James Berardinelli

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For 3,198 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 Life of Brian (re-release)
Lowest review score: 0 A Hole in My Heart
Score distribution:
3198 movie reviews
    • 68 Metascore
    • 75 James Berardinelli
    Although engaging, Deepwater Horizon ultimately offers a mixed bag of an experience. The setup is considerably better than the payoff, front-loading the experience.
    • 51 Metascore
    • 75 James Berardinelli
    The thing that makes The Accountant unique, however, and elevates it above the garden variety action-thriller, is that the title character’s “superpowers” result from his autism.
    • 51 Metascore
    • 75 James Berardinelli
    Ender's Game is uneven - at times almost maddeningly so - with the first half offering more enjoyment than the second. Perhaps that's because, in military-style movies, I often prefer the training segments to the battle sequences.
    • 89 Metascore
    • 75 James Berardinelli
    If you think "Hero" is a sumptuous film, prepare to be blown away by House of Flying Daggers.
    • 70 Metascore
    • 75 James Berardinelli
    It
    One reason why It works is that it doesn’t rely solely on jump-scares and gore to startle audiences. Yes, there are some of both, but It is more about building tension than cheap gimmicks.
    • 64 Metascore
    • 75 James Berardinelli
    This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.
    • 57 Metascore
    • 75 James Berardinelli
    Teeth is not only odd but it's genre-defying. The film doesn't limit its field of choice: it's a black comedy, it's a drama about teen angst, it's a romance gone bad, it's a B-grade horror film, it's an allegory about female empowerment.
    • 69 Metascore
    • 75 James Berardinelli
    The acting is top-notch, the characters are three-dimensional, and the dialogue is sharp and witty.
    • 79 Metascore
    • 75 James Berardinelli
    Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.
    • 75 Metascore
    • 75 James Berardinelli
    A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.
    • 83 Metascore
    • 75 James Berardinelli
    Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.
    • 75 Metascore
    • 75 James Berardinelli
    It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.
    • 62 Metascore
    • 75 James Berardinelli
    A grim, thought-provoking drama. It aims to be both heartbreaking and (in an odd way) inspirational, although the former is more convincingly conveyed than the latter.
    • 67 Metascore
    • 75 James Berardinelli
    Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.
    • 50 Metascore
    • 75 James Berardinelli
    The movie is low-key but each scene is packed with information. Full understanding demands full attention.
    • 50 Metascore
    • 75 James Berardinelli
    No Reservations may not be a modern day classic but, despite the relatively small budget, it has more heart than nearly anything currently playing in multiplexes.
    • 71 Metascore
    • 75 James Berardinelli
    It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.
    • 68 Metascore
    • 75 James Berardinelli
    At times Client 9 feels frustratingly incomplete. Gibney hints at a conspiracy among Spitzer's enemies but is unable to fully substantiate this thesis.
    • 81 Metascore
    • 75 James Berardinelli
    Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.
    • 72 Metascore
    • 75 James Berardinelli
    An unremarkable bio-pic about a remarkable man.
    • 51 Metascore
    • 75 James Berardinelli
    Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.
    • 58 Metascore
    • 75 James Berardinelli
    Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.
    • 62 Metascore
    • 75 James Berardinelli
    A gleeful and unapologetic descent into delicious decadence, Killer Joe is proud of what it is and never tries to be something it isn't.
    • 85 Metascore
    • 75 James Berardinelli
    It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.
    • 81 Metascore
    • 75 James Berardinelli
    With names like Spielberg, Hanks, and the Coen Brothers, it's hard not to be excited about a project like Bridge of Spies. Yet, although the workmanlike production is solidly engaging, it falls short of the loftiest expectations. It's worth seeing but not one of the best films of 2015.
    • 67 Metascore
    • 75 James Berardinelli
    Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.
    • 34 Metascore
    • 75 James Berardinelli
    Ed Helms, a Hangover veteran, is a perfect choice to take over the reins from Chase.
    • 70 Metascore
    • 75 James Berardinelli
    It makes for a fascinating exploration of the human experience.
    • 65 Metascore
    • 75 James Berardinelli
    Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.
    • 71 Metascore
    • 75 James Berardinelli
    Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.
    • 43 Metascore
    • 75 James Berardinelli
    Those who have an inherent distaste for this sort of entertainment will appreciate Conan the Barbarian's impeccable production values without enjoying the story; most everyone else will be swept away by the film's spectacle.
    • 64 Metascore
    • 75 James Berardinelli
    There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.
    • 61 Metascore
    • 75 James Berardinelli
    The Secret Life of Pets is strong enough that parents won’t fall into a catatonic state while watching it with their offspring. Unlike top-notch animated fare, however, it’s questionable whether this can be considered “destination fare” for the single adult.
    • 58 Metascore
    • 75 James Berardinelli
    The battle scenes are well choreographed and contain enough uncertainty to make them genuinely exciting, but one would expect no less from a man who has overseen Civil War engagements (Glory) and Japanese strife (The Last Samurai).
    • 73 Metascore
    • 75 James Berardinelli
    With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.
    • 30 Metascore
    • 75 James Berardinelli
    No one in their right mind goes to an Adam Sandler movie for any reason other than to laugh, and Grown Ups delivers.
    • 73 Metascore
    • 75 James Berardinelli
    Suffused with satire, wit, and the dry, tongue-in-cheek flavor of comedy one rarely finds in American productions, this stop-motion animated excursion pokes fun at pirate conventions while representing icons Queen Victoria and Charles Darwin as a bitch and a twit, respectively.
    • 66 Metascore
    • 75 James Berardinelli
    Despite some obvious overplotting, Oscar and Lucinda is a mostly effective and often affecting motion picture that touches our hearts while daring our minds to balk at its implausible coincidences.
    • 96 Metascore
    • 75 James Berardinelli
    For parents looking to spend time in a theater with their kids or adults who want something lighter and less testosterone-oriented than the usual summer fare, Ratatouille offers a savory main course.
    • 83 Metascore
    • 75 James Berardinelli
    In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.
    • 62 Metascore
    • 75 James Berardinelli
    The Rocketeer may not be perfect, but it's an excellent example of how to adapt a comic book to the screen.
    • 54 Metascore
    • 75 James Berardinelli
    Ten Items or Less is not landmark cinema nor is it deeply thought-provoking, but it's smart, funny, knowledgeable about life and people, and a crowd-pleaser.
    • 41 Metascore
    • 75 James Berardinelli
    Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.
    • 77 Metascore
    • 75 James Berardinelli
    An infectious celebration of life and love.
    • 45 Metascore
    • 75 James Berardinelli
    A thriller with enough of the right ingredients to provide a couple hours of escapism.
    • 69 Metascore
    • 75 James Berardinelli
    a 95-minute thrill ride from director Tony Scott, delivers the right level of adrenaline.
    • 74 Metascore
    • 75 James Berardinelli
    Despite a few instances of profanity, the film could be at home fifty years ago. Lost in Paris is a capricious diversion with enough English that subtitle-phobes won’t feel completely adrift.
    • 60 Metascore
    • 75 James Berardinelli
    Finally - a superhero movie that doesn't feel like every other superhero movie.
    • 58 Metascore
    • 75 James Berardinelli
    Dramatically, Disclosure isn't especially potent, but it isn't drama that Crichton and Levinson are striving for. On its own terms -- the fear of lost security that many thrillers prey upon -- Disclosure works, and that's all that anyone can reasionably ask from this kind of motion picture.
    • 46 Metascore
    • 75 James Berardinelli
    It's a bit of a throwback and a solid family film and, at the time, represented a well-intentioned leap of faith of the sort that studios rarely take.
    • 74 Metascore
    • 75 James Berardinelli
    In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.
    • 68 Metascore
    • 75 James Berardinelli
    Not much happens during the course of the movie but, as with all good dramas, the protagonists are richly drawn and the events of their lives become of interest.
    • 72 Metascore
    • 75 James Berardinelli
    The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.
    • 44 Metascore
    • 75 James Berardinelli
    Hostage has suspense and momentum.
    • 66 Metascore
    • 75 James Berardinelli
    This isn’t "Miami Vice." In fact, the intent (perhaps intentional) is for the gritty, noir-tinged The Infiltrator to tilt in the opposite direction.
    • 78 Metascore
    • 75 James Berardinelli
    Detroit, despite its flaws, is compelling and deeply unsettling. Its thriller and horror elements gain resonance because, at least to some degree, they’re based on real events.
    • 61 Metascore
    • 75 James Berardinelli
    The movie is pleasingly vulgar and, although there's no nudity, the whole thing is about sex.
    • 67 Metascore
    • 75 James Berardinelli
    Solid family entertainment, and it's better than 2006's previous tepid animated releases.
    • 81 Metascore
    • 75 James Berardinelli
    I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.
    • 81 Metascore
    • 75 James Berardinelli
    For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.
    • 56 Metascore
    • 75 James Berardinelli
    In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.
    • 56 Metascore
    • 75 James Berardinelli
    By the time the two hour running length has expired, it's safe to say that Real Steel comes across as a legitimate crowd-pleaser.
    • 77 Metascore
    • 75 James Berardinelli
    It starts out small and reaches its crescendo 90 minutes later with an incredible sequence that generates more suspense from a series of text messages than I would have dreamed possible.
    • 57 Metascore
    • 75 James Berardinelli
    For something like Horrible Bosses to sparkle, the actors have to shine... and shine they do.
    • 64 Metascore
    • 75 James Berardinelli
    The film is not riotous, but it is sporadically amusing.
    • 56 Metascore
    • 75 James Berardinelli
    Harsh Times occasionally echoes "Taxi Driver," Ayer's own "Training Day," and even "First Blood" in the way it examines the psychological disintegration of a character and the seduction of amorality.
    • 73 Metascore
    • 75 James Berardinelli
    A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.
    • 83 Metascore
    • 75 James Berardinelli
    Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.
    • 48 Metascore
    • 75 James Berardinelli
    trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."
    • 70 Metascore
    • 75 James Berardinelli
    While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.
    • 70 Metascore
    • 75 James Berardinelli
    The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.
    • 44 Metascore
    • 75 James Berardinelli
    The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.
    • 72 Metascore
    • 75 James Berardinelli
    Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.
    • 53 Metascore
    • 75 James Berardinelli
    It's an enjoyable and unpretentious perspective of life that reminds us how important and rewarding the little things can be.
    • 83 Metascore
    • 75 James Berardinelli
    To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.
    • 81 Metascore
    • 75 James Berardinelli
    So what’s the final verdict? A mixed bag. It’s a good start to a new trilogy but hardly the hoped-for masterpiece. It’s a solid space opera spectacle with enough nostalgia to overpower even the most hard-hearted child of the ‘70s and ‘80s but it relies a little too much on recycling old plot elements.
    • 39 Metascore
    • 75 James Berardinelli
    Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.
    • 83 Metascore
    • 75 James Berardinelli
    If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.
    • 72 Metascore
    • 75 James Berardinelli
    This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.
    • 75 Metascore
    • 75 James Berardinelli
    Tonally, it’s closer to the Adam West television program than to any of the subsequent incarnations, although (if possible) The Lego Batman Movie takes itself even less seriously.
    • 45 Metascore
    • 75 James Berardinelli
    Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.
    • 44 Metascore
    • 75 James Berardinelli
    This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.
    • 65 Metascore
    • 75 James Berardinelli
    There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.
    • 81 Metascore
    • 75 James Berardinelli
    The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.
    • 49 Metascore
    • 75 James Berardinelli
    There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.
    • 60 Metascore
    • 75 James Berardinelli
    The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.
    • 45 Metascore
    • 75 James Berardinelli
    Joe Versus the Volcano is difficult to review because some parts are fresh, inventive, and entertaining, while others are near-misses or even complete failures. On balance, however, I readily admit liking this movie, although the second half pales in comparison to the first.
    • 78 Metascore
    • 75 James Berardinelli
    It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.
    • 76 Metascore
    • 75 James Berardinelli
    Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.
    • 76 Metascore
    • 75 James Berardinelli
    The most notable element of screenwriter Dan Gilroy's debut feature is the performance he elicits from Jake Gyllenhaal. In the tradition of Brando, Bale, Theron, and others, Gyllenhaal undergoes a radical physical transformation to play the part of Louis Bloom.
    • 65 Metascore
    • 75 James Berardinelli
    A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.
    • 78 Metascore
    • 75 James Berardinelli
    Although Logan Lucky works as a heist film, it neither amazes with its narrative contortions nor keeps the audience waiting with baited breath for the unveiling of some big twist.
    • 62 Metascore
    • 75 James Berardinelli
    This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.
    • 72 Metascore
    • 75 James Berardinelli
    Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.
    • tbd Metascore
    • 75 James Berardinelli
    Its video-on-demand availability makes Anti Matter easily accessible and it will reward those who seek it out.
    • 55 Metascore
    • 75 James Berardinelli
    The movie is loud, fun, quick moving, and features some nice acting turns.
    • 66 Metascore
    • 75 James Berardinelli
    There's less whimsy to be found here than in "The Princess Bride," but the film is likely to appeal to the same group of older children and adults that appreciated Rob Reiner's classic.
    • 59 Metascore
    • 75 James Berardinelli
    Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.
    • 47 Metascore
    • 75 James Berardinelli
    For me, The Hitman’s Bodyguard is the epitome of what a summer movie should be. There’s sufficient spectacle to satisfy the “wow!” factor, some hammy performances by actors in their wheelhouses, a half-dozen solid laughs, and a script that, if not likely to be called “clever” or “smart”, doesn’t demand a frontal lobotomy to be enjoyed.
    • 88 Metascore
    • 75 James Berardinelli
    The movie is punctuated by comedy that at times verges on slapstick but there's an underlying anger in evidence - anger at the popular mindset that allows movies like "Transformers" to flourish while artistic endeavors fail.
    • 73 Metascore
    • 75 James Berardinelli
    The film's adult leads, Naomi Watts and Ewan McGregor, give powerful, natural performances.
    • 58 Metascore
    • 75 James Berardinelli
    Heartfelt but safe. The missing element is the edgy irrelevance that elevated Crowe's best directorial efforts - "Say Anything," "Jerry Maguire," and "Almost Famous" - above their generic counterparts.
    • 66 Metascore
    • 75 James Berardinelli
    Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.
    • 58 Metascore
    • 75 James Berardinelli
    Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.
    • 76 Metascore
    • 75 James Berardinelli
    The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.
    • 79 Metascore
    • 75 James Berardinelli
    From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.
    • 89 Metascore
    • 75 James Berardinelli
    The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.
    • 45 Metascore
    • 75 James Berardinelli
    The style feels a little like that of the recently departed TV show "24," albeit without Kiefer Sutherland, the split screens, and the ticking clock.
    • 76 Metascore
    • 75 James Berardinelli
    It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.
    • 54 Metascore
    • 75 James Berardinelli
    Despite various shoot-outs, dogfights, chases, and crashes, Oblivion is not a teen-friendly film. The storyline is too dense and the pacing too uneven.
    • 76 Metascore
    • 75 James Berardinelli
    Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.
    • 57 Metascore
    • 75 James Berardinelli
    While this is admittedly not lighthearted mainstream fare, the subject matter is interesting and is handled in a manner that offers a compelling and sometimes unsettling 95 minutes.
    • 78 Metascore
    • 75 James Berardinelli
    It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.
    • 60 Metascore
    • 75 James Berardinelli
    McFarland USA, like "Hoosiers," makes characters a priority. The film, directed by New Zealander Niki Caro, focuses on the people involved in the drama. The narrative doesn't saddle them with cliché-riddled subplots; it makes them and their concerns real.
    • 41 Metascore
    • 75 James Berardinelli
    Although the film's real-world credibility is shaky, it works on its own terms.
    • 62 Metascore
    • 75 James Berardinelli
    5x2
    5x2 is a little talky and the pace is slow, but, for this kind of motion picture, it's one of the best around.
    • 77 Metascore
    • 75 James Berardinelli
    Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.
    • 56 Metascore
    • 75 James Berardinelli
    The DUFF would make John Hughes smile. With its mixture of wit, teen friendly situations, and heart, The DUFF feels like something that might have come out of Hughes' '80s playbook.
    • 58 Metascore
    • 75 James Berardinelli
    This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.
    • 87 Metascore
    • 75 James Berardinelli
    This tale of four independent sisters of differing temperaments is undeniably melodramatic, but it's very good melodrama, with an accumulation of vitality and charm that elevates the movie to an unexpectedly high level.
    • 84 Metascore
    • 75 James Berardinelli
    Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.
    • 63 Metascore
    • 75 James Berardinelli
    It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.
    • 48 Metascore
    • 75 James Berardinelli
    Divergent is less action-oriented than "The Hunger Games" but no less compelling.
    • 57 Metascore
    • 75 James Berardinelli
    A paranoia-choked atmosphere is the primary reason why The Thing works as well as it does. The setup is standard stuff, establishing that the characters are isolated and can expect no help from the outside. The realization there could be an alien among them, and any one of them might not be human, is what launches The Thing into a spiral of escalating tension.
    • 58 Metascore
    • 75 James Berardinelli
    Glory Road's strength is the way in which it blends social awareness into the sports genre.
    • 50 Metascore
    • 75 James Berardinelli
    Anonymous is well-paced and never threatens to bore or become too scholarly.
    • 63 Metascore
    • 75 James Berardinelli
    The best thing that can be said about Wright's immersion into the world of Tolstoy is that it's interesting - a quality not always true of Anna Karenina adaptations. The movie also doesn't feel rushed, successfully capturing more of the novel's secondary stories into its fabric.
    • 65 Metascore
    • 75 James Berardinelli
    The unpretentious, easy-to-digest style and short running length (a shade over 90 minutes), when coupled with strong acting (especially on Williams' part), make My Week with Marilyn a pleasant end-of-the-year diversion.
    • 57 Metascore
    • 75 James Berardinelli
    Eastwood has captured a peculiar yet involving slice of life.
    • 66 Metascore
    • 75 James Berardinelli
    Has once again caught lightning in a bottle and unleashed it on audiences, blending humor, adventure, and a lot of nifty special effects-enabled gadgets and creatures into a movie that provides 1 1/2 hours of unfettered entertainment for children, grandparents, and everyone in between.
    • 67 Metascore
    • 75 James Berardinelli
    This is one of the director's mainstream efforts, although his penchant for the offbeat and oddly artistic has not been completely reined in. But there's plenty of unsparing, bone-crunching violence to dismiss the idea that Soderbergh is making an art film in disguise.
    • 58 Metascore
    • 75 James Berardinelli
    City of Ember has almost anything one could want from a science fiction-based family adventure film: likeable characters, an imaginative setting, and a fast pace.
    • 58 Metascore
    • 75 James Berardinelli
    Enjoyable, and will likely appeal to anyone who appreciated the 2001 film.
    • 60 Metascore
    • 75 James Berardinelli
    This movie ranks as better-than-par entertainment.
    • 49 Metascore
    • 75 James Berardinelli
    Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).
    • 45 Metascore
    • 75 James Berardinelli
    A thoughtful, almost poetic, piece that puts forth the argument that redemption is not easily achieved.
    • 78 Metascore
    • 75 James Berardinelli
    In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it.
    • 65 Metascore
    • 75 James Berardinelli
    There are not a lot of laughs in Dan Rush's directorial debut, nor are there intended to be. Rush keeps the tone as light as possible, but no one would mistake this for anything other than a quirky, character-based drama.
    • 56 Metascore
    • 75 James Berardinelli
    Clooney and Zellweger play off each other perfectly, delivering their dialogue with the rhythm of a well-choreographed dance and falling in love in the time-honored tradition of '40s romantic comedies.
    • 40 Metascore
    • 75 James Berardinelli
    As the movie approached the end credits, I cared about what happened to these characters, and that made the coincidences and occasional missteps forgivable.
    • 62 Metascore
    • 75 James Berardinelli
    In many ways, Godzilla is a cousin to Edwards' earlier movie, "Monsters," in that it focuses more on the ineffectual humans than the monsters.
    • 60 Metascore
    • 75 James Berardinelli
    On the whole, it works although perhaps not as well as it might have if the central relationship had more carefully established.
    • 72 Metascore
    • 75 James Berardinelli
    Pi
    For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.
    • 73 Metascore
    • 75 James Berardinelli
    The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.
    • 66 Metascore
    • 75 James Berardinelli
    Tennant takes this familiar material and crafts a charming, captivating motion picture.
    • 67 Metascore
    • 75 James Berardinelli
    Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.
    • 84 Metascore
    • 75 James Berardinelli
    There's more to the film than nostalgia; it also offers insight, and that's what makes it worth viewing on the big screen rather than waiting for its Discovery Channel premiere.
    • 70 Metascore
    • 75 James Berardinelli
    The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.
    • 70 Metascore
    • 75 James Berardinelli
    There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.
    • 53 Metascore
    • 75 James Berardinelli
    Even though the ending is inescapable (and therefore predictable), that does little to diminish its effectiveness.
    • 47 Metascore
    • 75 James Berardinelli
    Swing Vote marries mild satire with Capra-esque melodrama in a formula that works surprisingly well.
    • 51 Metascore
    • 75 James Berardinelli
    There’s enough variety here that everyone’s funny bone should be tickled from time-to-time.
    • 60 Metascore
    • 75 James Berardinelli
    Perhaps the most surprising thing about The Adjustment Bureau is that, irrespective of the misdirection of the trailers and T.V. spots, this is more of a romance than a science fiction thriller.
    • 68 Metascore
    • 75 James Berardinelli
    This is a film for anyone who prefers to leave the theater smiling.
    • 36 Metascore
    • 75 James Berardinelli
    The criss-crossing between drama, thriller, and horror is nothing if not arresting. It is also unsettling.
    • 63 Metascore
    • 63 James Berardinelli
    Boasts a strong ensemble of performances. Martin Freeman is the perfect choice for an ordinary, unheroic Earth guy.
    • 46 Metascore
    • 63 James Berardinelli
    The film offers little more depth about the writer than his Wikipedia article and considerably less than one would get from reading the semi-autobiographical The Catcher in the Rye.
    • 64 Metascore
    • 63 James Berardinelli
    Elf
    More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.
    • 62 Metascore
    • 63 James Berardinelli
    SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.
    • 49 Metascore
    • 63 James Berardinelli
    Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.
    • 61 Metascore
    • 63 James Berardinelli
    Although Rumble in the Bronx isn't Chan's best work it's still ninety minutes of solid, campy entertainment. Most of the running time is devoted to the slickly choreographed action scenes, leaving virtually no room for plot or character development.
    • 38 Metascore
    • 63 James Berardinelli
    On autopilot from beginning to end, Lay the Favorite feels like sitcom blown up to big-screen proportions. The laughs aren't raucous or numerous, the character development is sketchy at best, and the insider's perspective on bookies and gambling is superficial.
    • 70 Metascore
    • 63 James Berardinelli
    Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.
    • 59 Metascore
    • 63 James Berardinelli
    For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.
    • 66 Metascore
    • 63 James Berardinelli
    Like most sequels, it pacifies its core demographic by offering “more of the same.” To that extent, it can be said to be successful.
    • 65 Metascore
    • 63 James Berardinelli
    Salt is more than mere seasoning; it's a full bouillabaisse comprised of bits and pieces of James Bond, "The Manchurian Candidate," "The Bourne Identity," TV's "24," and the Nelson DeMille novel "The Charm School."
    • 73 Metascore
    • 63 James Berardinelli
    There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.
    • 43 Metascore
    • 63 James Berardinelli
    The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.
    • 60 Metascore
    • 63 James Berardinelli
    Rules Don’t Apply is a strange, schizophrenic sort of movie. Despite moments of emotional strength and bursts of quirky comedy, the film is undone by its generally lethargic tone and the film’s insistence to shift its focus from the putative lead characters to a supporting player.
    • 74 Metascore
    • 63 James Berardinelli
    For a documentarian of Herzog's stature, Into the Abyss ranks as a disappointment.
    • 66 Metascore
    • 63 James Berardinelli
    There are things to like about the second Hobbit film - the director's vision of Middle Earth is as beguiling as ever - but the bloating that was a problem with An Unexpected Journey is an even bigger issue here.
    • 33 Metascore
    • 63 James Berardinelli
    Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.
    • 56 Metascore
    • 63 James Berardinelli
    There's nothing excessively problematical with The Recruit that excising the final fifteen minutes wouldn't cure.
    • 46 Metascore
    • 63 James Berardinelli
    A clunky script that reduces the characters to one-dimensional stereotypes.
    • 46 Metascore
    • 63 James Berardinelli
    Unfortunately, much of the skill and craft evident during the first hour evaporate during the second, when mayhem and bloodshed supplant legitimate scares and intelligent writing.
    • 45 Metascore
    • 63 James Berardinelli
    Here's hoping Breaking Dawn Part Two gives us more of what Part One provided in the final 30 minutes than what it forced viewers to endure to get there.
    • 37 Metascore
    • 63 James Berardinelli
    Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.
    • 65 Metascore
    • 63 James Berardinelli
    There are plenty of small pleasures to be found throughout Darnell Martin's feature, but a compelling storyline featuring three-dimensional characters is not among them.
    • 51 Metascore
    • 63 James Berardinelli
    One key missing element: the world in which this story takes place never feels unique. We aren't drawn into it the way we were with Middle Earth or Hogwarts. In fact, with all the airships flying around, there are times when it feels like an extension of Stardust.
    • 39 Metascore
    • 63 James Berardinelli
    The Lucky One delivers what's expected from it: a heartfelt romantic melodrama with attractive actors in the lead roles; gauzy, moody photography; a saccharine score; and all the heat that a PG-13 production can muster.
    • 56 Metascore
    • 63 James Berardinelli
    The film is sporadically amusing but gives the impression it should be generating more laughs than it does.
    • 52 Metascore
    • 63 James Berardinelli
    I am conflicted about this film. I like the fact that it takes chances. I appreciate that it's trying to do a supernatural love story without falling into the schmaltz of "Ghost." Yet I recognize that the screenplay is like Swiss cheese - riddled with hole.
    • 68 Metascore
    • 63 James Berardinelli
    Although this might have been considered cutting edge 20 or 30 years ago, it has been done so often in recent years that it feels a little tired.
    • 30 Metascore
    • 63 James Berardinelli
    In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.
    • 61 Metascore
    • 63 James Berardinelli
    The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.
    • 60 Metascore
    • 63 James Berardinelli
    With this cast, this director, and this source material, I expected to be swept away on a wave of enchantment, but nothing close to that happened.
    • 47 Metascore
    • 63 James Berardinelli
    While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.
    • 78 Metascore
    • 63 James Berardinelli
    The ending is muddled as an unsuccessful attempt is made to provide closure to a story that, if told frankly, shouldn’t have one.
    • 68 Metascore
    • 63 James Berardinelli
    Unfortunately, a little too much pointless running around coupled with the underdevelopment of several key characters results in a movie that's never more than mildly diverting.
    • 44 Metascore
    • 63 James Berardinelli
    Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.
    • 56 Metascore
    • 63 James Berardinelli
    For the most part, the documentary segments, in addition to being unilluminating, are intrusive.
    • 57 Metascore
    • 63 James Berardinelli
    Narrative weakness and bad horror tropes get in the way and Mama's ending disappoints.
    • 67 Metascore
    • 63 James Berardinelli
    Perhaps the most disappointing thing about Suffragette is that it too obviously wants to be an important movie. The self-consciousness of this desire is evident.
    • 31 Metascore
    • 63 James Berardinelli
    Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.
    • 49 Metascore
    • 63 James Berardinelli
    The 1972 movie was better paced and presented a superior story but this one has its own pleasures. It's an interesting failure - a film that works more successfully as a study of technique and writing than as a motion picture.
    • 59 Metascore
    • 63 James Berardinelli
    The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.
    • 70 Metascore
    • 63 James Berardinelli
    District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting.
    • 40 Metascore
    • 63 James Berardinelli
    Unfortunately, an A-list group of actors doesn't mean a lot when there isn't much of a script.
    • 36 Metascore
    • 63 James Berardinelli
    Pan
    The film fulfills its limited mandate of providing fast-paced adventure and some nice eye candy without adding anything memorable to the tale of The Boy Who Can Fly.
    • 68 Metascore
    • 63 James Berardinelli
    Lovers of drama featuring quirky characters will find things to appreciate.
    • 66 Metascore
    • 63 James Berardinelli
    On balance, one could argue that Seven Psychopaths warrants a better rating than a mediocre **1/2, but the aftertaste is so bitter that it diminishes the sweetness that started off the meal.
    • 46 Metascore
    • 63 James Berardinelli
    In the Rambo canon, where does this one fit? The tone is closer to "First Blood" but the body count is more "Rambo III." No matter how one dices and slices this new Rambo, the first one in 20 years, it will likely please fans of the long-in-the-tooth series.
    • 45 Metascore
    • 63 James Berardinelli
    What's missing? Simple: the romance. This movie is so intent upon getting cheap laughs and putting the protagonists in uncomfortable situations that it forgets they're supposed to be falling in love.
    • 69 Metascore
    • 63 James Berardinelli
    A mildly enjoyable romantic comedy.
    • 43 Metascore
    • 63 James Berardinelli
    This movie is about mayhem on wheels, tough guys viewers can root for, and villains whose comeuppances audiences crave. That's what Death Race is all about and, for what it is, it does a solid job.
    • 44 Metascore
    • 63 James Berardinelli
    Great premise, terrible execution.
    • 55 Metascore
    • 63 James Berardinelli
    Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.
    • 68 Metascore
    • 63 James Berardinelli
    It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.
    • 42 Metascore
    • 63 James Berardinelli
    The action scenes are crisply directed, brutal, and invigorating.
    • 62 Metascore
    • 63 James Berardinelli
    It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.
    • 55 Metascore
    • 63 James Berardinelli
    Generations spends its running length searching for, and never completely finding, its niche.
    • 65 Metascore
    • 63 James Berardinelli
    Because I so enjoyed the last 45 minutes, I'm tempted to recommend it. The problem is that you have to sit through an hour to get to the worthwhile parts.
    • 45 Metascore
    • 63 James Berardinelli
    Die-hard fans of Witherspoon and the romantic comedy genre will probably find enough to like in this film to make it worth a trip to the theater. Everyone else would be best served by spending their hard-earned money on something else.
    • 65 Metascore
    • 63 James Berardinelli
    sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.
    • 63 Metascore
    • 63 James Berardinelli
    Intriguing but ultimately unfulfilling.
    • 45 Metascore
    • 63 James Berardinelli
    Quality-wise, however, there's a big drop off from sex, lies and videotape to Full Frontal.
    • 36 Metascore
    • 63 James Berardinelli
    The ideas underlying Aeon Flux's plot are the film's strength, and the filmmakers deserve some credit for doing more than paying lip service to them.
    • 58 Metascore
    • 63 James Berardinelli
    The film has the twin virtues of being bold and dizzying...The greatest disappointment with Night Watch is that, at a critical juncture, it fizzles.
    • 64 Metascore
    • 63 James Berardinelli
    Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.
    • 56 Metascore
    • 63 James Berardinelli
    Deeply flawed though it may be, Perfume is a challenging motion picture, and one whose impressions are not easily shaken.
    • 64 Metascore
    • 63 James Berardinelli
    For every thing that Stage Beauty does right, it fumbles at least one other element, resulting in a movie-going experience that is of the glass half-full/half-empty variety.
    • 74 Metascore
    • 63 James Berardinelli
    Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.
    • 68 Metascore
    • 63 James Berardinelli
    The plot, credited to Simon Pegg & Doug Jung, is pure Trek. Unfortunately, it’s also instantly forgettable.
    • 52 Metascore
    • 63 James Berardinelli
    A pleasant but relatively inconsequential movie.
    • 33 Metascore
    • 63 James Berardinelli
    Ghost House is a generally well-made but ultimately unsurprising excursion into the supernatural.
    • 62 Metascore
    • 63 James Berardinelli
    Manages to mix in a few good gags with the requisite gore.
    • 57 Metascore
    • 63 James Berardinelli
    The reason Sherlock Holmes fails at least as often as it succeeds is because more effort and attention was lavished upon the concept than upon the script. Given a worthy story, Downey's Holmes might have been memorable. Here, he's an interesting character in search of a worthwhile story.
    • 57 Metascore
    • 63 James Berardinelli
    Eventually, it had to happen: a computer-animated dud.
    • 54 Metascore
    • 63 James Berardinelli
    Old School is exactly what director Todd Phillips intends for it to be: low-brow, moronic to a fault, and occasionally side-splittingly funny.
    • 65 Metascore
    • 63 James Berardinelli
    A movie assembled from diverse pieces that don't quite match. It's the cinematic equivalent of a patchwork quilt.
    • 50 Metascore
    • 63 James Berardinelli
    There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.
    • 56 Metascore
    • 63 James Berardinelli
    By laminating Walls’ story with a Hollywood sheen, the narrative climaxes in an artificial and contrived manner. The penultimate scene is so obviously scripted that its inclusion is damaging. That’s too bad, because there are some effective individual scenes earlier in the proceedings.
    • 71 Metascore
    • 63 James Berardinelli
    For most of the movie, Cody and Reitman jape at her until, in the last 20 minutes or so, they attempt to turn her into an object of sympathy. It doesn't work and, on balance, neither does Young Adult.
    • 28 Metascore
    • 63 James Berardinelli
    She Hate Me is a mixed bag, but at least it's interesting and almost never boring.
    • 74 Metascore
    • 63 James Berardinelli
    Most of the film is dull and soporific. Breathtaking photography without emotional involvement can take an audience only so far.
    • 54 Metascore
    • 63 James Berardinelli
    Allen's first mistake is turning this rivalry into a May/December romance. His second misstep is "converting" Stanley, thereby neutering the delightfully acerbic quality that characterizes his and Sophie's early interactions.
    • 73 Metascore
    • 63 James Berardinelli
    In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.
    • 27 Metascore
    • 63 James Berardinelli
    This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.
    • 47 Metascore
    • 63 James Berardinelli
    The movie is pleasant but unspectacular, and at times it borders on being too cute.
    • 62 Metascore
    • 63 James Berardinelli
    Bug
    Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.
    • 76 Metascore
    • 63 James Berardinelli
    The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.
    • 68 Metascore
    • 63 James Berardinelli
    The "nature" aspects of Bears are undercut by the need to turn this into a live-action Disney cartoon, complete with cuddly heroes and nasty villains.
    • 46 Metascore
    • 63 James Berardinelli
    Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.
    • 46 Metascore
    • 63 James Berardinelli
    One of the most curious aspects of If I Stay is the way it rigorously ignores religion and spirituality. With the exception of an undefined "white light" image that recurs, the movie never once mentions "God" (as an entity). For a movie that is so much about death, it seems like an odd omission.
    • 53 Metascore
    • 63 James Berardinelli
    Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level
    • 37 Metascore
    • 63 James Berardinelli
    The problem with all of this is that Are You Here is less than two hours long and, to effectively explore issues and themes of this magnitude would require at least a full season of a TV series. So we're left with half-developed characters and quickly sketched relationships.
    • 58 Metascore
    • 63 James Berardinelli
    For a director whose reputation is built on aggressively in-your-face subjects and styles, Snowden stands as a strangely inert outlier, a project that lacks passion although not perspective.
    • 64 Metascore
    • 63 James Berardinelli
    As disappointing as the wrap-up is, it can't erase the chilling psychological warfare that represents the majority of what precedes it.
    • 43 Metascore
    • 63 James Berardinelli
    The final minute of Halloween 4 remains as unsettling today as it was during its 1988 theatrical run. The real reason to see this movie is not for the predictable build-up, but for the cliffhanger provided by director Dwight H. Little and screenwriter Alan B. McElroy.
    • 52 Metascore
    • 63 James Berardinelli
    Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen.
    • 63 Metascore
    • 63 James Berardinelli
    The end result is an unremarkable, unmemorable movie that deserves neither praise nor approbation.
    • 71 Metascore
    • 63 James Berardinelli
    Enjoyable in a shallow way, but there's nothing so special here that it warrants more than a cursory glance.
    • 27 Metascore
    • 63 James Berardinelli
    The result is sometimes enchanting, but, more often than not, it's frustrating, because the disparate elements of the plot never quite gel.
    • 39 Metascore
    • 63 James Berardinelli
    The tone and pacing of Dead Man Down have a distinctly European flavor, which may explain why American viewers, used to having background and exposition pared down and cleanly delivered, may feel adrift at the outset.
    • 56 Metascore
    • 63 James Berardinelli
    How to Eat Fried Worms belongs to a vanishing breed - live action family films.
    • 60 Metascore
    • 63 James Berardinelli
    It's not bad enough to walk out on but neither is it good enough to walk into.
    • 55 Metascore
    • 63 James Berardinelli
    The Crazies is imperfect but it's made with a degree of assurance that will limit fidgeting and keep most horror-lovers involved for a majority of its running length.
    • 56 Metascore
    • 63 James Berardinelli
    It takes the usual chases, explosions, and shoot-outs, and places them in plot that involves all sorts of computerized and electronic gadgetry. Often, as is the case here, not much attention is paid to whether the "science" is technologically feasible, but if something looks and sounds neat, why not use it?
    • 49 Metascore
    • 63 James Berardinelli
    There's a little bit of "Kiss Kiss Bang Bang" in Shoot 'Em Up, although this production isn't as smart or as slick.
    • 63 Metascore
    • 63 James Berardinelli
    The movie develops in two pieces - one dealing with the quest for the hidden riches and once concentrating on the relationship between father and daughter. The latter works; the former doesn't.
    • 69 Metascore
    • 63 James Berardinelli
    Agreeable enough motion picture, but not one that leaves any sort of lasting impression.
    • 63 Metascore
    • 63 James Berardinelli
    The Last Exorcism is one of those rare films where the marketing campaign is more interesting than the film it publicizes.
    • 22 Metascore
    • 63 James Berardinelli
    Like the candy from which it gets its name, Jawbreaker is fun at the start, but can turn into a chore to complete.
    • 37 Metascore
    • 63 James Berardinelli
    It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.
    • 57 Metascore
    • 63 James Berardinelli
    Some of the characters are interesting, but their situations are not.
    • 59 Metascore
    • 63 James Berardinelli
    An excellent movie… if you're a seven-year old girl. That's less a negative evaluation than it is a statement of fact. This isn't a "family film;" it's a "children's film."
    • 71 Metascore
    • 63 James Berardinelli
    Although Hanks' film starts out strong, it finishes on shaky ground... A serio-comedy/fantasy whose light dramatic arc can't support the awkward and unnecessarily melodramatic ending.
    • 42 Metascore
    • 63 James Berardinelli
    The wheels fall off toward the end but, until that point, Illiadis does an excellent job of generating and maintaining an intense sense of dread.
    • 42 Metascore
    • 63 James Berardinelli
    The plot is so thin that it's not really worth thinking about, but director Antoine Fuqua and cinematographer Peter Lyons Collister have put so much effort into the feel and appearance of the movie that it held my attention.
    • 59 Metascore
    • 63 James Berardinelli
    This movie isn't a disaster, but, all things considered, there's little reason to make it a high priority for theatrical viewing.
    • 41 Metascore
    • 63 James Berardinelli
    Stay is interesting, but it's hard to recommend to anyone but the small cadre of David Lynch devotees who will inhale anything with a whiff of similarity to their favorite auteur's scent.
    • 66 Metascore
    • 63 James Berardinelli
    When it doesn’t work, it’s because it tries too hard to provoke laughter with clichéd jokes and subpar physical comedy.
    • 33 Metascore
    • 63 James Berardinelli
    54
    Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.
    • 46 Metascore
    • 63 James Berardinelli
    The problem with The Crossing Guard is not the premise or core theme, but the manner in which director Sean Penn breathes life into the story. This film is horribly unfocused.
    • 50 Metascore
    • 63 James Berardinelli
    The final production is so jammed with subplots and secondary characters that it often feels like the Cliffs Notes version of a complex novel.
    • 71 Metascore
    • 63 James Berardinelli
    A silly script and uneven pacing.
    • 66 Metascore
    • 63 James Berardinelli
    There's plenty going on but never any real magic.
    • 33 Metascore
    • 63 James Berardinelli
    The storyline is generic apocalyptic science fiction and feels a lot like an uninspired fusion of "Independence Day" and the TV mini-series “V”.
    • 61 Metascore
    • 63 James Berardinelli
    There are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole.
    • 57 Metascore
    • 63 James Berardinelli
    The film, although deeply flawed, is at times compelling, even if it seems as if a reel is missing.
    • 58 Metascore
    • 63 James Berardinelli
    The film contains enough quiet, reflective moments for us to become aware how preposterous the central conceit is, and that keeps us at arm's length.
    • 51 Metascore
    • 63 James Berardinelli
    The romantic comedy doesn't have much, but it has Kidman.
    • 56 Metascore
    • 63 James Berardinelli
    Many of the jokes are either obvious or have been exposed through pre-release marketing material. I kept waiting for the clever or insightful moment that never arrives. The bar is set pretty low for Minions.
    • 49 Metascore
    • 63 James Berardinelli
    They had 28 years, and this is the best they could come up with?
    • 52 Metascore
    • 63 James Berardinelli
    As a whole, Valentin is a moderately entertaining motion picture, but the lack of a satisfying sense of closure dims its appeal.
    • 46 Metascore
    • 63 James Berardinelli
    The result is mixed: the affable, family-friendly motion picture is lively enough to engage young viewers but will prove something of a challenge for anyone who has gone through puberty.
    • 46 Metascore
    • 63 James Berardinelli
    Most of the time, it's just repetitive.
    • 65 Metascore
    • 63 James Berardinelli
    As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.
    • 45 Metascore
    • 63 James Berardinelli
    It’s competently made and sporadically compelling but not likely to pique the interest of anyone unfamiliar with the main character.
    • 49 Metascore
    • 63 James Berardinelli
    Perhaps the most curious and counterproductive aspect of The Fifth Estate, the so-called "Wikileaks movie," is the decision by director Bill Condon and screenwriter Josh Singer to establish the film as a thriller.
    • 57 Metascore
    • 63 James Berardinelli
    The film's two big flaws are readily apparent: a clunky screenplay and the miscasting of the lead character.
    • 70 Metascore
    • 63 James Berardinelli
    Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed.
    • 65 Metascore
    • 63 James Berardinelli
    The Client is an example of what happens when a production team does the best they can possibly do with a routine script.
    • 72 Metascore
    • 63 James Berardinelli
    Go
    Fast-paced and often witty, but ultimately vapid.
    • 61 Metascore
    • 63 James Berardinelli
    The film comes across like a soap opera and there are too many characters and storylines for any one of them to grab the heart and imagination. The film isn't painful but it is disappointing.
    • 61 Metascore
    • 63 James Berardinelli
    Anchorman 2: The Legend Continues could easily be called Anchorman 2: More of the Same.
    • 51 Metascore
    • 63 James Berardinelli
    The actors can't be faulted for any of Lovelace's missteps.
    • 44 Metascore
    • 63 James Berardinelli
    Unfortunately, while certain aspects of Girl 6 are handled with flair, the film's dramatic scope too often isn't compelling enough for subject matter of such rich and varied possibilities.
    • 49 Metascore
    • 63 James Berardinelli
    The heist-inspired elements aren't well thought through and it becomes a question of which is harder to swallow: the mechanics of the story or the idea that a couple of sixtysomethings can kick this much ass.
    • 50 Metascore
    • 63 James Berardinelli
    Guilt Trip is cinematic comfort food for road trip fans who aren't given indigestion by Streisand.

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