Williams using her large, expressive eyes to powerful effect.
    • 49 Metascore
    • 50 Frank Scheck
    A static and awkward effort that never quite comes to life.
    • 34 Metascore
    • 50 Frank Scheck
    Trey Nelson's film can't help but evoke a feeling of déjà vu. But strong performances by Josh Duhamel and young Josh Wiggins (Max), plus haunting visuals of the barren Texas setting, provide some compensation for the narrative contrivances of Lost in the Sun.
    • tbd Metascore
    • 50 Frank Scheck
    A faux black-and-white silent film that will gain immeasurably from its road show presentations, Louis is more of a novelty than a satisfying cinematic experience.
    • 60 Metascore
    • 50 Frank Scheck
    Doesn't delve deeply enough to be fully satisfying. Much like the drug it spotlights (to reference another journalism-themed movie), it will leave you hungry afterwards.
    • 59 Metascore
    • 50 Frank Scheck
    The film doesn't manage to achieve for hip-hop what the great rock concert films of the past have done for their musical genre.
    • 63 Metascore
    • 50 Frank Scheck
    An elongated, rather aimless portrait that doesn't fully convey the essence of its titular subject.
    • 52 Metascore
    • 50 Frank Scheck
    Mad as Hell is far too subjective to take seriously.
    • 59 Metascore
    • 50 Frank Scheck
    The next time you're invited to a French dinner party, you might want to give it a pass, if the tedious proceedings in Change of Plans are any indication.
    • 37 Metascore
    • 50 Frank Scheck
    Packing in enough cliches for a dozen movies, this drama about a sensitive young man trying to achieve his dreams via the U.S. Naval Academy in Annapolis will best be enjoyed by the generation unfamiliar with "An Officer and a Gentlemen," "Top Gun" and any preceding boxing movies.
    • 40 Metascore
    • 50 Frank Scheck
    While its theme of youthful empowerment inevitably strikes an emotional chord, the film never manages to achieve any dramatic steam, plodding along in mildly diverting but essentially bland fashion.
    • 26 Metascore
    • 40 Frank Scheck
    This war-horror movie basically plays like "Blair Witch" in Afghanistan.
    • 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.
    • 43 Metascore
    • 40 Frank Scheck
    Unfortunately, the gags start to wear thin shortly around the 15-minute mark, not to mention the fact that they pale in comparison to the real-life indignities endured by the members of the "Jackass" crew.
    • 38 Metascore
    • 40 Frank Scheck
    Biggs is appealing in the central role, although for him, conveying mortified embarrassment doesn't exactly qualify as an acting stretch. But he does have good chemistry with Montgomery.
    • 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.
    • 32 Metascore
    • 40 Frank Scheck
    The film — penned by Michael Ricigliano Jr., a lawyer making his screenwriting debut — never really achieves the necessary dramatic tension despite a surprising climactic plot twist. The dialogue rarely rises above the level of cliché.
    • 38 Metascore
    • 40 Frank Scheck
    While Adam Sussman's screenplay can be admired for its emphasis on subtle atmospherics rather than cheap scares, it is a gimmicky slog of an affair that lacks narrative coherence or strong focus.
    • tbd Metascore
    • 40 Frank Scheck
    The Prosecution of an American President demonstrates that you can be deeply sympathetic to a film's arguments and still come away feeling unconvinced.
    • 57 Metascore
    • 40 Frank Scheck
    Has the feel of a home movie of greater interest to its participants than to an audience.
    • 37 Metascore
    • 40 Frank Scheck
    Lackluster and decidedly old-fashioned (in the worst way).
    • 32 Metascore
    • 40 Frank Scheck
    The film unfortunately depicts black female sexuality, a topic rarely portrayed onscreen, with all the depth and subtlety of a late night Cinemax offering.
    • 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.
    • 30 Metascore
    • 40 Frank Scheck
    Only the writer's most ardent fans — and they are legion, judging by his book sales of over 190 million copies — will find anything of interest here.
    • 45 Metascore
    • 40 Frank Scheck
    Featuring long stretches in which little is said or happens, the film never quite burrows into the viewer's skin in the way in which it was obviously intended.
    • 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.
    • 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.
    • 33 Metascore
    • 40 Frank Scheck
    The lead performers certainly are highly attractive, making this one of the more sensual werewolf pictures in quite a while -- and to their credit, they do manage to keep a straight face throughout. But ultimately, the anemic Blood and Chocolate could have benefited from a little less chocolate and a lot more blood.
    • 36 Metascore
    • 40 Frank Scheck
    War
    Lacking even the galvanizing action sequences that would have compensated for suffering through its formulaic plot, this is a thoroughly forgettable exploitationer that will not enhance its stars' resumes.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Frank Scheck
    Stefan Haupt's (The Circle) documentary Sagrada: The Mystery of Creation explores the building's tortured history and the current efforts to bring it to fruition, but in a disappointingly dull style that fails to do justice to its outsized inspiration.
    • tbd Metascore
    • 40 Frank Scheck
    Other than providing yet another meta-theatrical examination of the ever-blurring line between reality and artifice, Janeane From Des Moines emerges as a pointless affair.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Frank Scheck
    Its paper-thin characterizations, hackneyed plotting and overdependence on viciously profane humor put this effort more in the minor league of Tammy, McCarthy's previous collaboration with her director/co-screenwriter husband Ben Falcone, than her truly inspired work with Paul Feig on Bridesmaids and Spy.
    • 40 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.
    • 42 Metascore
    • 40 Frank Scheck
    Director Stephen Kijak, who previously explored far more compelling musical territory with Scott Walker: 30 Century Man, has delivered a behind-the-scenes portrait that should please the band's diehard fans but offers little of substance to the uninitiated.
    • 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.
    • 39 Metascore
    • 40 Frank Scheck
    For a film so seemingly interested in educating audiences about the evils of sex trafficking that it provides horrific statistics at the conclusion, it has no compunction about including copious doses of female nudity.
    • 46 Metascore
    • 40 Frank Scheck
    Despite the strenuous efforts of all involved, Every Secret Thing never manages to overcome its overwhelming air of artsy pretension.
    • 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.
    • 31 Metascore
    • 40 Frank Scheck
    Battlefield America manages to pack every cliché imaginable into its overstuffed and overlong 106 minutes.
    • 51 Metascore
    • 40 Frank Scheck
    Fails to overcome its hokey script and cliched characterizations.
    • 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.
    • 35 Metascore
    • 40 Frank Scheck
    As with his 2007 effort, director-screenwriter Rob Zombie's approach is far grittier than in the original series.
    • 40 Metascore
    • 40 Frank Scheck
    While its emphasis on character dynamics and a slow burn atmosphere is to be commended, Dark Was the Night is too derivative and familiar to make much of an impact.
    • 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.
    • 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.
    • 39 Metascore
    • 40 Frank Scheck
    It relies too heavily on shock value rather than solid facts.
    • 50 Metascore
    • 40 Frank Scheck
    It should be a sturdy player upon its release in home video formats, assuming that its target audience knows how to operate their DVD players.
    • 42 Metascore
    • 40 Frank Scheck
    Crudely shot and edited, the film is most notable for the strong performances by its two leads.
    • 35 Metascore
    • 40 Frank Scheck
    Without that sort of compelling figure at its center, Diablo feels far more like a pastiche than the real deal.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 40 Frank Scheck
    Designed as a family film adventure promoting positive values, it’s a sort of teenage "Raiders of the Lost Ark" that will provide mild diversion for very young audiences.
    • 28 Metascore
    • 40 Frank Scheck
    Generic B-level horror marked by numerous dull patches, long stretches of expository dialogue and, save for Astin’s admirably intense turn, uninspired performances.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Frank Scheck
    A dry compendium of talking-head interviews.

Top Trailers