James Berardinelli
Select another critic »
For 2,796 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 5.9 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Interstellar
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,796 movie reviews
    • 70 Metascore
    • 75 James Berardinelli
    Without a hint of regret, the filmmaker freely borrows from such diverse sources as Martin Scorsese, Quentin Tarantino, Oliver Stone, and the TV program "C.S.I."
    • 75 Metascore
    • 75 James Berardinelli
    Likely to bring a smile to your lips and a bounce to your step.
    • 57 Metascore
    • 75 James Berardinelli
    Ball may not have the answers but he eloquently and forcefully explores some of the potential ramifications. The ending may be too pat, but the journey to get there - bitter, spicy, and poignant - more than compensates for any last-minute fumbles.
    • 26 Metascore
    • 75 James Berardinelli
    Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.
    • 68 Metascore
    • 75 James Berardinelli
    The Italian Job isn't a masterpiece, but it gets the job done.
    • 45 Metascore
    • 75 James Berardinelli
    It's funny as hell at times with a twisted sense of humor that one typically expects from the likes of the Coen Brothers and Quentin Tarantino.
    • 59 Metascore
    • 75 James Berardinelli
    Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.
    • 54 Metascore
    • 75 James Berardinelli
    I would classify Charlie Bartlett as a smart teen film. It's more ambitious and overall more successful than its '80s forebears even though the resemblance is unmistakable.
    • 81 Metascore
    • 75 James Berardinelli
    Like "Raging Bull", Foxcatcher is a dark drama masquerading as a sports movie.
    • 60 Metascore
    • 75 James Berardinelli
    Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.
    • 57 Metascore
    • 75 James Berardinelli
    With its lack of pretensions, Miss Potter is that rare breed of cinematic animal: a movie whose entire goal is to entertain and perhaps apply a gentle touch to the heart.
    • 38 Metascore
    • 75 James Berardinelli
    Of the two timelines, the one featuring the teenage Diana is more involving than the one featuring the adult version. Both lead actresses give fine performances, but Thurman has less material to work with.
    • 76 Metascore
    • 75 James Berardinelli
    Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.
    • 62 Metascore
    • 75 James Berardinelli
    Despicable Me 2 provides a good bonding opportunity for parents and children with enough palatable elements to please members of both generations.
    • 49 Metascore
    • 75 James Berardinelli
    Tone is critical to a movie of this nature, and Fleischer gets it right.
    • 69 Metascore
    • 75 James Berardinelli
    So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.
    • 59 Metascore
    • 75 James Berardinelli
    Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.
    • 62 Metascore
    • 75 James Berardinelli
    Manages to remain witty throughout.
    • 50 Metascore
    • 75 James Berardinelli
    Director Jon Favreau keeps the tone light but, aside from the occasional low-key gag or one-liner, the humor is never allowed to upstage the more serious elements.
    • 72 Metascore
    • 75 James Berardinelli
    Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]
    • 54 Metascore
    • 75 James Berardinelli
    The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.
    • 66 Metascore
    • 75 James Berardinelli
    Rosewater does not have blockbuster potential but it is more entertaining than one might expect from this material and it leaves an indelible impression about the Iranian justice system - something akin to the inmates running the asylum.
    • 80 Metascore
    • 75 James Berardinelli
    There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.
    • 66 Metascore
    • 75 James Berardinelli
    With Steven Soderbergh at the helm, this has become a whimsical, semi-comedic romp, complete with a score by Marvin Hamlisch that recalls kitschy '70s TV shows, cutesy captions, and a tongue-and-cheek approach to the entire story.
    • 54 Metascore
    • 75 James Berardinelli
    There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.
    • 74 Metascore
    • 75 James Berardinelli
    The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.
    • 61 Metascore
    • 75 James Berardinelli
    Lucy is what a superhero movie might look like if developed by Spike Jonze and/or Michael Gondry.
    • 70 Metascore
    • 75 James Berardinelli
    Contagion is the best movie made to date about an epidemic/pandemic.
    • 65 Metascore
    • 75 James Berardinelli
    Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.
    • 66 Metascore
    • 75 James Berardinelli
    A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.
    • 52 Metascore
    • 75 James Berardinelli
    With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.
    • 80 Metascore
    • 75 James Berardinelli
    The transformation undergone by Michelle Williams to play this role is nothing short of astounding.
    • 62 Metascore
    • 75 James Berardinelli
    There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.
    • 56 Metascore
    • 75 James Berardinelli
    Focus is uncommonly good for a February release (damning with faint praise?) but may not clear the bar of being worthy of a trip through snow and ice to reach the multiplex. Star power, actor chemistry, and caper movie twists make for a nice diversion… but not much more.
    • 63 Metascore
    • 75 James Berardinelli
    Although there is violence and danger, this is less about the chase than it is about the relationship between the siblings.
    • 47 Metascore
    • 75 James Berardinelli
    Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.
    • 83 Metascore
    • 75 James Berardinelli
    Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.
    • 55 Metascore
    • 75 James Berardinelli
    Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.
    • 65 Metascore
    • 75 James Berardinelli
    Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.
    • 64 Metascore
    • 75 James Berardinelli
    Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.
    • 82 Metascore
    • 75 James Berardinelli
    Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.
    • 57 Metascore
    • 75 James Berardinelli
    Dustin Hoffman and Emma Thompson bring credibility to Last Chance Harvey merely by their presence. The result is a holiday parfait.
    • 67 Metascore
    • 75 James Berardinelli
    Star Trek IV, while not a superior effort, is an effective and enjoyable sample of entertainment -- not good science fiction, but a lightweight piece of comic fantasy utilizing characters so familiar that they feel like old friends.
    • 54 Metascore
    • 75 James Berardinelli
    This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.
    • 56 Metascore
    • 75 James Berardinelli
    The movie is deliciously creepy even if it does exhibit some issues that keep it from being a top-notch example of "things that go bump in the night" horror.
    • 54 Metascore
    • 75 James Berardinelli
    The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.
    • 57 Metascore
    • 75 James Berardinelli
    Attempts to inject a little humor via the antics of the dwarves don't work, especially since one of the little people is killed early in the proceedings. No one's going to be singing "Hi ho! Hi ho! It's off to work we go!" after that happens.
    • 65 Metascore
    • 75 James Berardinelli
    There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.
    • 77 Metascore
    • 75 James Berardinelli
    Christian Bale continues to amaze with his ability and range.
    • 64 Metascore
    • 75 James Berardinelli
    With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.
    • 47 Metascore
    • 75 James Berardinelli
    The book is richer, but this is a solid, endearing telling of the same essential story, and is well worth the price of admission for those who appreciate romantic fantasy.
    • 58 Metascore
    • 75 James Berardinelli
    The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.
    • 43 Metascore
    • 75 James Berardinelli
    Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.
    • 64 Metascore
    • 75 James Berardinelli
    There's little in the basic narrative to grasp and hold the viewer's attention, but the way the lines are delivered and the charisma of the performers lend charm and substance to the overall viewing experience.
    • 54 Metascore
    • 75 James Berardinelli
    It's hard to deny that Brüno succeeds in being both outrageous and outrageously funny, and it's hard to damn a comedy, regardless of its faults, for those qualities.
    • 42 Metascore
    • 75 James Berardinelli
    The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.
    • 79 Metascore
    • 75 James Berardinelli
    Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.
    • 79 Metascore
    • 75 James Berardinelli
    This isn't a revolutionary or thematically rich motion picture, but it's a well-told story featuring solid performances and a nice sense of atmosphere.
    • 47 Metascore
    • 75 James Berardinelli
    The movie works because so much of what's on screen will resonate with viewers.
    • 70 Metascore
    • 75 James Berardinelli
    As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.
    • 82 Metascore
    • 75 James Berardinelli
    There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.
    • 45 Metascore
    • 75 James Berardinelli
    Regardless, though it may be occasionally slow-moving and perhaps a half-hour too long, this film is put together with care and a mindfulness of quality.
    • 69 Metascore
    • 75 James Berardinelli
    This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.
    • 69 Metascore
    • 75 James Berardinelli
    A heist movie in the classic tradition - it details every aspect of the caper, from its genesis to its aftermath. The fact that there's political intrigue and espionage swirling around the edges only makes it more fascinating.
    • 48 Metascore
    • 75 James Berardinelli
    The Theory of Flight is far from a perfect movie, but it offers enough highlights that, on balance, it's worth a recommendation. The solid acting camouflages a great many other deficiencies.
    • 79 Metascore
    • 75 James Berardinelli
    In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.
    • 92 Metascore
    • 75 James Berardinelli
    Unfortunately, the film's final third is poorly focused and, while there is a clear conclusion, it feels strangely hollow.
    • 46 Metascore
    • 75 James Berardinelli
    The humor gets raunchy enough to earn the "R" rating, but in some ways, it's pretty tame, especially in the wake of "The Hangover."
    • 53 Metascore
    • 75 James Berardinelli
    Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.
    • 76 Metascore
    • 75 James Berardinelli
    Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.
    • 63 Metascore
    • 75 James Berardinelli
    A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.
    • 66 Metascore
    • 75 James Berardinelli
    All-in-all, the intelligence of the approach combined with good old-fashioned zombie blood-and-gore (as opposed to the slicker, sicker torture porn variety) makes this not only the most satisfying motion picture Romero has made in a long while, but one of the best of his career.
    • 69 Metascore
    • 75 James Berardinelli
    Goldthwaite's script has the honesty of someone speaking with the voice of experience.
    • 56 Metascore
    • 75 James Berardinelli
    Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.
    • 45 Metascore
    • 75 James Berardinelli
    There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.
    • 89 Metascore
    • 75 James Berardinelli
    Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy."
    • 66 Metascore
    • 75 James Berardinelli
    Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.
    • 46 Metascore
    • 75 James Berardinelli
    This movie is mostly about visual razzle-dazzle and riffing on film noir conceits. Rodriguez hasn't deviated far from his mission statement for the original and that's a good thing for Sin City fans.
    • 49 Metascore
    • 75 James Berardinelli
    Riddick isn't perfect but it's a good high-octane sci-fi tinged action/thriller.
    • 63 Metascore
    • 75 James Berardinelli
    Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.
    • 47 Metascore
    • 75 James Berardinelli
    The strength of the cast speaks volumes about the "prestige" aspect of the production. In addition to Bridges, Meryl Streep, Katie Holmes, and Alexander Skarsgard contribute.
    • 56 Metascore
    • 75 James Berardinelli
    It's an enjoyable and occasionally thought-provoking motion picture whose viewership should not be diminished by the unfortunate and inaccurate "anti-American" label.
    • 47 Metascore
    • 75 James Berardinelli
    The General's Daughter is for all those who enjoy mystery/thrillers that neither attempt to break new ground nor are afraid to employ familiar plot devices.
    • 67 Metascore
    • 75 James Berardinelli
    It offers a solid two hours of pure, escapist entertainment.
    • 51 Metascore
    • 75 James Berardinelli
    The result is an entertaining diversion but it lacks the magnificence one desires in the opening chapter of a would-be franchise.
    • 63 Metascore
    • 75 James Berardinelli
    In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.
    • 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.
    • 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.
    • 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.
    • 59 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 63 James Berardinelli
    A pleasant but relatively inconsequential movie.
    • 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.
    • 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.
    • 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.

Top Trailers