For 1,006 reviews, this critic has graded:
  • 49% higher than the average critic
  • 5% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 8.3 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 Beyond Honor
Score distribution:
1,006 movie reviews
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Frank Scheck
    While the screenplay by De Paolis and Sarah Nerboso falters in its melodramatic plot elements, its incisive characterizations and well-drawn smaller moments provide some compensation.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Frank Scheck
    Good People follows a familiar thriller template without managing to be particularly compelling.
    • 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.
    • 34 Metascore
    • 50 Frank Scheck
    The director-screenwriter does manage to invest the familiar proceedings with some quirky, original touches.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 50 Frank Scheck
    Never manages to rise above its thin premise, with its claustrophobic setting smacking more of stage than screen.
    • 46 Metascore
    • 50 Frank Scheck
    A Small Section of the World ably fulfills its mission of delivering its inspirational tale, but still seems mainly suitable for a corporate meeting.
    • 28 Metascore
    • 40 Frank Scheck
    Ultimately a less-than-satisfying cinematic meal.
    • 41 Metascore
    • 40 Frank Scheck
    While those in the know will undoubtedly find something to appreciate in the film's wide-ranging if amateurish stabs at satire, the vast majority will feel left out of a private joke.
    • 48 Metascore
    • 40 Frank Scheck
    A dry compendium of talking-head interviews.
    • 35 Metascore
    • 40 Frank Scheck
    Yet another stylish exercise in depravity in which Huppert floats through the sordid proceedings in a calm haze. If only the film she inhabits was as sexy as it aspires to be.
    • 31 Metascore
    • 40 Frank Scheck
    Lacks the finesse to attract significant attention beyond its target audience.
    • 51 Metascore
    • 40 Frank Scheck
    Fails to overcome its hokey script and cliched characterizations.
    • 69 Metascore
    • 40 Frank Scheck
    This Divided State will become yet one more largely forgotten cinematic footnote to an election notable for its divisiveness.
    • 47 Metascore
    • 40 Frank Scheck
    Unfortunately, the screenplay contains little real wit, with the result that the various plot machinations have a strained quality that tends to reduce the proceedings of their intended giddiness. On the other hand, the performers are attractive; there's plenty of nudity; the setting is scenic, and the musical numbers -- well, they're pretty bad.
    • 27 Metascore
    • 40 Frank Scheck
    Director Rupert Wainwright fails to bring any style to the material, not producing a fraction of the suspense or wit generated by Carpenter in the original even while working with a far lesser budget.
    • 33 Metascore
    • 40 Frank Scheck
    The film doesn't have much in the way of genuine laughs despite a plethora of attempted gags, but it does have a geniality that makes it hard to entirely dislike.
    • 36 Metascore
    • 40 Frank Scheck
    Unfortunately, there's little wit or genuine suspense to elevate the proceedings above the level of a cheesy comic book.
    • 46 Metascore
    • 40 Frank Scheck
    Alternately tedious and bombastic, the film never achieves a consistent tone, and the characters and situations, while seemingly played on a realistic level, are neither remotely credible nor satisfyingly surreal.
    • 23 Metascore
    • 40 Frank Scheck
    Strictly for the small-fry set, lacking the visual style, wit or imagination necessary to entice adult viewers.
    • 49 Metascore
    • 40 Frank Scheck
    Has an impressive visual style that reveals its director's music-video experience. Unfortunately, that's about all it has going for it because its sluggish pacing and confusing story line will prevent it from appealing to all but the most rabid J-horror fans.
    • 41 Metascore
    • 40 Frank Scheck
    A well-meaning but hopelessly stilted melodrama, Hate Crime sacrifices good intentions with its mediocrity of execution.
    • 47 Metascore
    • 40 Frank Scheck
    The film is a relentlessly loud and ultimately exhausting exercise only partially leavened by the usual heavy doses of wisecracking humor and visual gags.
    • 34 Metascore
    • 40 Frank Scheck
    Its deadly serious take on the subject may inspire more titters than anything else.
    • 43 Metascore
    • 40 Frank Scheck
    The release date is the most original thing about it.
    • 34 Metascore
    • 40 Frank Scheck
    This less than subtly titled documentary by Mark Birnbaum and Jim Schermbeck will undoubtedly find few viewers.
    • 46 Metascore
    • 40 Frank Scheck
    While a huge hit in its native country, is neither arty nor truly thrilling enough to greatly impress American audiences.
    • 32 Metascore
    • 40 Frank Scheck
    About as subtle as its all too obvious title would suggest.
    • 41 Metascore
    • 40 Frank Scheck
    An essentially two-character drama that would have been far more effective onstage, Brett C. Leonard's Jailbait is ultimately as claustrophobic as its setting.
    • 54 Metascore
    • 40 Frank Scheck
    Shock to the System demonstrates that merely subverting genre conventions doesn't quite make for compelling entertainment.
    • 27 Metascore
    • 40 Frank Scheck
    A horror film dealing with the terrors lurking via our computers, cell phones and other electronic devices, Pulse isn't nearly as scary as watching your hard drive crash or having your BlackBerry conk out in the middle of a vital call.
    • 29 Metascore
    • 40 Frank Scheck
    This ludicrously plotted drama of incestuous sexual abuse is only partially redeemed by its strong performances.
    • 36 Metascore
    • 40 Frank Scheck
    Unlikely to inspire a passionate following similar to the original, the film, which opened Friday without being screened for the press, ultimately induces more titters than dread.
    • 53 Metascore
    • 40 Frank Scheck
    Although Sutherland is an amiable and charismatic figure, his lack of emotional expressiveness doesn't help matters here. The film does, however, offer the spectacle of his getting a tattoo of the film's title (one of the band's songs) in Icelandic.
    • 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.
    • 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.
    • 24 Metascore
    • 40 Frank Scheck
    Redline is the cinematic equivalent of a sports car ad in Maxim magazine.
    • 34 Metascore
    • 40 Frank Scheck
    The sort of cheesy thriller that would prove mildly diverting on late-night cable, Slow Burn at least features a terrific cast to enliven its familiar elements.
    • tbd Metascore
    • 40 Frank Scheck
    The latest example of J-horror to reach our shores, Takeshi Furusawa's Ghost Train demonstrates that the increasingly tired genre may be in need of a serious overhaul.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Frank Scheck
    Lackluster and decidedly old-fashioned (in the worst way).
    • 33 Metascore
    • 40 Frank Scheck
    While the CGI effects are undeniably impressive, the laughable story line, risible dialogue and cheap humor (most of it involving a hapless zoo security guard) seriously detract from the fun.
    • 25 Metascore
    • 40 Frank Scheck
    Koechner tries hard, but ultimately scores few laughs except for when, like Ferrell, he bares his comically less than toned, fleshy body.
    • 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.
    • 25 Metascore
    • 40 Frank Scheck
    Banks succeeds in mining a few laughs from the otherwise strained, contrived proceedings.
    • 30 Metascore
    • 40 Frank Scheck
    Straining for a quiet poeticism and, to its credit, occasionally achieving it thanks to the beautifully photographed scenic environs, Pilgrim Song fails to involve us in its central character’s introspection.
    • 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.
    • 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.
    • 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.
    • 30 Metascore
    • 40 Frank Scheck
    While One Candle, Two Candles… sheds much needed light on the archaic, barbaric custom that is its subject, its jocular tone threatens to undermine the importance of its message.
    • 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.
    • 33 Metascore
    • 40 Frank Scheck
    It’s all pleasant and forgettable.
    • 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.
    • 52 Metascore
    • 40 Frank Scheck
    Despite the plethora of melodramatic plot elements, the film remains curiously uninvolving due to its compendium of clichés and sluggish pacing.
    • 42 Metascore
    • 40 Frank Scheck
    Striking nary an unfamiliar note, The Song sluggishly lurches towards its predictable conclusion — spoiler alert, Jed sees the error of his ways — but it does offer some pleasures along the way.
    • 31 Metascore
    • 40 Frank Scheck
    Getting four mediocre horror efforts for the price of one doesn't exactly represent a significant bargain.
    • 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.
    • 30 Metascore
    • 40 Frank Scheck
    Ultimately feels as shallow as the lives of most of its principal characters.
    • 43 Metascore
    • 40 Frank Scheck
    There’s certainly an interesting documentary to be made about soccer, the world’s most popular sport by far, but This Is Not a Ball isn’t it.
    • 40 Metascore
    • 40 Frank Scheck
    The film’s scattershot approach proves more enervating than enlightening, with the barrage of information presented in such a haphazard manner that continuity and coherence become lost.
    • 44 Metascore
    • 40 Frank Scheck
    Postman Pat: The Movie is a mostly charmless and dark affair.
    • 17 Metascore
    • 40 Frank Scheck
    Wit is in short supply, but director Miller at least keeps things moving briskly throughout the relatively brief running time.
    • 31 Metascore
    • 40 Frank Scheck
    There’s a terrific central idea at the core of the film, but it’s lost amid the endlessly repeated nightmare episodes, the banal subplot concerning the couple’s domestic problems and the clunky exposition and visuals.
    • 46 Metascore
    • 40 Frank Scheck
    Suffering from its forced attempts at pseudo-religious profundity and its familiar depiction of a spiritually lost central character eventually finding salvation, The Calling is ultimately all too resistible.
    • 32 Metascore
    • 40 Frank Scheck
    Rabindranath Tagore: The Poet of Eternity, although clearly lovingly intended, is too haphazard and unenlightening to fulfill its mission of educating Western audiences about the first non-European to win the Nobel Prize in Literature.
    • 54 Metascore
    • 40 Frank Scheck
    ABCs of Death 2 mainly serves to demonstrate that even talented filmmakers need a lengthier running time to craft even a moderately successful short.
    • 43 Metascore
    • 40 Frank Scheck
    Director-screenwriter Hopkins is unsuccessful in navigating the absurd storyline’s jarring tonal shifts, with the result that this kinder, gentler variation on Ms. 45 mainly emerges as off-puttingly bizarre.
    • 47 Metascore
    • 40 Frank Scheck
    Lacks the potent scares and exploitative elements to truly please genre fans. But its thematic ambition and well-crafted elements mark the filmmaker as a talent to watch.
    • 38 Metascore
    • 40 Frank Scheck
    Depicting a close encounter of the decidedly low-budget kind, Extraterrestrial boasts an undeniable technical competence but can't shake off its inevitable been there, done that quality.
    • 55 Metascore
    • 40 Frank Scheck
    A technically ramshackle affair whose primary attribute is Tukel’s deadpan comic performance and self-deprecating willingness to portray his character as a total dick.
    • 49 Metascore
    • 40 Frank Scheck
    The degeneration into familiar genre tropes reduces the impact of the wittily satirical set-up, with the result that Starry Eyes fails to live up to its initial promise. But the film indicates genuine talent on the part of its directors/screenwriters, who infuse the proceedings with a dark, gothic creepiness that is further enhanced by Jonathan Snipes' retro, synthesizer-infused score reminiscent of John Carpenter.
    • 49 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.
    • 52 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.
    • 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.
    • 38 Metascore
    • 30 Frank Scheck
    In the absence of anything truly original in the screenplay he co-wrote with Juliet Snowden, director Stiles White vainly attempts to ratchet up the tension with a series of cheap jump scares fueled by loud noises that are the cinematic equivalent of shaking hands with someone wearing a joy buzzer.
    • 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.
    • 26 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.
    • 26 Metascore
    • 30 Frank Scheck
    Elba, who recruited his former Luther director Miller into the project, gives the film more dignity than it deserves, and Henson delivers a performance of complex emotional shadings. But their fine work is utterly wasted in this B-movie exploitation thriller that would barely make for passable viewing on late night cable television.
    • 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.
    • 40 Metascore
    • 30 Frank Scheck
    Much like the recent, widely reviled I, Frankenstein, this misconceived project mainly signals a need to go back to the drawing board.
    • 34 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.
    • 26 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.
    • 43 Metascore
    • 30 Frank Scheck
    With its clichéd characters and situations, formulaic subplots (Alexandre neglects his grad student daughter to concentrate on his career) and overly cutesy comic tone, Le Chef is a cinematic dish best sent back to the kitchen.
    • 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.
    • 25 Metascore
    • 30 Frank Scheck
    The film will leave viewers feeling emasculated in more ways than one.
    • 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.
    • 12 Metascore
    • 30 Frank Scheck
    The Rapture won’t come soon enough for the unfortunate souls forced to suffer through Left Behind.
    • 29 Metascore
    • 30 Frank Scheck
    Burning Blue squanders its admirable intentions with its amateurish filmmaking and ham-fisted dialogue.
    • 30 Metascore
    • 30 Frank Scheck
    The screenplay co-written by Nicholas Thomas and director Luke Greenfield fails to mine the potentially humorous premise for the necessary laughs, with nearly all of the gags falling thuddingly flat.
    • 40 Metascore
    • 30 Frank Scheck
    Thomason delivers a strong performance as the stalwart hero, and Furlong... makes for a highly convincing jerk. But their efforts aren’t enough to prevent the end of the world, at least as depicted here, from seeming awfully dull.
    • 44 Metascore
    • 30 Frank Scheck
    Straining mightily for a mythic quality and reaching a predictably melancholic, violent conclusion, Road to Paloma mainly comes across as a vanity project star vehicle.
    • 37 Metascore
    • 30 Frank Scheck
    Gary Dauberman’s haphazard screenplay merely piles on the cheap scares, with director Leonetti cranking the volume up to 11 to accentuate the frequent jolts. It all adds up to a compendium of horror movie clichés.
    • 26 Metascore
    • 30 Frank Scheck
    It's all largely incoherent, with the screenplay's twists and surprise revelations having an utterly artificial feel.
    • 26 Metascore
    • 30 Frank Scheck
    And to be fair, Cusack doesn’t phone it in. He gives the part his all, displaying his usual expert deadpan comic timing while delivering the weak quips in Carmine Gaeta and Luke Davies’ screenplay. But it’s disheartening nonetheless to see him working so hard to enliven such inferior material.
    • 28 Metascore
    • 30 Frank Scheck
    Representing one of Robin Williams' last films, A Merry Friggin' Christmas lives up to its bah, humbug title. Not only because it's terrible, although it is, but rather because one desperately hoped that the beloved actor would go out on a high note.
    • 27 Metascore
    • 30 Frank Scheck
    Although ultimately far too muddled in its concept and execution to be anything more than a curiosity, The Scribbler does manage the dubious feat of being one of the strangest films you’re likely to see this year.

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