For 1,365 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Jack Mathews' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Memento
Lowest review score: 0 Mr. Smith Gets a Hustler
Score distribution:
1,365 movie reviews
    • 82 Metascore
    • 63 Jack Mathews
    a despairing movie that you can't look away from, though you'll wish you could.
    • 59 Metascore
    • 63 Jack Mathews
    Jake Gyllenhaal is 21 and looks as though he's going on 16. This is not a problem for films like "Lovely & Amazing" and "The Good Girl"-- It is a problem in Moonlight Mile, where he plays a grown man recovering from the murder of his fiancée.
    • 59 Metascore
    • 63 Jack Mathews
    First-time feature director Juan Carlos Fresnadillo's dark, complex allegory about luck, chance and fate is one of the year's most morbidly fascinating foreign films.
    • 64 Metascore
    • 63 Jack Mathews
    A metaphysical shaggy-dog story, whose unpredictable punchline is its only redeeming feature.
    • 66 Metascore
    • 63 Jack Mathews
    While not nearly as elaborate as either film, Heist plays like a combination of "The Sting" and "Mission: Impossible."
    • 73 Metascore
    • 63 Jack Mathews
    [Boyle] shrugs off any intellectual pretense to rollick in a dead-on scare fest. On that level, 28 Days Later is indeed a frightfully good time.
    • 58 Metascore
    • 63 Jack Mathews
    It's a great performance that's a horror to watch. Of all the bleak year-end movies, Love Liza is the bleakest; of all the sad characters you've seen lately, Hoffman's Wilson Joel is the saddest. And he goes home with you.
    • 54 Metascore
    • 63 Jack Mathews
    I wanted more. I expected more. The filmmakers said it was going to be smart - really smart - like all of Lee's movies. Instead, it's big, dumb and fun.
    • 76 Metascore
    • 63 Jack Mathews
    Even without nudity, the sex scene between Meg and Auster is one of the most uncomfortable on film. Not just because of the actors' age difference (Strathairn is 54, Bruckner 17), but because of Meg's inexperience and misplaced trust.
    • 47 Metascore
    • 63 Jack Mathews
    The choice made by Kevin Spacey in taking on the role of Quoyle in the film adaptation of E. Annie Proulx's Pulitzer Prize-winning novel The Shipping News nearly sinks it. But not quite.
    • 51 Metascore
    • 63 Jack Mathews
    Once you're past THOSE scenes, and come to know the context and characters involved, you'll find something both deeply humanist and emotionally complex.
    • 81 Metascore
    • 63 Jack Mathews
    A meticulous, elaborate stunt, a movie two degrees of separation from its source, and maybe another degree from viewers' hearts.
    • 42 Metascore
    • 63 Jack Mathews
    Anything, Steven, anything would be better than making us watch the same movie again.
    • 60 Metascore
    • 63 Jack Mathews
    A potent drama.
    • 48 Metascore
    • 63 Jack Mathews
    Jovovich needed a steadying hand to keep her from flying out of her socks, and Pritikin, on his maiden solo as a director, couldn't or didn't have the heart to provide it.
    • 57 Metascore
    • 63 Jack Mathews
    Much of the film is sub-sophomoric, but Campbell and Davis give hilarious deadpan performances.
    • 56 Metascore
    • 63 Jack Mathews
    Paltrow does this role exceptionally well, but it is underwritten.
    • 55 Metascore
    • 63 Jack Mathews
    Structurally, Love Actually is less like "Four Weddings" than it is "Scary Movie 3." ­Curtis throws every gag he can think of at the screen and the ones that don't stick, he throws again and again.
    • 69 Metascore
    • 63 Jack Mathews
    When you realize The Cooler is not a comedy but a dark and violent love story, it's hard to reconcile its premise with its mood. The saving graces are the performances of William H. Macy as Bernie and Maria Bello.
    • 55 Metascore
    • 63 Jack Mathews
    Cruise isn't horribly miscast, a la Tony Curtis in "The Son of Ali Baba" or John Wayne as Genghis Khan in "The Conqueror," but he doesn't miss by far.
    • 62 Metascore
    • 63 Jack Mathews
    Digital video is both the blessing and the curse of writer-director A. Dean Bell's well-conceived but underachieved What Alice Found.
    • 58 Metascore
    • 63 Jack Mathews
    But Burton and August have added ­anger to the mix, and it sours much of the otherwise wondrous tone.
    • 73 Metascore
    • 63 Jack Mathews
    Minghella has certainly mounted a gorgeous movie and the battle scenes are brutally spectacular. But overall, "Cold Mountain" is like a fine piece of hand-crafted leather, where the stitching shows its quality. That looks good on a handbag, not so good on the big screen.
    • 70 Metascore
    • 63 Jack Mathews
    I don't mean to demean it; it's smart, inventive and well-crafted. But as a feature film, it's a novelty item at best.
    • 45 Metascore
    • 63 Jack Mathews
    Pure dumb fun -- horror slapstick that rudely parodies both the arterial violence of slasher films and the topless hedonism of the spring-break ritual.
    • 69 Metascore
    • 63 Jack Mathews
    The final image of the snow-covered landfill, having consumed the debris, provides a kind of closure for Sauret. But for the firemen, the nightmare continues.
    • 56 Metascore
    • 63 Jack Mathews
    The result is a handsome, action-packed biographical drama with a credibility gap wider than the screen.
    • 57 Metascore
    • 63 Jack Mathews
    The veteran Cranham and young Bill play their incompatible characters with dead-pan aplomb, and Derek Jacobi adds heft as Churchill's chief intelligence officer.
    • 62 Metascore
    • 63 Jack Mathews
    Deeply disturbing, but dramatically realized, and the movie marks Burke as a young talent to watch.
    • 45 Metascore
    • 63 Jack Mathews
    A perversely dark romantic comedy shot and edited in the contemporary fairy-tale style of Jean-Pierre Jeunet's "Amélie." But this one has a dagger for a heart.
    • 51 Metascore
    • 63 Jack Mathews
    The Spanish writers-directors often overreach for humor, and really overreach for a happy ending. But there's a strong heart beating beneath the foolishness and one wonderful performance from Leonor Watling.
    • 69 Metascore
    • 63 Jack Mathews
    There's no question she's a smart cookie, but as she herself says, "There's a thin line between smart and crazy."
    • 53 Metascore
    • 63 Jack Mathews
    There are terrific performances from Kline and Judd, some breathtaking staging and production design, and, of course, some of the best music and lyrics of the 20th century.
    • 67 Metascore
    • 63 Jack Mathews
    That Williams occasionally comes close to the author's layered spirit is a tribute to his passion. But the film fails on a number of levels. First, it is what it is: the prologue to a story that covers four(!) decades.
    • 74 Metascore
    • 63 Jack Mathews
    I'm no psychologist, but it took about half this film's overlong running time to figure out that Metallica's problem is that Ulrich is a major pain in the butt.
    • 57 Metascore
    • 63 Jack Mathews
    But for what is at heart a thriller, Code 46 lacks both energy and tension.
    • 55 Metascore
    • 63 Jack Mathews
    Ozpetek moves things along at a snail's pace and lays the sentiment down thickly. But it's a potent tale, wonderfully acted by Mezzogiorno and Massimo Girotti as the old man.
    • 62 Metascore
    • 63 Jack Mathews
    The movie is bookended by a powerful indictment of apartheid and a study of white guilt.
    • 48 Metascore
    • 63 Jack Mathews
    Clearly meant as an endorsement of the Democratic presidential nominee's character.
    • 53 Metascore
    • 63 Jack Mathews
    The movie crams in so many of the events and characters of Thack­eray's 900-page novel that the story often seems to be moving on fast-forward, pausing here and there to introduce a character, then skipping ahead — from London to the country to Brussels and on, eventually, to India.
    • 63 Metascore
    • 63 Jack Mathews
    In a clear case of substance over style, this stark, clumsy documentary tells the heart-breaking stories of a dozen law-abiding Muslim or Arab immigrants and visa workers.
    • 64 Metascore
    • 63 Jack Mathews
    Missing beneath its fabulous surface, however, is anything like a beating heart.
    • 56 Metascore
    • 63 Jack Mathews
    All trash, all all the time, a run-on burlesque of lust.
    • 70 Metascore
    • 63 Jack Mathews
    Does an excellent job of telling Kerry's side of it.
    • 50 Metascore
    • 63 Jack Mathews
    It's corny, plodding, implausible and - on occasion - seriously creepy. At the same time, it contains a couple of this movie year's most sublime sequences, and features one of Nicole Kidman's bravest and best performances.
    • 60 Metascore
    • 63 Jack Mathews
    It turned out that he (Duffy) had an ego like a giant ChiaPet. With a little money sprinkled over it, it grew out of control.
    • 47 Metascore
    • 63 Jack Mathews
    The movie ends on exactly the right note, but it hits a lot of bad ones on the way.
    • 38 Metascore
    • 63 Jack Mathews
    I don't know if it was intentional, but Drake seems to come out of the same sandy hole in which our troops found the cowering Saddam Hussein.
    • 62 Metascore
    • 63 Jack Mathews
    A series of unfortunate events occurred during the making of Lemony Snicket's A Series of Unfortunate Events and they all had to do with Jim Carrey.
    • 48 Metascore
    • 63 Jack Mathews
    An unusually shallow and facile work for Brooks, but the writing and the performances - other than Leoni's - keep us at least halfway involved.
    • New York Daily News
    • 48 Metascore
    • 63 Jack Mathews
    The sole asset of "Bobby Long" is Johansson. Blossoming before our very eyes, she gives Pursy the combination of hope and determination that makes her journey worthwhile.
    • 63 Metascore
    • 63 Jack Mathews
    Far from the smart historical epic some might have expected, is just another feisty summer shoot-'em-up.
    • 47 Metascore
    • 63 Jack Mathews
    Uneven but fitfully entertaining.
    • New York Daily News
    • 49 Metascore
    • 63 Jack Mathews
    The film makers are so anxious to please their audience that they turn the last act into a preposterous cat-and-mouse game that nullifies the integrity of the story.
    • 34 Metascore
    • 63 Jack Mathews
    Intermittently funny.
    • 68 Metascore
    • 63 Jack Mathews
    Polley, the paraplegic incest victim in Atom Egoyan's "The Sweet Hereafter," gives a mesmerizing central performance.
    • 49 Metascore
    • 63 Jack Mathews
    Pure situation comedy, and it's still fresh enough to provoke laughs.
    • 63 Metascore
    • 63 Jack Mathews
    McCann's point of view overwhelms the human elements of his story, but this is, nonetheless, a riveting piece of filmmaking.
    • 71 Metascore
    • 63 Jack Mathews
    After dazzling us with its undersea discoveries, "Aliens" turns downright silly at the end, with a fantasy sequence set in a presumed ocean on Europa, one of the moons of Jupiter.
    • 64 Metascore
    • 63 Jack Mathews
    Beautifully assembled and edited by Fenton Bailey and Randy Barbato ("The Eyes of Tammy Faye") and is often very funny.
    • 82 Metascore
    • 63 Jack Mathews
    The very thought of humanizing Hitler makes me queasy. If he had a good side, I don't want to know about it.
    • 70 Metascore
    • 63 Jack Mathews
    Provides an intimate, nonpoliticized, uncensored and totally unappealing look at the lives of U.S. soldiers serving during a grim and uncertain period of insurgency.
    • 54 Metascore
    • 63 Jack Mathews
    But Allen can still write a good joke and there are some here. Not enough to say he has returned to form, but enough to remind you of what that form was.
    • 67 Metascore
    • 63 Jack Mathews
    If you have a serious interest in wine and the ­patience for this kind of rangy, undisciplined filmmaking, you'll learn something. But you'll have more fun at a winetasting.
    • 55 Metascore
    • 63 Jack Mathews
    The Brighton Beach crowds come off more like tourists, and the Odessans in Israel can't seem to decide which is their real homeland. And it's all very confusing.
    • 62 Metascore
    • 63 Jack Mathews
    The movie still isn't great, but it's an important remonstration to that oldest of all studio-system curses: the producer who thinks he's more creative than the director.
    • 63 Metascore
    • 63 Jack Mathews
    Most of the film is way too goofy for all but the most thumbstruck Hitchhiker.
    • 63 Metascore
    • 63 Jack Mathews
    Though it happens two-thirds into the movie, when Lili is abandoned by the others in Greece without either luggage or money, Le Besco's vulnerability draws us into her predicament.
    • 75 Metascore
    • 63 Jack Mathews
    Alche has an amazingly expressive face and becomes such a magnetic presence that you'll feel a distinct need to rescue her.
    • 63 Metascore
    • 63 Jack Mathews
    For all its scale, grandeur, historical context and political brass, "Kingdom" is no more compelling a period drama than last year's "Alexander."
    • 73 Metascore
    • 63 Jack Mathews
    A well-conceived story that is very hard to shake.
    • 55 Metascore
    • 63 Jack Mathews
    Not bad. It actually might have been considered pretty good had it been made 30 years ago, when people might have cared about the backstory of Father Merrin.
    • 62 Metascore
    • 63 Jack Mathews
    Meryl Streep narrates this global update on child-labor abuses with all the enthusiasm and alarm of someone reading "The Pet Goat" to a classroom of second-graders.
    • 68 Metascore
    • 63 Jack Mathews
    The dialogue between the captive and the captors gets a little didactic, and the ending is as contrived as it is cynical. Weingartner obviously has more in common with the rich man than the kids.
    • 78 Metascore
    • 63 Jack Mathews
    Like Wong's past films, 2046 is lovely to behold, elegantly moody and rich in atmospherics. And the women caught in Chow's web are extraordinary beauties.
    • 48 Metascore
    • 63 Jack Mathews
    Not a great movie, but it certainly does justice to the great historical event it dramatizes.
    • 51 Metascore
    • 63 Jack Mathews
    Asylum is as dark as Dracula's mood on a moonless night, and people suffering from depression should think twice before opening the coffin. This thing would put off Mary Poppins.
    • 49 Metascore
    • 63 Jack Mathews
    It's no great thing, but in their (Weinstein brothers') heyday as Oscar campaigners, they could have made Redford a contender.
    • 47 Metascore
    • 63 Jack Mathews
    Imagine that, instead of trying to solve his wife's murder, the amnesiac character in Christopher Nolan's "Memento" had gone on "50 First Dates." That comes close to describing French director Jean-Pierre Limosin's playfully sexy tale of memory lapse.
    • 58 Metascore
    • 63 Jack Mathews
    The actress' [Julianne Moore's] goodwill, alone, holds this schizophrenic story together - if just barely.
    • 66 Metascore
    • 63 Jack Mathews
    The homoerotic relationship between Friedrich and Albrecht is stopped short by tragedy, but the point is made - to Friedrich and the audience - that fascism has no room for humanity.
    • 72 Metascore
    • 63 Jack Mathews
    Designed as a giant put-on, "Kiss Kiss" is so inside Hollywood, so anxious to bite the hand that fed Black, that it plays like an elaborate prank. Some of it is a lot of fun; most of it is a lot of nonsense.
    • 74 Metascore
    • 63 Jack Mathews
    Though Jessica Sanders' rambling documentary about the damaged lives of wrongfully imprisoned men would have made a better subject for an hour-long "Dateline" special, it's still a powerful indictment of a judicial system too anxious to close cases, and then close ranks when someone tries to reopen them.
    • 60 Metascore
    • 63 Jack Mathews
    Levin learned nothing that should surprise anyone who is both sentient and sane. But in tracing much of this contemporary anti-Semitism to a phony 19th-century document in which Jewish leaders lay out plans for taking over the world, we at least get some understanding of how some twisted people justify their hatred and fear of Jews.
    • 53 Metascore
    • 63 Jack Mathews
    As a conventional drama, Rent would be a pretty corny soap opera. As filmed theater, it's only slightly more con­vincing. The saving graces - and there are many - are Larson's original songs and the comfortable fit of its ensemble cast.
    • 76 Metascore
    • 63 Jack Mathews
    The movie adds up to one of the smartest and most ambitious political thrillers in years. But if you find a more difficult movie to follow this year, it will be in Mandarin without subtitles.
    • 74 Metascore
    • 63 Jack Mathews
    The failure of a movie that is so good in so many ways leaves me to wonder if Spielberg is up to this kind of complex, multi-tasking story.
    • 60 Metascore
    • 63 Jack Mathews
    In any case, the movie moves only when she's (Richardson) in the center of it, and her complex performance as a woman balancing her dignity with her survival instincts is one of the year's very best.
    • 58 Metascore
    • 63 Jack Mathews
    As movie fiction, I guess it is entertaining enough.
    • 53 Metascore
    • 63 Jack Mathews
    I watched A Good Woman with a fixed smile frequently interrupted by giggles, but I didn't believe a second of it.
    • 70 Metascore
    • 63 Jack Mathews
    The film's appeal is for the eyes. Because Henry got to call it art, it's on display once again.
    • 43 Metascore
    • 63 Jack Mathews
    Moore is as gutsy an actress as there is today, and I'm not sure I've seen a star as dressed down for a psychological unpeeling since Jessica Lange in "Frances," in 1982, or farther back, Olivia de Havilland in 1948's "The Snake Pit." It's strong stuff.
    • 63 Metascore
    • 63 Jack Mathews
    The action sequences that follow are routine to the point of monotony, involving chases through crowded streets and store fronts, a commandeered bus, a woman in peril, and so on. But Donner wisely devotes long spells in between to the evolving relationship between Jack and Eddie.
    • 56 Metascore
    • 63 Jack Mathews
    There are funny bits strewn throughout Game 6, and it's good to see Keaton in a meaty, nonshowy role for a change. He has the chops when he's not mugging.
    • 41 Metascore
    • 63 Jack Mathews
    The good news here is that Woolley and his writers have taken the mystery surrounding Jones' tragic 1969 death as their main interest, and have adopted as fact the long-cherished rumor that the blond rocker's drowning was a case of murder. It may be speculative history, but at least it's a story.
    • 26 Metascore
    • 63 Jack Mathews
    BI2 is packed with as much lust, nudity and sexual depravity as the first. So, why isn't it as much fun? What's lost in any sequel is the freshness of the first film, and was "BI1" ever fresh!
    • 72 Metascore
    • 63 Jack Mathews
    Johnson combines the elements of classic 1940s film noir and "Rebel Without a Cause"-style teen angst in a movie that is as phony as it is ambitious. It's an A+ film school exercise with zero emotional or social impact.
    • 62 Metascore
    • 63 Jack Mathews
    Just as surely as the shortest distance between two points is a straight line, this domestic comedy follows a direct path through every crisis, every resolution and every sentimental heartbeat laid out in the script.
    • 45 Metascore
    • 63 Jack Mathews
    Where good satire is drawn with a surgeon's scalpel, this comedy is done with a brush broad enough to paint - or, at least, hit - the side of a barn. But in the softer realm of parody, it has a good premise, a couple of funny performances and enough giggles for a reasonably good time at the movies.
    • 84 Metascore
    • 63 Jack Mathews
    If Lazarescu's experience is typical in the former Soviet bloc, democracy hasn't done much to humanize the bureaucracy.
    • 38 Metascore
    • 63 Jack Mathews
    There are jolts galore in a movie stuffed with the basic tricks of the evil-spirit trade - banging noises in the attic, slamming doors and windows, spinning clocks, shaking beds, rabid beasts, disappearing children and the occasional moment of eyeball-rolling possession.
    • 53 Metascore
    • 63 Jack Mathews
    A sports movie for people who may not care about sports but can't resist a heart-tugging underdog story.
    • 67 Metascore
    • 63 Jack Mathews
    Meandering, overlong digital soap opera.
    • 59 Metascore
    • 63 Jack Mathews
    Vardy draws the moral conflicts in broad strokes, but as a portrait of a man torn between his faith and the urges of his liberated hormones, it has honest depth.
    • 65 Metascore
    • 63 Jack Mathews
    A movie with better parts than a whole. But where it's right, it's really right.
    • 77 Metascore
    • 63 Jack Mathews
    A gripping, sometimes dramatic, sometimes annoying collection of jerky images and subjective impressions.
    • 52 Metascore
    • 63 Jack Mathews
    The time-warp romantic fantasy The Lake House is a puzzle that is maddeningly obtuse, emotionally overstretched, and virtually absent a sense of interior logic.
    • 52 Metascore
    • 63 Jack Mathews
    The sweetness of Nacho's nature, along with Black's unselfconscious physical enthusiasm, turn all this into a live-action cartoon, with the ring violence having no greater consequence than a Wile E. Coyote fall from a high place.
    • 45 Metascore
    • 63 Jack Mathews
    A near-saving grace is Christopher Walken, perfectly cast as the creepy store clerk who gives Michael the magic remote, then follows him through life like a gleefully incompetent guardian angel.
    • 63 Metascore
    • 63 Jack Mathews
    This at-times harrowing, occasionally unfocused film is a case study of one of hundreds, if not thousands, of stories of Iraqi civilians to whom the war has hit home and left holes in families. It makes you rue the most indelicate of all combat euphemisms - "collateral damage."
    • 73 Metascore
    • 63 Jack Mathews
    Scanner is mostly all talk, and the talk is entertaining only when it's coming from Downey. The actor's long history of drug abuse taught him a thing or two about cooked behavior, and he gives some anxious run-on monologues that are very funny.
    • 46 Metascore
    • 63 Jack Mathews
    Though it is not nearly as funny as last summer's "Wedding Crashers," directing brothers Joe and Anthony Russo's You, Me and Dupree has plenty of chuckles and another sparkling, post-adolescent surfer-dude performance from Owen Wilson.
    • 64 Metascore
    • 63 Jack Mathews
    There isn't a flicker of chemistry between these old pros in Andre Techine's peculiar melodrama.
    • 65 Metascore
    • 63 Jack Mathews
    Some of the banter is fun, like Randal's debate with Elias over the relative merits of "Star Wars" vs. "The Lord of the Rings." But most is just trash-talk as shoptalk.
    • 65 Metascore
    • 63 Jack Mathews
    Miami Vice is the last of the predicted summer blockbusters, and it delivers a reasonable amount of popcorn excitement. But if nostalgia for the TV show is the source of your interest, expect some disappointment.
    • 68 Metascore
    • 63 Jack Mathews
    Eisenheim's storybook romance with aristocrat Sophie (Jessica Biel), the childhood sweetheart now expected to become Leopold's princess, is the most compelling thing about a film that should dazzle the eye as much as stir the heart. It does not dazzle.
    • 62 Metascore
    • 63 Jack Mathews
    It's a bit of a hodgepodge - unnecessarily complicated, clumsily structured, uncertainly directed and, as a whodunit, ultimately unsatisfying.
    • 66 Metascore
    • 63 Jack Mathews
    The movie is full of freshman mistakes, but Maggie Gyllenhaal's performance in the title role is the gutsiest thing she's done since her breakout in "Secretary," and she succeeds despite serious contradictions in the writing of her character.
    • 49 Metascore
    • 63 Jack Mathews
    Humorist and liberal radio talk-show host Al Franken is a funny guy, and most of the people he attacks - Ann Coulter, Bill O'Reilly, Sean Hannity, Dick Cheney - are not. But the joke was on him when George Bush won re-election in 2004.
    • 57 Metascore
    • 63 Jack Mathews
    Paints itself into a corner from which it cannot escape. By the end, the movie is still in that corner, tossing out overlapping notes of hope and gloom and counting on viewers to write the ending they want. I'd leave the movie in the corner.
    • 70 Metascore
    • 63 Jack Mathews
    The result is a charming, inventive, ambitious, surreal mess.
    • 67 Metascore
    • 63 Jack Mathews
    The framing sequences with Downey and the climactic scenes between father and son are a mess. Downey, at 41, is too old to be playing a character who can be no more than 31 or 32, and 50-year-old Eric Roberts is an even greater distraction as Montiel's imprisoned friend Antonio.
    • 64 Metascore
    • 63 Jack Mathews
    Some viewers will call the whole business pornography, though it doesn't really qualify. The sex is blunt and enthusiastic, but arousing it ain't. In fact, when Shortbus arrives on DVD, viewers may be fast-forwarding through the sex to get to the acting.
    • 62 Metascore
    • 63 Jack Mathews
    The performances by Smith, Brewster and veteran David Morse, as a morbidly depressed widower, elevate Nearing Grace to something near grace.
    • 41 Metascore
    • 63 Jack Mathews
    Oddest-of-the-year romantic comedy.
    • 42 Metascore
    • 63 Jack Mathews
    Despite a relatively paltry $40 million budget, Stormbreaker has the sheen and special effects of a Bond movie, and the ambition as well.
    • 65 Metascore
    • 63 Jack Mathews
    Coppola won't win any Oscars, but the movie is a contender for cinematography, costumes and production design, and it's a lock for Prettiest Pastries.
    • 66 Metascore
    • 63 Jack Mathews
    By describing the structure of a great trick in a movie about a great trick, The Prestige makes a promise it can't keep. Its third act is about as convincing as a photo of a cow jumping over the moon.
    • 72 Metascore
    • 63 Jack Mathews
    Like Ceylan's earlier films, Climates is as gorgeous as it is self-consciously composed, but an hour and 40 minutes is a long time to spend with Isa, forget three seasons.
    • 74 Metascore
    • 63 Jack Mathews
    This computer-animated feature rivals "Cars" for the year's most visually exciting cartoon, but watch your step - most of the movie takes place in the London sewers, where the script may have been conceived.
    • 59 Metascore
    • 63 Jack Mathews
    There are two reasons to see - and hear - Agnieszka Holland's Copying Beethoven. One is Ed Harris' performance as the nearly deaf and totally egocentric Ludwig van; the other is a cherry-picked 10-minute chunk of the composer's soaring Ninth Symphony.
    • 74 Metascore
    • 63 Jack Mathews
    The play's most acclaimed performance - rotund Richard Griffiths as the closeted teacher Hector - is great in the movie, too.
    • 56 Metascore
    • 63 Jack Mathews
    Though there are no Montys, full or otherwise, the finale will lift you up.
    • 47 Metascore
    • 63 Jack Mathews
    There are too many characters undergoing life changes in the story for each to be properly developed in an 82-minute movie. But for the most part, the actors get the work done.
    • 36 Metascore
    • 63 Jack Mathews
    As the latest in a never-ending chain of thrillers about young people lost and dying in a hostile land, John Stockwell's Turistas at least offers the visual benefits of exotic settings and a cast of barely clad hardbodies.
    • 52 Metascore
    • 63 Jack Mathews
    A harmlessly cheery confection.
    • 68 Metascore
    • 63 Jack Mathews
    Apocalypto exists solely as an action-adventure and a deft cinematic demonstration of man's capacity for cruelty. This is the true passion of Mel.
    • 57 Metascore
    • 63 Jack Mathews
    Maybe Miss Potter will be best appreciated on video when you will intuitively know when to turn it off. On the other hand, Potter's pastel illustrations, which often come to life to her and to the camera's eye, deserve the larger canvas. Tough call.
    • 65 Metascore
    • 63 Jack Mathews
    Darker than the shadow of death.
    • 64 Metascore
    • 63 Jack Mathews
    Draggy for long stretches, and never funny, Comedy of Power is a showcase - as if she needed another - for Huppert's chameleon qualities. She's an actress who can make a phone-book reading interesting, and that is pretty much the challenge she meets here.
    • tbd Metascore
    • 63 Jack Mathews
    Best of this trio is Bruno's 50-minute Sacrifice, a series of vivid and heartbreaking interviews with girls and young women who have been sold or drafted out of rural Burma into sexual bondage at Thai brothels.
    • 45 Metascore
    • 63 Jack Mathews
    There's no question Carnahan has an eye for composition, an ear for dialogue and a sense of pace that, if put to better use, could make an audience beg for relief. But the characters in Smokin' Aces are about as lifelike as the occupants of vehicles destroyed in a car-safety test.
    • 35 Metascore
    • 63 Jack Mathews
    This strikes me as the final nail in the franchise's coffin. I can't name an actor who could have made young Lecter as interesting as the older one, but Ulliel does not come close.
    • 69 Metascore
    • 63 Jack Mathews
    This is cheeky sitcom in a minor key, and fated to be a mere footnote on McAvoy's resume.
    • 78 Metascore
    • 63 Jack Mathews
    Without a persuasive ending, Zodiac is an exercise in frustration if not futility. But before it hits the inevitable wall, it does something better than most genre films even attempt: it perfectly depicts the obsession that often overtakes cops and reporters involved in high-profile crimes.
    • 70 Metascore
    • 63 Jack Mathews
    The film makes you squirm as well as empathize, but it does need narration.
    • 49 Metascore
    • 63 Jack Mathews
    For each joke that is fresh, there are at least three that fall thuddingly flat. Rock suffers a problem common to comedians moving from sketches to features; he hasn't quite been able to get his performance level above caricature. To his credit, he's made more of this than you'd expect from the lame premise.
    • 61 Metascore
    • 63 Jack Mathews
    It takes nearly an hour before Stephen J. Anderson's 3-D, animated comedy Meet the Robinsons begins to make sense, and when it does, the film literally takes off. But unless you're familiar with the children's book by William Joyce from which it's adapted, that first hour is a cluttered, noisy, nearly unendurable mess.
    • 70 Metascore
    • 63 Jack Mathews
    Miller's film shows how quickly Americans facing perceived foreign threats are willing to ignore basic liberties. Sound familiar?
    • 71 Metascore
    • 63 Jack Mathews
    Like Stone in "Basic Instinct," van Houten has an audacity to match Verhoeven's. Hers is a role that Bette Davis would have killed Ingrid Bergman for, and she is so good in it that it seems only a matter of time before she'll star in a real Hollywood movie - as opposed to this pretender.
    • 70 Metascore
    • 63 Jack Mathews
    It's hard to get a fix on what Hallstrom had in mind. The first half of the movie plays like a frenetic caper comedy...The second half turns psychologically dark.
    • 77 Metascore
    • 63 Jack Mathews
    The film is beautifully shot and edited, but these emotional snapshots won't stay long in the memory.
    • 54 Metascore
    • 63 Jack Mathews
    In the end, Weaver provides a moving and sensitive portrait of one person out of an estimated 400,000 in America with this mental disorder we are just beginning to understand.
    • 58 Metascore
    • 63 Jack Mathews
    It's not all bad. There is a funny early sequence where Prince Charming is being jeered for his lousy cabaret act in a village pub and a hilarious death-lily scene with the bullfrog King Harold (John Cleese) trying to squeak out the name of his heir while snapping up one last fly.
    • 39 Metascore
    • 63 Jack Mathews
    Rai's acting is frustratingly passive in Provoked, and the script is laced with prison and courtroom cliches. But the movie gets most of the facts straight and the flashbacks to the wife's abuse are harrowing.
    • 50 Metascore
    • 63 Jack Mathews
    A sumptuous feast for the eyes and an occasionally exhilarating stimulant to the heart. But beware my hearty: It will tie your rum-soaked brain in knots.
    • 62 Metascore
    • 63 Jack Mathews
    Passingly enjoyable summer fluff, but if you can find a more genial, less edgy caper movie, you might want to own it as a pet.
    • 69 Metascore
    • 63 Jack Mathews
    In Crazy Love, friends of Burt and Linda express as much confusion over their relationship as we feel, and the Pugaches themselves make an unconvincing case for theirs being a love that conquered all. On the contrary, love doesn't seem to have had anything to do with them. She married him out of desperation, and he pursued her out of a sense of entitlement.
    • 36 Metascore
    • 63 Jack Mathews
    Given the lousy singing of Kirsten Dunst in "Spider-Man" and Drew Barrymore in "Lucky You," it's nice to report that Fisk - Sissy Spacek's daughter - shows real talent performing two songs here.
    • 82 Metascore
    • 63 Jack Mathews
    The humor in de Heer's script is mostly anatomical, and the performances of the nonpro cast are stiffer than bark. But you've never seen anything like it.
    • 64 Metascore
    • 63 Jack Mathews
    The voice performances are great, particularly those from LaBeouf and Bridges, who's in a "Big Lebowski" mood. But a moratorium on penguin movies may be in order.
    • 42 Metascore
    • 63 Jack Mathews
    It's beautiful to look at, and marvelously edited, but it's hard to know exactly what he's getting at. [28 May 1999]
    • New York Daily News
    • 37 Metascore
    • 63 Jack Mathews
    Carell and Freeman are great together and Wanda Sykes' acerbic humor is perfect for her role as Evan's perplexed assistant.
    • 65 Metascore
    • 63 Jack Mathews
    Mildly entertaining trifle.
    • 69 Metascore
    • 63 Jack Mathews
    Despite being abandoned in the late going by his director, Cheadle gives one of the year's most fully realized performances, and Henson is a revelation.
    • 64 Metascore
    • 63 Jack Mathews
    The flat narration by Queen Latifah doesn't help, but Adam Ravetch and his wife Sarah Robertson's nature film, Arctic Tale, fails to inspire the kind of rapturous response we felt for "March of the Penguins" for other reasons.
    • 37 Metascore
    • 63 Jack Mathews
    Made for viewers old enough to appreciate a talking pooch but too young to read or write about it.
    • 57 Metascore
    • 63 Jack Mathews
    The movie has an ironic and unpredictable ending, but it doesn't wash away the sour taste of Brad's behavior.
    • 68 Metascore
    • 63 Jack Mathews
    The film lacks a certain coherence, and Levi - one of Italy's most important postwar writers - is mostly relegated to an excuse for a sociopolitical travelogue.
    • 63 Metascore
    • 63 Jack Mathews
    If you get through the first hour without slitting your throat, the cautiously optimistic last third offers some intriguing options.
    • 66 Metascore
    • 63 Jack Mathews
    It may be that Gronkjaer couldn't get the nun to open up to her. But not knowing much about her creates an awkward imbalance that Vig, fascinating as he is, can't overcome.
    • 73 Metascore
    • 63 Jack Mathews
    The Macao settings are beautifully rendered, and the dark humor is often very funny. But it is noisy.
    • 55 Metascore
    • 63 Jack Mathews
    If you're game for something different, it's worth a few giggles.
    • 54 Metascore
    • 63 Jack Mathews
    Everything about this political thriller is ridiculous.
    • 56 Metascore
    • 63 Jack Mathews
    Julie Taymor says the idea for her Across the Universe was "to create an original musical using only the songs of the Beatles." That's like saying you're going to create a new element using only gold.
    • 65 Metascore
    • 63 Jack Mathews
    What Haggis obviously wants to explore is what the war in Iraq is doing to the humanity of our soldiers there. By approaching it indirectly, he simplifies it to a degree that I expect will anger many Iraq veterans.
    • 56 Metascore
    • 63 Jack Mathews
    Not enough to overcome the proven axiom that although you can make a bad movie from a good script, you can't make a good one from a bad one.
    • 73 Metascore
    • 63 Jack Mathews
    Penn is projecting heroic qualities onto a young guy who simply got in over his head.
    • 60 Metascore
    • 63 Jack Mathews
    Garlin, like Oscar winner Ernest Borgnine in "Marty," is good company, even when his out-of-control eating and self-loathing threaten to overwhelm him.
    • 56 Metascore
    • 63 Jack Mathews
    Berg has an excellent eye for violent extravaganza and the action - especially a 10-15 minute set piece midway through - is as cleansing as a high colonic.
    • 46 Metascore
    • 63 Jack Mathews
    Unrelentingly bleak, the movie is nonetheless a riveting drama with some outstanding performances.
    • 58 Metascore
    • 63 Jack Mathews
    There is no doubting Jonathan Demme's admiration for our 39th President: It's apparent from the opening scenes.
    • 53 Metascore
    • 63 Jack Mathews
    The performances are all solid, but Sheen, last seen as Tony Blair in "The Queen," is so good in his incredibly demanding role that he makes the natural discomfort people feel at seeing someone so debilitated disappear completely.
    • 59 Metascore
    • 63 Jack Mathews
    When it goes wrong, specifically when Bobby is given a badge like an angry Earp brother in "Gunfight at the O.K. Corral," the story turns into something barely at the level of a TV cop show.
    • 76 Metascore
    • 63 Jack Mathews
    The problem is that the movie spends as much time on the boring detective chasing Lucas as on the drug lord himself.
    • 47 Metascore
    • 63 Jack Mathews
    Writer, director and star Anthony Hopkins releases his inner muse with Slipstream, and guess who shows up - David Lynch!
    • 59 Metascore
    • 63 Jack Mathews
    As dazzling a feast for the eyes as the hungriest eyes can take.
    • 73 Metascore
    • 63 Jack Mathews
    Some of it is brilliant, some is tedious and some is just plain incoherent.
    • 71 Metascore
    • 63 Jack Mathews
    This is a midnight stoner movie if there ever was one.
    • 55 Metascore
    • 63 Jack Mathews
    Schrader's main interest is not in the mystery, per se, but in the political intrigue of incestuous Washington, where conflicts of interest are the norm and morality is indeed relative. The points are well-taken, but Harrelson's performance often gets in their way.
    • 61 Metascore
    • 63 Jack Mathews
    This is an eye-opening story that doesn't quite hold together as a movie, but it deals with honor in men's lives in ways rare to mainstream film.
    • 42 Metascore
    • 63 Jack Mathews
    Despite some emotional dips and a see-it-to-believe-it load of schmaltz at the end, The Bucket List is mostly a joy ride with good company, and the actors obviously were having a high time on their traveling boondoggle.
    • 68 Metascore
    • 63 Jack Mathews
    Like previous films by the literary-minded auteur John Sayles, Honeydripper takes forever to develop its characters, its period and its location. But once it's done all that, the payoffs are rich.
    • 58 Metascore
    • 63 Jack Mathews
    The skiers' explanations, on the order of "no risk, no adventure," won't wash with people born without the daredevil gene and watching them fly down these vertical blankets of snow, often out of control, is a little like watching a train wreck
    • 41 Metascore
    • 63 Jack Mathews
    What's good about the idea is that it triggers the kind of debate we would be having over Iraq if there was a draft. What's bad about it is that the three main characters in Robert Malkani's script - anti-war lawyer George (Chris Klein), gung-ho cab driver Dixon (Jon Bernthal) and sissy novelist Aaron (Elijah Wood) - are not interesting, either as individuals or as three amigos.
    • 72 Metascore
    • 63 Jack Mathews
    The two-part film focuses on Jung-rae's one-night stand with the protégée of a colleague he invites to his seaside retreat, and then with a second woman who merely reminds him how much he liked the first. The scenery's great and the performances adequate, but wake me when it's over.
    • 58 Metascore
    • 63 Jack Mathews
    Part soap opera, part sitcom and part relocated French farce.
    • 32 Metascore
    • 63 Jack Mathews
    I like the idea of a cybercrimes agent cracking cases through superior knowledge of the Internet. Marsh could be a great heroine for a continuing series. But Untraceable essentially forces its audience to identify with those who would be willing accomplices to torture and murder. To understate the point, that's not an audience-friendly approach.
    • 67 Metascore
    • 63 Jack Mathews
    The banter between these unlikely partners seems inspired by Quentin Tarantino's ingeniously insipid dialogue, delivered with indelible deadpan sincerity by John Travolta and Samuel L. Jackson in "Pulp Fiction." Neither the dialogue nor the characters are as interesting here.
    • 56 Metascore
    • 63 Jack Mathews
    There’s no questioning the sincerity of the filmmakers or the urgency of the subject matter, but the clumsiness with which this harrowing story of a child soldier in Africa may wear you out long before the puzzle is put together.
    • 43 Metascore
    • 63 Jack Mathews
    "Love" would be intolerably boring were it not for the frequent injections of humor, thanks largely to Hector Elizondo as Florentino's uncle, and for Bardem's ultimately winning performance.
    • 60 Metascore
    • 60 Jack Mathews
    The script (written by Susan Minot from a story by Bertolucci) suffers from the same tired blood as his characters, and his direction is often ponderously self-conscious.
    • 51 Metascore
    • 60 Jack Mathews
    Fear, thanks mostly to Foley's stylish direction and a couple of strong performances, is a much better movie than "Whispers," but those familiar with the formula will get no major surprises. [12 Apr 1996]
    • Los Angeles Times
    • 53 Metascore
    • 50 Jack Mathews
    The 20 or so minutes we spend with the Albatross in the squall is high adventure, to be sure. Everything else is ballast.
    • 44 Metascore
    • 50 Jack Mathews
    Almost corny enough to be hip.
    • New York Daily News
    • 25 Metascore
    • 50 Jack Mathews
    The three actors do their best to breathe life into their caricatured roles.
    • 48 Metascore
    • 50 Jack Mathews
    Without the surprise, realism, audacity and upstart cheekiness -- pun intended -- that made "The Full Monty's" blue-collar strippers so irresistible.
    • New York Daily News
    • 67 Metascore
    • 50 Jack Mathews
    It is both inside-baseball and self-parody, exposing a world that is just as ruthless and shallow as we've been shown it is in films like "The Player" and "Permanent Midnight."
    • 69 Metascore
    • 50 Jack Mathews
    Some people will want to call it pornography. In one respect, it's the opposite.
    • 65 Metascore
    • 50 Jack Mathews
    Ali
    It was against all odds that Michael Mann ("The Insider") would make a boring movie focusing on the most eventful decade in the life of the most dynamic athlete in history. But that's what he has achieved with Ali.
    • 37 Metascore
    • 50 Jack Mathews
    Overwrought comedy-drama.
    • 48 Metascore
    • 50 Jack Mathews
    The cat-and-mouse game between the patient and doctor and the coy is-he-or-isn't-he? game being played on us by the filmmakers becomes tiring.
    • 49 Metascore
    • 50 Jack Mathews
    Sillier than it is clever, and Toback's self-indulgence is tiresome. He's a genuine auteur, all right, but his life and the funky tastes that inspire him are just not as interesting as he thinks they are.
    • New York Daily News
    • 42 Metascore
    • 50 Jack Mathews
    A ghetto horror movie that sets up some decent scares before becoming so amused with itself, it's a wonder we don't hear the crew laughing.
    • 44 Metascore
    • 50 Jack Mathews
    Offers a dazzling showcase for Samuel L. Jackson.
    • 35 Metascore
    • 50 Jack Mathews
    Feels like a college knockoff of Billy Wilder's "The Apartment."
    • 48 Metascore
    • 50 Jack Mathews
    Judd has genuine movie star magnetism -- beauty, intelligence, presence and talent to spare. In the old studio days, she'd be Ingrid Bergman by now.
    • New York Daily News
    • 50 Metascore
    • 50 Jack Mathews
    Solondz's refusal to frame his dark, misanthropic impulses with an overriding point-of-view seems a cheap copout for a film whose title proposes that it's about the storytelling process.
    • 57 Metascore
    • 50 Jack Mathews
    Essentially conversations, confrontations, and an extremely pat -- and very verbal -- reconciliation.
    • 49 Metascore
    • 50 Jack Mathews
    Goldblum, who has made psychological confusion his actor's stock-in-trade, gives Nolan's behavior just enough credibility to keep his quest alive for us, and Heche gives a delightfully unaffected performance as Lucy.
    • 69 Metascore
    • 50 Jack Mathews
    Saga too arty for own good.
    • 59 Metascore
    • 50 Jack Mathews
    Makes you appreciate opera, or NoDoz.
    • 49 Metascore
    • 50 Jack Mathews
    There aren't many better examples of how commercial intuition sabotages story integrity in today's Hollywood.
    • 41 Metascore
    • 50 Jack Mathews
    Gets the proportions all wrong -- too much magic, not enough realism.
    • 47 Metascore
    • 50 Jack Mathews
    Underdeveloped and badly diluted by overlong -- and overly stylized -- forays into the drug use, street hustling and cultural alienation that mostly affects the boys' friends.
    • 52 Metascore
    • 50 Jack Mathews
    As urban gangster drama, Once in the Life is way below mundane, and Fishburne's direction exceeds the rookie jitters.
    • 38 Metascore
    • 50 Jack Mathews
    This ponderous romantic melodrama...passes like a day behind bars.
    • 53 Metascore
    • 50 Jack Mathews
    Only David Paymer -- and the actor formerly known as the singer Meat Loaf, playing Newman's suspicious neighbor, ring true.
    • 46 Metascore
    • 50 Jack Mathews
    Zwart never gets the tone right in this very American comedy.
    • 41 Metascore
    • 50 Jack Mathews
    Star-packed fiasco.
    • 46 Metascore
    • 50 Jack Mathews
    Beautifully shot but overly spare documentary.
    • 31 Metascore
    • 50 Jack Mathews
    The characters she (Ephron) invents are not very interesting, and aside from the always reliable Travolta, the performances are uniformly aligned.
    • 47 Metascore
    • 50 Jack Mathews
    On my list of favorite sports, I rank sumo wrestling just ahead of the truck pull, so I'm not a prime candidate for a "Full Monty" wanna-be about female sumo wrestlers.
    • New York Daily News
    • 42 Metascore
    • 50 Jack Mathews
    Trapped does have a fine ensemble of actors and, except for what may be the most outrageously idiotic and improbable ending in a few years, is not that bad a movie.
    • 65 Metascore
    • 50 Jack Mathews
    The film's overriding messages are of personal responsibility and redemption. If that is Villeneuve's objective, it's done as an insidious polemic. If not, it's guilty of an even greater sin: It's boring.
    • 66 Metascore
    • 50 Jack Mathews
    The script gets so silly, the Monty Python troupe would reject it.
    • 47 Metascore
    • 50 Jack Mathews
    There's something deeper at play in the film, something psychologically foul, voyeuristic and personal.
    • 66 Metascore
    • 50 Jack Mathews
    Barely qualifies as a documentary. It's the personal journey of a man hoping to claim a million-dollar literary prize by proving that Marlowe wrote Shakespeare.
    • 49 Metascore
    • 50 Jack Mathews
    Some terrific characters and some of the year's punchiest comic dialogue.
    • 73 Metascore
    • 50 Jack Mathews
    The intimate love story is overwhelmed by the carnage. It may be an accurate picture of life in Medellin, but it's not convincing.
    • 45 Metascore
    • 50 Jack Mathews
    Sometimes, movies would work better if you couldn't see them.
    • 48 Metascore
    • 50 Jack Mathews
    The film is otherwise a self-indulgent lark.
    • 33 Metascore
    • 50 Jack Mathews
    Banderas has some very effective moments, but in his emotional scenes, Cristofer has him screaming his lines into Jolie's face with such a spritzing fury, she might have filed a union grievance.
    • 37 Metascore
    • 50 Jack Mathews
    The tragedy that separates the Good Crush from the Bad Crush is a cleaver that severs the film's relationship with reality.
    • New York Daily News
    • 51 Metascore
    • 50 Jack Mathews
    The strength of Windtalkers is in its occasional, all-too-short respites from battle, when Enders is struggling with his demons and Yahzee is trying to understand his aloofness.
    • New York Daily News
    • 75 Metascore
    • 50 Jack Mathews
    The result is a long night of confrontations that feel heavily rehearsed and unlikely. There are some good moments, but I didn't believe any of this.
    • 23 Metascore
    • 50 Jack Mathews
    It's never a good thing to notice that the actors in a movie are having a better time than you are. It's so unfair. They're paid to work, you're paying for fun.
    • 42 Metascore
    • 50 Jack Mathews
    Among the year's biggest disappointments.
    • 47 Metascore
    • 50 Jack Mathews
    Here’s a double-scoop for conspiracy theorists.
    • 52 Metascore
    • 50 Jack Mathews
    Don't like archetypes? Wait till you meet the cliches.
    • 37 Metascore
    • 50 Jack Mathews
    Though a stickler might ask what's at stake in a fight to the death between two guys who are already dead, the hard-core fans aren't likely to be disappointed.
    • 44 Metascore
    • 50 Jack Mathews
    Its noisily inappropriate pop-rock score overwhelms its meager subplots about British class conflict.
    • 60 Metascore
    • 50 Jack Mathews
    There's an inherent distance between movies and their audiences that -- combined with the distance between 9/11 and today's opening of the film -- The Guys can't bridge.
    • 56 Metascore
    • 50 Jack Mathews
    Though the film, adapted from a novel by Robert O'Connor, is obviously trying to reference "Catch-22," it is far too dark and violent to be funny.
    • 45 Metascore
    • 50 Jack Mathews
    Where's the levity, you ask? There is none, or rather, there is none that Manuel can perceive.
    • 43 Metascore
    • 50 Jack Mathews
    Too often crosses the line between good melodrama and rank cliché.
    • 43 Metascore
    • 50 Jack Mathews
    Jelski's dialogue is razor sharp and she got a terrific performance from the relatively inexperienced Gummersall, who runs a gamut of emotions and holds the screen like a seasoned star.
    • 64 Metascore
    • 50 Jack Mathews
    Has many of the qualities that made the actor such a great target for self-parody in Spike Jonze's "Being John Malkovich" - it's sober, deliberate, self-consciously mysterious and no fun at all.
    • 54 Metascore
    • 50 Jack Mathews
    Gerry isn't much of anything, and doesn't claim to be. It's a movie stripped of its movieness.
    • 45 Metascore
    • 50 Jack Mathews
    Ralph Fiennes has faced a lot of acting challenges in his career, but playing a New York Republican who could win an endorsement from Susan Sarandon might be the toughest. Mostly, he handles the task by simply smiling warmly throughout, and gets away with it.
    • 49 Metascore
    • 50 Jack Mathews
    Like Schwarzenegger himself, it looks tired, and a little bored.
    • 48 Metascore
    • 50 Jack Mathews
    The setting and circumstances of the war overwhelm the personal story and diminish the dilemma of the title character's love life.
    • 43 Metascore
    • 50 Jack Mathews
    Pie 2's greatest asset is the rare, infectious amiability of its cast of characters and the actors playing them.
    • 47 Metascore
    • 50 Jack Mathews
    One long camp joke, with vamped scenes strung together.
    • 51 Metascore
    • 50 Jack Mathews
    There is one good, legitimate scare in Robert Zemeckis' quasi-ghost thriller What Lies Beneath, and that's just not enough for a movie that lasts more than two hours.
    • 59 Metascore
    • 50 Jack Mathews
    Shyamalan has learned from his idol (Spielberg) how to manipulate audience emotion through the intimacy of an ordinary family that is "contacted." But he is even more shameless about it.
    • 68 Metascore
    • 50 Jack Mathews
    Often tedious, sometimes fascinating anthology.
    • 59 Metascore
    • 50 Jack Mathews
    Besides repeating his premise that only fools fall in love and deserve whatever circle of hell they enter for it, he seems to really believe that morality has no place in art. Certainly, he's keeping it out of his.
    • 61 Metascore
    • 50 Jack Mathews
    Mostly, though, Hayek's problem is one of physical miscasting. She's so tiny next to the tall, rotund Molina that she looks like child in their scenes together. And despite a fake caterpillar brow, she's just not believable as a woman bemoaning her disfigurements.
    • 50 Metascore
    • 50 Jack Mathews
    The changes are meant to make it easier for audiences to accept Vincent's loyalty to Angelo and Joey, but they blunt the genetic mystery that made McAlary's story so compelling in the first place.
    • 34 Metascore
    • 50 Jack Mathews
    The Czech Republic and Russia, the respective homes of Emil and Oleg, should sue.
    • 53 Metascore
    • 50 Jack Mathews
    You have no idea how determined director Rich Cowan is to suck the last drop of sap out of this tree.
    • 39 Metascore
    • 50 Jack Mathews
    The movie is as unpleasant as its hero, and the film audience gets no more for its money than the customers at the Laughing Stock. Still, watching Whaley take Jimmy down his tortured path has some morbid appeal -- like a train wreck in progress.
    • 69 Metascore
    • 50 Jack Mathews
    Allen was out of his element in creating characters who feel like East Coast cousins of the Clampetts, and his dialogue has never been more banal or forced.
    • 51 Metascore
    • 50 Jack Mathews
    I may be wrong, but I think Guy Pearce is wearing Nicole Kidman's false nose in The Hard Word. Whatever it is that's on his face, it looks like a dead cod and won't win him an Oscar.
    • 55 Metascore
    • 50 Jack Mathews
    Despite the audience pandering -- not just in its violence, but in its wall-to-wall sexual vulgarity -- there are terrific elements in Baby Boy.
    • 63 Metascore
    • 50 Jack Mathews
    Dunst makes Davies the most confident and interesting person aboard the Oneida and makes this voyage almost, but not quite, worth taking.
    • New York Daily News
    • 43 Metascore
    • 50 Jack Mathews
    There's only so much meaningful interplay you can get out of a beachful of slackers and some tanning oil.
    • 45 Metascore
    • 50 Jack Mathews
    Trying to resist Reese is like trying to resist Reese's Pieces: They're always the same but you can't help yourself.
    • 53 Metascore
    • 50 Jack Mathews
    The overall effect of Lucas' digital mania has been detrimental to the saga. Where the first trilogy was mythological fantasy, the second is pure cartoon. The sad truth is, the more three-dimensional they look, the more two-dimensional they are.
    • New York Daily News
    • 14 Metascore
    • 50 Jack Mathews
    The special effects work fine for minor acts of magic, but the climactic aerial dragon fight is lame, and most of the performances are at the level of high school plays.
    • 46 Metascore
    • 50 Jack Mathews
    A brutally claustrophobic battle of wits and will, whose cruel nature ultimately seems to turn on the audience.
    • 67 Metascore
    • 50 Jack Mathews
    Tough, unsentimental British film.
    • 24 Metascore
    • 50 Jack Mathews
    Might have worked as a sex comedy, certainly as porn. But as a suspense thriller, it's creepy for all the wrong reasons.
    • 30 Metascore
    • 50 Jack Mathews
    It's not honest, and it's certainly no solution.
    • 47 Metascore
    • 50 Jack Mathews
    Wenham and Porter are appealing actors, and Teplitzky's depiction of their coupling has an unflinching realism.
    • 42 Metascore
    • 50 Jack Mathews
    The film is at its worst, however, when Daredevil takes over. That's partly because Affleck, a handsome fellow with possibly the most inert film presence of any actor since Sonny Tufts, looks ridiculous in Daredevil's red leather pantsuit and horned mask.
    • 52 Metascore
    • 50 Jack Mathews
    Something less than a gem. It has a brilliant lead performance from Yuliya Vysotskaya as Janna.
    • 57 Metascore
    • 50 Jack Mathews
    Amen is propelled by a most dubious assumption -- Gerstein's belief that if the German people knew of the Holocaust, they'd stop it.
    • 27 Metascore
    • 50 Jack Mathews
    Has sentimental goo oozing from its opening frame, and the gunk gets so thick so fast, it's a wonder the projector doesn't freeze before the molasses-strapped finale.
    • 33 Metascore
    • 50 Jack Mathews
    Has all the appeal of a video game without the joystick. All you can do is watch. It's noisy and moves fast, but if you can't play, why pay?
    • 86 Metascore
    • 50 Jack Mathews
    Sitting through the film is punishing work. The jittery closeups create a response that is more physical (I'm thinking nausea) than emotional, and there are no respites.
    • 61 Metascore
    • 50 Jack Mathews
    An underdevelopment of a bad idea that is entertaining, so far as it is, because of McDormand's totally unselfconscious performance. This wonderful actress is never less than interesting, and even as a caricature of a stereotype, she's fun to watch.
    • 31 Metascore
    • 50 Jack Mathews
    In trying to disguise his themes within the structure of a noir thriller, Parker was simply more successful at fooling himself than us.
    • 58 Metascore
    • 50 Jack Mathews
    Yukol has spread a huge canvas, gloriously costumed and photographed, but the staging and acting are often awkward and the saga is simply too dense for good drama.
    • 37 Metascore
    • 50 Jack Mathews
    The material here, written by Ehren Kruger, is beneath banal, and the three leads are so miscast that it's like watching a dress charade.
    • 67 Metascore
    • 50 Jack Mathews
    To say Spike Lee is repeating himself is itself repetitious -- he is getting B-O-R-I-N-G!
    • 50 Metascore
    • 50 Jack Mathews
    Ultimately, Murder by Numbers has been reduced to a tease, giving us a hint -- mostly through the fine performances of Gosling, who creates a charismatic sociopath, and Pitt, who's character seems genuinely troubled -- of the kind of relevant social drama it might have been.
    • New York Daily News
    • 65 Metascore
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