Gregory Weinkauf
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For 341 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 2.7 points higher than other critics. (0-100 point scale)

Gregory Weinkauf's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Master and Commander: The Far Side of the World
Lowest review score: 0 How to Lose a Guy in 10 Days
Score distribution:
  1. Negative: 46 out of 341
341 movie reviews
    • 22 Metascore
    • 30 Gregory Weinkauf
    Once the terror ends and the credits roll, we finally get to the best part: a merciful escape.
    • 35 Metascore
    • 30 Gregory Weinkauf
    Taken as a whole, the movie seems to be searching for a harmony it never really achieves.
    • 36 Metascore
    • 30 Gregory Weinkauf
    Unhampered by imagination and driven solely by libido.
    • 58 Metascore
    • 30 Gregory Weinkauf
    If only director Walter Hill and his coscreenwriter David Giler had scribbled a punch line for all these punches, this rage-in-the-cage redux would be more than merely a limp showcase of machismo so passé as to embarrass your average Australopithecus.
    • New Times (L.A.)
    • 49 Metascore
    • 30 Gregory Weinkauf
    Any cassette of "Millennium" would serve up better thrills and chills.
    • 61 Metascore
    • 30 Gregory Weinkauf
    Forces its snuggly weirdo upon us and instructs us from the get-go to love him.
    • 55 Metascore
    • 30 Gregory Weinkauf
    What do you get when you cross a passé "swinger" (Will Stewart), an exhausted "lost in L.A." setting, a sloppy "screenplay" and dull "direction" (by Paul Duran)? This!
    • 57 Metascore
    • 30 Gregory Weinkauf
    Sits before us like an exquisite platter of wax fruit, colorful, flavorless, and, if you eat it, very likely to come back up.
    • 31 Metascore
    • 30 Gregory Weinkauf
    This compression of logic--coupled with two hours of ham-fisted delivery--guarantees that Antitrust won't jangle your nerves but will intermittently split your sides with laughter.
    • 51 Metascore
    • 30 Gregory Weinkauf
    At its best (which isn't much), Le Divorce blusters along with the tolerable tedium of had-to-be-there home movies; at its worst (which is about 90 percent), it illustrates why the French went and invented the word merde.
    • 32 Metascore
    • 30 Gregory Weinkauf
    It's Tommy's job to clean the peep booths surrounding her, and after viewing this one, you'll feel like mopping up, too.
    • 38 Metascore
    • 30 Gregory Weinkauf
    Amid a rather routine plot and standard cop-show stylings -- just doesn't add up to much entertainment value.
    • 51 Metascore
    • 30 Gregory Weinkauf
    What isn't hard to say is that Noé really isn't a very talented filmmaker.
    • 43 Metascore
    • 30 Gregory Weinkauf
    A dismaying dearth of romantic chemistry -- during their brief scenes together, the two (Pitt, Roberts) actually seem afraid to touch each other -- and we end up with a Frankenstein's monster of a movie: lots of interesting pieces cobbled together with all the stitches showing.
    • 73 Metascore
    • 30 Gregory Weinkauf
    Pretentious yet devoid of poetry, left-of-center yet artless, this well-intentioned trudge does not exist to be enjoyed or appreciated so much as to be coddled and patronized as one would a retarded child.
    • 55 Metascore
    • 30 Gregory Weinkauf
    There's way too much schmaltz in the mix. Even the musical score bombs: Throbbing, eerie techno simply does not suit a character trapped in the 1940s.
    • 61 Metascore
    • 30 Gregory Weinkauf
    Björk holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.
    • 30 Metascore
    • 30 Gregory Weinkauf
    This bloody stab at William Castle's 1960 gimmick flick substitutes chaos for chills.
    • 66 Metascore
    • 30 Gregory Weinkauf
    The urge to laugh is superceded by the urge to slap everybody and command them to stop embarrassing all of humanity.
    • 55 Metascore
    • 30 Gregory Weinkauf
    Emits the embarrassing aura of a filmmaker desperate to be considered cool, yet utterly inept at finding original ways to reach that status.
    • 49 Metascore
    • 30 Gregory Weinkauf
    The new version by Harold Ramis trots out a load of bargain-rack gags, tarted up with pricey effects for the A.D.D. generation. Woe to those who cannot leave well enough alone.
    • 51 Metascore
    • 30 Gregory Weinkauf
    The fleeting moments of dry wit are too sparse to hold the movie together, so instead McAbee takes the kitchen-sink approach, hitting us with whatever he's got.
    • 19 Metascore
    • 30 Gregory Weinkauf
    Exactly as you may expect, this thing is good for a few cheap little laughs and no more.
    • 59 Metascore
    • 30 Gregory Weinkauf
    Lars von Trier's latest thingamabob is a large, pretentious blob of coulda-been. As in, it coulda been deep and insightful. It coulda been sociologically challenging. It coulda been formalistically thrilling. But it isn't.
    • 42 Metascore
    • 30 Gregory Weinkauf
    Lured to the project with John Cusack as her original co-star (cruelly replaced by Matthew Broderick), Nicole Kidman phones it in.
    • 28 Metascore
    • 20 Gregory Weinkauf
    Less a spiritual quest than a very self-indulgent gimmick movie that could use a strong shot of inspiration.
    • 26 Metascore
    • 20 Gregory Weinkauf
    Happily stuck between a rock and the deep blue sea.
    • 52 Metascore
    • 20 Gregory Weinkauf
    Moments of strained mirth indicate how false and fabricated the whole enterprise really is--just a couple of well-to-do superstars doing their darnedest to prove to us that they're regular folk. And failing.
    • 66 Metascore
    • 20 Gregory Weinkauf
    With a movie like this, there's no risk of spoiling the ending, because the entire plot is merely a formality trudging toward a foregone conclusion. The viewer's biggest challenge is to survive fits of yawning so violent they could disrupt ornithic migratory patterns.
    • 51 Metascore
    • 20 Gregory Weinkauf
    What Lies Beneath is my head on the movie theater floor, snoozing through this film.

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