James Berardinelli

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For 3,145 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Beauty and the Beast
Lowest review score: 0 The Neon Demon
Score distribution:
3145 movie reviews
    • 50 Metascore
    • 50 James Berardinelli
    Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.
    • 56 Metascore
    • 50 James Berardinelli
    There are times when the story behind the making of a film is more interesting than the finished product. This is one of those occasions.
    • 60 Metascore
    • 50 James Berardinelli
    A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.
    • 65 Metascore
    • 50 James Berardinelli
    The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
    • 40 Metascore
    • 50 James Berardinelli
    Instead of being respectful of Bram Stoker's creation, it attempts to remake him as a tragic figure with superhero powers.
    • 33 Metascore
    • 50 James Berardinelli
    The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.
    • 47 Metascore
    • 50 James Berardinelli
    It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.
    • 28 Metascore
    • 50 James Berardinelli
    This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.
    • 43 Metascore
    • 50 James Berardinelli
    There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
    • 62 Metascore
    • 50 James Berardinelli
    Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.
    • 39 Metascore
    • 50 James Berardinelli
    Quickly causes viewers to lose patience, then interest.
    • 53 Metascore
    • 50 James Berardinelli
    The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.
    • 43 Metascore
    • 50 James Berardinelli
    Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.
    • 19 Metascore
    • 50 James Berardinelli
    This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.
    • 41 Metascore
    • 50 James Berardinelli
    Four Christmases is waste of time and a disappointment, but it's also relatively painless.
    • 40 Metascore
    • 50 James Berardinelli
    It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.
    • 54 Metascore
    • 50 James Berardinelli
    The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.
    • 56 Metascore
    • 50 James Berardinelli
    The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.
    • 46 Metascore
    • 50 James Berardinelli
    The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
    • 45 Metascore
    • 50 James Berardinelli
    Mechanical and artificial, and tells you what to think.
    • 41 Metascore
    • 50 James Berardinelli
    Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.
    • 51 Metascore
    • 50 James Berardinelli
    Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.
    • 40 Metascore
    • 50 James Berardinelli
    It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.
    • 48 Metascore
    • 50 James Berardinelli
    A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
    • 36 Metascore
    • 50 James Berardinelli
    Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
    • 42 Metascore
    • 50 James Berardinelli
    Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
    • 45 Metascore
    • 50 James Berardinelli
    Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.
    • 55 Metascore
    • 50 James Berardinelli
    The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.
    • 22 Metascore
    • 50 James Berardinelli
    Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
    • 51 Metascore
    • 50 James Berardinelli
    The Intern is a romantic comedy without the romance.
    • 41 Metascore
    • 50 James Berardinelli
    Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.
    • 44 Metascore
    • 50 James Berardinelli
    "Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.
    • 26 Metascore
    • 50 James Berardinelli
    Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
    • 47 Metascore
    • 50 James Berardinelli
    Call Project Almanac a "shaky-cam special", and it's a damn shame. The resultant production, both shaken and stirred, transforms a potentially entertaining pulp time travel story into a misbegotten exercise in frustration.
    • 33 Metascore
    • 50 James Berardinelli
    Never boring. It is, however, frustrating.
    • 60 Metascore
    • 50 James Berardinelli
    Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.
    • 44 Metascore
    • 50 James Berardinelli
    A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.
    • 30 Metascore
    • 50 James Berardinelli
    There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.
    • 47 Metascore
    • 50 James Berardinelli
    The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.
    • 64 Metascore
    • 50 James Berardinelli
    It's a muddled, meandering affair without a thesis or a point to prove.
    • 55 Metascore
    • 50 James Berardinelli
    The root problem of The 33 is that, in attempting to do too much, it succeeds at too little.
    • 57 Metascore
    • 50 James Berardinelli
    The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.
    • 54 Metascore
    • 50 James Berardinelli
    The resulting finished project is a series of skits performed by famous people doing favors for a friend, and it works about as well as one might expect from such an endeavor.
    • 28 Metascore
    • 50 James Berardinelli
    About as frightening as Walt Disney's Haunted Mansion.
    • 36 Metascore
    • 50 James Berardinelli
    Designed with Underworld fans in mind. Others need not apply.
    • 35 Metascore
    • 50 James Berardinelli
    The Clone Wars is the last nail in a coffin that has been propped up ever since George Lucas sold his creative soul in the quest for a few more pieces of gold.
    • 34 Metascore
    • 50 James Berardinelli
    This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.
    • 45 Metascore
    • 50 James Berardinelli
    As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.
    • 50 Metascore
    • 50 James Berardinelli
    There are lengthy stretches during this movie when it's deadly dull. This is the kind of film that's ideal for DVD viewing. Judicious use of the fast forward button will greatly increase The Ten's appeal.
    • 56 Metascore
    • 50 James Berardinelli
    This time, it's not because mainstream movie-goers in this country lack taste but because the film isn't worth buying a ticket to see. Mr. Bean's Holiday is no vacation.
    • 41 Metascore
    • 50 James Berardinelli
    The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.
    • 70 Metascore
    • 50 James Berardinelli
    From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
    • 46 Metascore
    • 50 James Berardinelli
    In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.
    • 25 Metascore
    • 50 James Berardinelli
    Gods of Egypt is often sloppy and fails in many ways but the cheesy momentum is hard to resist.
    • 27 Metascore
    • 50 James Berardinelli
    A sloppy, poorly focused comedy.
    • 34 Metascore
    • 50 James Berardinelli
    The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
    • 33 Metascore
    • 50 James Berardinelli
    The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.
    • 41 Metascore
    • 50 James Berardinelli
    Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.
    • 64 Metascore
    • 50 James Berardinelli
    Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.
    • 63 Metascore
    • 50 James Berardinelli
    The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.
    • 55 Metascore
    • 50 James Berardinelli
    One of the year's most uninspired inspirational stories.
    • 57 Metascore
    • 50 James Berardinelli
    Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.
    • 58 Metascore
    • 50 James Berardinelli
    This is a character we have seen a million times before and Eastwood brings little that's new or original to the part. The movie as a whole can be labeled with the same criticism.
    • 42 Metascore
    • 50 James Berardinelli
    12 year old boys will love the result. That’s not a good sign for anyone who has passed beyond their teenage years.
    • 48 Metascore
    • 50 James Berardinelli
    It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.
    • 66 Metascore
    • 50 James Berardinelli
    For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
    • 49 Metascore
    • 50 James Berardinelli
    The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.
    • 40 Metascore
    • 50 James Berardinelli
    Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).
    • 16 Metascore
    • 50 James Berardinelli
    This is the kind of movie that isn't even worth renting when it comes out on video because, with the possible exception of Michael Lerner and Omar Epps dancing to show tunes, you've seen it all before.
    • 34 Metascore
    • 50 James Berardinelli
    Comes across as a cheesy, fundamentally unsatisfying experience.
    • 34 Metascore
    • 50 James Berardinelli
    It's dull, childish, and uninspired.
    • 32 Metascore
    • 50 James Berardinelli
    Chock full of high-tech action, with a lot of chasing and shooting and explosions.
    • 39 Metascore
    • 50 James Berardinelli
    It's an excursion into a melodramatic morass that occasionally becomes difficult to sit through because it's so cloying.
    • 53 Metascore
    • 50 James Berardinelli
    The latest motion picture to take an intriguing premise and flush it into the septic tank.
    • 50 Metascore
    • 50 James Berardinelli
    Jack Reacher has the distinction of being little more than it initially appears to be: a clumsily condensed mystery/thriller novel made into a movie that offers little more than every other clumsily condensed mystery/thriller novel made into a movie.
    • 44 Metascore
    • 50 James Berardinelli
    The material isn't sufficiently funny to allow me to forgive the film's feeble storyline and two-dimensional inhabitants.
    • 51 Metascore
    • 50 James Berardinelli
    Haphazardly plotted, it not only falls prey to absolute predictability but chooses to have nearly every important conversation (except one) occur off-screen. That sort of laziness is unacceptable and results in a strong sense of audience dissatisfaction.
    • 45 Metascore
    • 50 James Berardinelli
    The inevitable twist ties things neatly together before leading to a confusing, borderline-indecipherable ending that fails to satisfy on a number of levels.
    • 50 Metascore
    • 50 James Berardinelli
    It's easy to be cynical about a movie like this which, despite its factual basis, is more product than story. The pandering is obvious.
    • 41 Metascore
    • 50 James Berardinelli
    Child 44 is a victim of poor adaptation. It is beset by problems related to flow and coherence; the narrative is confusing, the characters are provided with inadequate time for development, and dead-end subplots abound.
    • 15 Metascore
    • 50 James Berardinelli
    A second-rate regurgitation of "The Lord of the Rings." Everything about it, down to the set and costume design, apes Peter Jackson's epic trilogy. However, while "The Lord of the Rings" was a grand story of scope and power, In the Name of the King feels small in more ways than one.
    • 41 Metascore
    • 50 James Berardinelli
    At its best, Ride Along is tolerable. At its worst, it borders on insulting.
    • 40 Metascore
    • 50 James Berardinelli
    As slasher movies go, Halloween II is far from the bottom of the barrel, but, given its pedigree, one has a right to expect a higher degree of quality that what is delivered.
    • 57 Metascore
    • 50 James Berardinelli
    With 3-D, a little goes a long way and, in the absence of a legitimate script with credible characters, the fun dries up long before the running time has expired.
    • 34 Metascore
    • 50 James Berardinelli
    Lazily written and indifferently filmed, this sendup of action/spy movies rarely works as a satire and becomes downright unbearable when it attempts to do things like character/relationship building.
    • 36 Metascore
    • 50 James Berardinelli
    Whatever the reason, the waning months of 2014 have brought us the follow-up to 1994's "Dumb and Dumber", but the lengthy gestation period hasn't resulted in an appreciably upgraded experience.
    • 46 Metascore
    • 50 James Berardinelli
    It's not the unevenness of the comedy that kills Welcome Home Roscoe Jenkins but the illegitimacy of the drama.
    • 48 Metascore
    • 50 James Berardinelli
    As a shoot-'em-up, blast-'em-to-pieces film, it's not half bad. As a futuristic time travel movie, however, it has some very serious problems.
    • 34 Metascore
    • 50 James Berardinelli
    Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.
    • 52 Metascore
    • 50 James Berardinelli
    As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting.
    • 56 Metascore
    • 50 James Berardinelli
    The problem with the movie, whose title compresses "religious" and "ridiculous" into a single word, isn't that it milks more than one sacred cow but that it does so with minimal subtlety and intelligence.
    • 19 Metascore
    • 50 James Berardinelli
    At least Jessica Alba's legion of fans will have something to smile about. If nothing else, Helfrich has shown her in the best light. If only there was something worth seeing here other than her.
    • 54 Metascore
    • 50 James Berardinelli
    The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.
    • 37 Metascore
    • 50 James Berardinelli
    The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.
    • 43 Metascore
    • 50 James Berardinelli
    There's not a moment of originality in the entire motion picture.
    • 37 Metascore
    • 50 James Berardinelli
    For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.
    • 40 Metascore
    • 50 James Berardinelli
    To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.
    • 35 Metascore
    • 50 James Berardinelli
    70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
    • 42 Metascore
    • 50 James Berardinelli
    It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.
    • 57 Metascore
    • 50 James Berardinelli
    The problem isn’t the non-fiction book by Diane Ackerman around which the narrative has been constructed, but a series of “added” scenes and subplots that seem lifted from a bad B movie and have the unintended consequence of devaluing the story as a whole.

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