James Berardinelli

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For 3,090 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 3.9 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Ice Storm
Lowest review score: 0 Knock Off
Score distribution:
3090 movie reviews
    • 77 Metascore
    • 63 James Berardinelli
    Baumbach is 45 (roughly the same age as Josh) so he writes from personal experience. He knows what these characters are feeling which is the reason why the human elements resonate with authenticity - a quality that fades when While We're Young wanders off on the tangent about what constitutes a legitimate documentary.
    • 51 Metascore
    • 63 James Berardinelli
    It's solidly entertaining for what it is and, while it does little to truly rejuvenate the franchise, at least it lessens the pain caused by two gimmicky cross-over pictures that sucked too much juice out of what was one of the 1980s' most surprisingly tense sci-fi action pictures.
    • 50 Metascore
    • 63 James Berardinelli
    This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.
    • 52 Metascore
    • 63 James Berardinelli
    For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.
    • 53 Metascore
    • 63 James Berardinelli
    Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.
    • 30 Metascore
    • 63 James Berardinelli
    If you're tired of routine, "feel good", Hollywood fare and are looking for something a little Tarantino-ish and a lot unusual, Feeling Minnesota will leave you feeling pleasantly surprised.
    • 42 Metascore
    • 63 James Berardinelli
    Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.
    • 68 Metascore
    • 63 James Berardinelli
    Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.
    • 65 Metascore
    • 63 James Berardinelli
    Mockingjay Part 1, released a year ago, was a disjointed, incomplete affair and, although Mockingjay Part 2 is more polished, the pace is uneven and there’s a sense that the series has hung around too long.
    • 52 Metascore
    • 63 James Berardinelli
    Predictable this isn't, but that can be seen as both an asset and a detriment.
    • 37 Metascore
    • 63 James Berardinelli
    In fact, there are times when this movie feels like the latest installment in the over-milked Home Alone saga.
    • 45 Metascore
    • 63 James Berardinelli
    What's sad is that Elizabethtown contains two GREAT sequences.
    • 72 Metascore
    • 63 James Berardinelli
    The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.
    • 40 Metascore
    • 63 James Berardinelli
    A few months from now, no one will remember it, but Homefront isn't made for the long-haul. It's assembled simply for the 100 minutes when the viewer is in theater and, on a certain level, that's sufficient.
    • 63 Metascore
    • 63 James Berardinelli
    This is another movie where politics trump the narrative.
    • 65 Metascore
    • 63 James Berardinelli
    It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.
    • 70 Metascore
    • 63 James Berardinelli
    Cronos is more concerned with ideas and atmosphere than people.
    • 48 Metascore
    • 63 James Berardinelli
    It's not the best of modern fairy tales but it's sincere and Christina Ricci's earnest and vulnerable performance touches the heart. Penelope is flawed but not irredeemably so.
    • 61 Metascore
    • 63 James Berardinelli
    Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.
    • 56 Metascore
    • 63 James Berardinelli
    “Dumbing down” was coined for productions like this: big, splashy, testosterone-fueled monstrosities whose sole purpose is to give a studio box office bragging rights for a few weeks.
    • 62 Metascore
    • 63 James Berardinelli
    In all fairness to the film, it is superior to the disappointing second movie in the series. The comedy is about as low-brow as it can get (at least without treading into R-rated territory).
    • 55 Metascore
    • 63 James Berardinelli
    There's nothing terribly wrong with Baby Mama but it's probably better suited for viewing on television, where many of the participants cut their teeth. This is small screen stuff masquerading as something bigger.
    • 52 Metascore
    • 63 James Berardinelli
    H20 is the second-best entry into the series, and, although it's nowhere close to the level established by Carpenter's classic, it avoids the excesses that ruin many would-be horror movies.
    • 55 Metascore
    • 63 James Berardinelli
    There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.
    • 53 Metascore
    • 63 James Berardinelli
    The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.
    • 52 Metascore
    • 63 James Berardinelli
    The film stays true to its unpretentious origins -- it's like a comic book come to life, with an undeniable visual flair, a lot of kinetic action sequences, minimal character development, and a plot that could charitably be called "uneven".
    • 46 Metascore
    • 63 James Berardinelli
    Chasing Liberty is not daring or adventurous, but, considering its release date (early January), it's more palatable than one might anticipate.
    • 60 Metascore
    • 63 James Berardinelli
    The Clearing is being positioned as "adult counter-programming" for the summer season, but the benefits of seeing this movie may not be worth the patience necessary to get through it.
    • 69 Metascore
    • 63 James Berardinelli
    The end result is something that feels like it was put together from a jumble of Disney clichés tacked onto the skeleton of "Beauty and the Beast."
    • 54 Metascore
    • 63 James Berardinelli
    The movie is pretty to look at in a "Transformers" sort of way and moves briskly enough that it never threatens to bore, but it's hard to feel much of anything about the characters and, when it's all over, there's a sense that everything that happens is obligatory.
    • 38 Metascore
    • 63 James Berardinelli
    The film delivers with enough consistency to warrant a qualified recommendation for those seeking a few extra scares at this time of the year.
    • 45 Metascore
    • 63 James Berardinelli
    Unfortunately, while Fanboys has moments of success, it is mostly a middling road picture that doesn't do a lot more than any average, forgettable entry into the tired genre.
    • 54 Metascore
    • 63 James Berardinelli
    A family film (albeit a mediocre one).
    • 38 Metascore
    • 63 James Berardinelli
    It's refreshing to find a horror movie interested in more than slashing and gashing.
    • 49 Metascore
    • 63 James Berardinelli
    Imagine Me & You isn't unpleasant, but it is unremarkable. If nothing else, it proves that gay romances can be just as uninspired as their heterosexual counterparts.
    • 56 Metascore
    • 63 James Berardinelli
    As a comedy, The Mask is genial, but its recycled plot is far too thin for the film to succeed as either an adventure or a spoof.
    • 65 Metascore
    • 63 James Berardinelli
    The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.
    • 73 Metascore
    • 63 James Berardinelli
    If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.
    • 64 Metascore
    • 63 James Berardinelli
    Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.
    • 50 Metascore
    • 63 James Berardinelli
    Towards the end, Murder By Numbers reverts to form with cheesy clichés, plot twists, and a fair amount of unnecessary action, but that's easily the film's low point.
    • 58 Metascore
    • 63 James Berardinelli
    It’s a strange little movie - by turns fascinating and frustrating. Its strong thematic thrust is counterbalanced by an uneven and at times farcical narrative and the characters are more avatars than well-realized individuals.
    • 41 Metascore
    • 63 James Berardinelli
    Feels a bit like a missed opportunity. It's too bad the motion picture as a whole isn't as quirky and clever as its double-edged title.
    • 47 Metascore
    • 63 James Berardinelli
    The Day After Tomorrow is filled with bad dialogue, stock peril situations, and sketchy character development, but it's a big enough spectacle that those things don't completely derail the film's capacity to be enjoyed.
    • 70 Metascore
    • 63 James Berardinelli
    The most interesting personality in Ed Wood is not the title character, but Bela Lugosi. So covered up with makeup that he's barely recognizable, Martin Landau gives a deeply-felt performance -- a eerie and stunning recreation of a man haunted by lost fame.
    • 42 Metascore
    • 63 James Berardinelli
    The essential problem with the movie isn't that it's loud, violent, and gory, but that, before Carpenter ratchets up the tension in the final 35 minutes, it's not especially interesting.
    • 47 Metascore
    • 63 James Berardinelli
    There's not a surprising moment in the movie yet it works in spite of the stale, insipid storyline. That has a lot to do with lead actress Katherine Heigl and a little to do with the glowing embers between her and her co-star, James Marsden.
    • 46 Metascore
    • 63 James Berardinelli
    More of a pretender than a contender in a field that includes superior entries like "Reservoir Dogs" and "The Usual Suspects."
    • 41 Metascore
    • 63 James Berardinelli
    Tone isn't the movie's sole problem. There's something off-putting about Christopher Mitz-Plasse as the chief bad guy.
    • 36 Metascore
    • 63 James Berardinelli
    Seven Pounds works better the more the viewer feels and the less he/she thinks. On an emotional level, one could decree that the movie is satisfying. On an intellectual level, it's disappointingly shallow.
    • 61 Metascore
    • 63 James Berardinelli
    The movie is never boring or uninteresting, but I viewed it from a detached perspective, unable to become involved because I didn't really care about any of the three main characters.
    • 85 Metascore
    • 63 James Berardinelli
    The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.
    • 55 Metascore
    • 63 James Berardinelli
    The movie hits its stride when it deals directly with the concert. The more peripheral Elliot is to the story, the better things become.
    • 66 Metascore
    • 63 James Berardinelli
    As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.
    • 66 Metascore
    • 63 James Berardinelli
    The limp climax doesn't undo the solid humor, wicked social commentary, and delicious satire that precedes it, but it leaves an unpleasant aftertaste. In the end, Mean Girls isn't mean enough.
    • 55 Metascore
    • 63 James Berardinelli
    In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.
    • 19 Metascore
    • 63 James Berardinelli
    8MM
    The result, while not entirely devoid of entertainment value, doesn't work as a whole.
    • 31 Metascore
    • 63 James Berardinelli
    Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.
    • 51 Metascore
    • 63 James Berardinelli
    Some of Poetic Justice is quite good, if unspectacular, and the dialogue has a consistent ring of truth.
    • 52 Metascore
    • 63 James Berardinelli
    The weaknesses of Beautiful Creatures ultimately outweigh the strengths but the conviction of the central relationship is good enough to keep things from becoming laughably bad, even if it all comes apart toward the end.
    • 65 Metascore
    • 63 James Berardinelli
    Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.
    • 53 Metascore
    • 63 James Berardinelli
    It's an epic pretender, not an epic contender.
    • 63 Metascore
    • 63 James Berardinelli
    Rio
    The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.
    • 33 Metascore
    • 63 James Berardinelli
    Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.
    • 45 Metascore
    • 63 James Berardinelli
    This movie seems better suited as cable or video fare than for theatrical viewing.
    • 67 Metascore
    • 63 James Berardinelli
    It comes across as painfully politically correct, offering trite sermons on various "hot-button" issues (gun control and the greenhouse effect). The narrative follows an unwavering by-the-numbers strategy with an ending that echoes the "cornball" of Al Pacino's climactic Scent of a Woman speech.
    • 50 Metascore
    • 63 James Berardinelli
    Poseidon is devoid of anything that might conjure up memories of the Winslet/DiCaprio coupling. Its straightforward action/adventure approach is both a strength and a weakness.
    • 49 Metascore
    • 63 James Berardinelli
    Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.
    • 61 Metascore
    • 63 James Berardinelli
    Extract is no masterpiece, but it's considerably better than many 2009 films that have received a more robust backing.
    • 47 Metascore
    • 63 James Berardinelli
    The film has its charms but the end result feels like warmed-over James Bond… and not even especially good 007, at that.
    • 69 Metascore
    • 63 James Berardinelli
    Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.
    • 42 Metascore
    • 63 James Berardinelli
    There's some entertainment value, but the production as a whole is unfocused.
    • 44 Metascore
    • 63 James Berardinelli
    Still, for those who feel that too few movies these days offer the pure bliss of a testosterone overload, The Losers provides an antidote.
    • 37 Metascore
    • 63 James Berardinelli
    As preposterous wannabe Hitchcockian thrillers go, this one is adequate.
    • 56 Metascore
    • 63 James Berardinelli
    Non-Stop plays like what might happen if Michael Bay directed a screenplay developed for Alfred Hitchcock.
    • 66 Metascore
    • 63 James Berardinelli
    Visually, The Good Dinosaur boasts some of the most amazingly photo-realistic sets I have seen in any animated film.
    • 63 Metascore
    • 63 James Berardinelli
    Out of the Furnace features some nice performances and is deliciously atmospheric but it never achieves its goal of being a compelling meditation about how the economic erosion of a community influences the lives of those trapped within it.
    • 40 Metascore
    • 63 James Berardinelli
    On balance, Man on a Ledge is fun, but I left the theater feeling disappointed and cheated, as if the filmmakers set me up for something great they ultimately couldn't deliver.
    • 38 Metascore
    • 63 James Berardinelli
    The unfortunate ending, which wallows in artifice, is superficial and saccharine, and unworthy of the material that precedes it.
    • 81 Metascore
    • 63 James Berardinelli
    The title character never emerges from the iconic shell she inhabits to become a fully fleshed-out individual and the filmmakers are perhaps too reverential to make her seem real. Like Camelot, she’s a mythic figure and Jackie doesn’t do enough to humanize her.
    • 53 Metascore
    • 63 James Berardinelli
    Possesses both an edge and a sense of self-mocking that's unusual for any feature, live or animated.
    • 47 Metascore
    • 63 James Berardinelli
    It's juvenile from start to finish, which is fine if you're young, but not so great if your sole purpose in a theater is to accompany someone who's young.
    • 40 Metascore
    • 63 James Berardinelli
    Offers solid entertainment, it's too uneven to be considered memorable.
    • 80 Metascore
    • 63 James Berardinelli
    Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.
    • 41 Metascore
    • 63 James Berardinelli
    Arguably Sandler's most enjoyable motion picture to date, but it's still far from a masterpiece.
    • 79 Metascore
    • 63 James Berardinelli
    The movie's point, which is impossible to miss, is that it's hard being black & gay in America and, while there's undoubtedly truth in that sentiment, it doesn't necessarily make for a compelling motion picture circa 2011.
    • 28 Metascore
    • 63 James Berardinelli
    As action-thrillers go, this one provides what the previews tease. Maybe that’s enough for an evening’s mindless, throw-away entertainment, but I can’t help but be disappointed that the filmmakers couldn’t have brought something more inventive to a genre that too often relies on worn-out tropes.
    • 50 Metascore
    • 63 James Berardinelli
    There's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development.
    • 71 Metascore
    • 63 James Berardinelli
    After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.
    • 58 Metascore
    • 63 James Berardinelli
    Four words say all that needs to be said about Shrek the Third: more of the same.
    • 35 Metascore
    • 63 James Berardinelli
    This is probably Murphy's best comedic performance since "Bowfinger." The adrenaline is pumping and the outrageousness is dialed all the way up. Murphy is often funny, and occasionally hilarious.
    • 62 Metascore
    • 63 James Berardinelli
    As a big-budget B-grade monster movie, Kong: Skull Island is a home run. It offers all the tropes and clichés one expects from this sort of endeavor, sparing no expense when it comes to special effects. As a King Kong movie, however, Skull Island is less successful.
    • 54 Metascore
    • 63 James Berardinelli
    Has a fascinating premise; it's the execution that's sloppy.
    • 67 Metascore
    • 63 James Berardinelli
    The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.
    • 57 Metascore
    • 63 James Berardinelli
    This is a workmanlike motion picture with solid performances. It's just that the superior production values are used in service of a mediocre storyline.
    • 57 Metascore
    • 63 James Berardinelli
    If you take away Albert Nobbs' twist, all that's left is a project that would have been at home on Masterpiece Theater during its heyday.
    • 42 Metascore
    • 63 James Berardinelli
    The story is unfocused and the character development is virtually nonexistent.
    • 80 Metascore
    • 63 James Berardinelli
    Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.
    • 73 Metascore
    • 63 James Berardinelli
    I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.
    • 71 Metascore
    • 63 James Berardinelli
    Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.
    • 67 Metascore
    • 63 James Berardinelli
    Frankly, Snow Angels is a downer. This isn't inherently a negative - after all, some of the cinema's most powerful motion pictures are downbeat. However, in this case, there's no emotional force behind all the gloom - just a sense that something's missing.
    • 37 Metascore
    • 63 James Berardinelli
    Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.
    • 63 Metascore
    • 63 James Berardinelli
    From the beginning, it's apparent that there's something "off" about Youth in Revolt. It's not that the film is fatally flawed, but the tone is uneven, the satire is blunt, the comedy rarely generates more than feeble laughs, and the lead character never comes fully to life.
    • 43 Metascore
    • 63 James Berardinelli
    Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.
    • 57 Metascore
    • 63 James Berardinelli
    The problem with War Dogs isn’t the dark humor nor is it the cynically accurate deconstruction of military procurement and corruption. The lack of dynamism and depth in the characters is what hamstrings this production.
    • 48 Metascore
    • 63 James Berardinelli
    From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.
    • 48 Metascore
    • 63 James Berardinelli
    Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.
    • 49 Metascore
    • 63 James Berardinelli
    Bottom line: Do I recommend Antichrist? Tough to do, but tough not to. For those who are intrigued by the controversy, it may be worth the sacrifice, if only so you can evaluate it from a position of knowledge.
    • 48 Metascore
    • 63 James Berardinelli
    For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.
    • 39 Metascore
    • 63 James Berardinelli
    For 60 minutes, the movie appears to have found the right tone and approach, then everything goes wrong. It's rare to see a production that starts so strongly finish so weakly.
    • 71 Metascore
    • 63 James Berardinelli
    There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.
    • 53 Metascore
    • 63 James Berardinelli
    If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.
    • 48 Metascore
    • 63 James Berardinelli
    Bogged down by many of the problems that have plagued Disney's recent traditional animated features: anonymous voice work, poor plot structure, and the mistaken belief that the Disney brand will elevate anything to a "must see" level for viewers starved for family friendly fare. If there's a bright side to Chicken Little, it's that kids will love it.
    • 50 Metascore
    • 63 James Berardinelli
    Unfortunately, Voight is not in every scene, and, when he's absent, Varsity Blues has a tendency to flounder, descending into the realm of formulaic sports movie melodrama.
    • 59 Metascore
    • 63 James Berardinelli
    After starting out as a character-based ensemble piece, The Best Man Holiday turns into a predictable affair determined to hit as many familiar beats as possible while striving to wring tears and cheers in equal quantities from its audience.
    • 15 Metascore
    • 63 James Berardinelli
    Expectedly lowbrow and grotesque, but there are some truly inspired moments.
    • 63 Metascore
    • 63 James Berardinelli
    The Hunter works best as a travelogue and a thought-piece about the ugly, shadowy side of resurrecting dead species.
    • 48 Metascore
    • 63 James Berardinelli
    Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.
    • 42 Metascore
    • 63 James Berardinelli
    One expects a movie called Abraham Lincoln: Vampire Hunter to be rich in wit and black humor, but writer Seth Grahame-Smith and director Timur Bekmambetov opt to play things reasonably straight.
    • 66 Metascore
    • 63 James Berardinelli
    Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.
    • 31 Metascore
    • 63 James Berardinelli
    The tone, which veers uncertainly between dark comedy and suspense, is uneven, and the characters are not vivid enough to stabilize the load of a shifting, runaway plot.
    • 46 Metascore
    • 63 James Berardinelli
    Unfortunately, like far too many films, this one gives up the ghost during the last fifteen minutes, saddling an otherwise-enjoyable film with a dumb ending.
    • 53 Metascore
    • 63 James Berardinelli
    While the voice acting is fine and the story is nicely paced, the visuals are disappointing.
    • 19 Metascore
    • 63 James Berardinelli
    Comes across as a lame wannabe - a romantic comedy that lacks the level of outrageousness necessary to elevate it about the countless trite entries into the bloated genre.
    • 53 Metascore
    • 63 James Berardinelli
    Sadly, the elements that made the book special did not survive the transition to the screen.
    • 48 Metascore
    • 63 James Berardinelli
    The lack of a creative driver behind the film leads to a level of fundamental dissatisfaction. The movie delivers all the necessary elements but their impact is dull.
    • 53 Metascore
    • 63 James Berardinelli
    The problem with In Time, to the extent that it is a problem, is that an intriguing premise turns into window dressing for a somewhat routine "Bonnie & Clyde"-meets-"Robin Hood" action thriller with car chases, heists, and gunplay.
    • 39 Metascore
    • 63 James Berardinelli
    It’s fast paced but goes nowhere new and the film’s “bigness” makes it hard to remember what an amazingly unexpected treasure The Curse of the Black Pearl was.
    • 61 Metascore
    • 63 James Berardinelli
    The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.
    • 38 Metascore
    • 63 James Berardinelli
    More bland than bad, And So It Goes is being dumped into a crowded mid-July schedule in the hope that someone tired of noisy blockbusters might see it. The problem is, as antidotes go, this one is most likely to induce sleep as a means of relief.
    • 61 Metascore
    • 63 James Berardinelli
    The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.
    • 57 Metascore
    • 63 James Berardinelli
    In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.
    • 47 Metascore
    • 63 James Berardinelli
    As it is, it's a passable diversion.
    • 36 Metascore
    • 63 James Berardinelli
    Would probably have been more enjoyable if Berkowitz was less irritating. As a character, his only redeeming quality is his self-deprecating humor.
    • 70 Metascore
    • 63 James Berardinelli
    Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.
    • 52 Metascore
    • 63 James Berardinelli
    Certainly, the story told by The Monuments Men is worth telling and it's easy to see why a luminary like Clooney would be sufficiently attracted to want to direct it. Unfortunately, this treatment, written by Clooney and long-time collaborator Grant Heslov, isn't the best fit.
    • 69 Metascore
    • 63 James Berardinelli
    Some of the funniest scenes belong to Ice Cube's "angry black captain" who goes on profane rants that would make Samuel L. Jackson proud.
    • 51 Metascore
    • 63 James Berardinelli
    The performances are solid but I walked out of the theater thinking I might have been equally edified and entertained reading the man's Wikipedia entry.
    • 60 Metascore
    • 63 James Berardinelli
    This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.
    • 48 Metascore
    • 63 James Berardinelli
    Two words that come to mind when considering The Judge are generic and predictable. It's also well-intentioned and earnest (perhaps to a fault).
    • 83 Metascore
    • 63 James Berardinelli
    In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.
    • 50 Metascore
    • 63 James Berardinelli
    Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.
    • 43 Metascore
    • 63 James Berardinelli
    A perfect example of how solid directing and good acting can almost redeem a derivative story.
    • 48 Metascore
    • 63 James Berardinelli
    No one will ever confuse Ron Howard with Robert Altman. So, instead of a potentially hilarious satire, we're left with, as one character in the film puts it, "a joyous celebration of boobery."
    • 43 Metascore
    • 63 James Berardinelli
    Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.
    • 67 Metascore
    • 63 James Berardinelli
    It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.
    • 35 Metascore
    • 63 James Berardinelli
    Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.
    • 61 Metascore
    • 63 James Berardinelli
    I didn't feel strongly one way or another about The Kings of Summer. It's too innocuous to actively dislike but there's nothing memorable here. The characters are bland; the comedy, while occasionally eliciting laughs, is lukewarm; and the relationships never gel.
    • 47 Metascore
    • 63 James Berardinelli
    Delivers its share of cheap scares but never unlocks the door to the creepiness that would have made this is memorable movie-going experience.
    • 69 Metascore
    • 63 James Berardinelli
    An incomplete movie, artlessly cleft in the middle. Cinema interruptus.
    • 61 Metascore
    • 63 James Berardinelli
    The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.
    • 52 Metascore
    • 63 James Berardinelli
    Essentially a one-joke movie that milks its central conceit long after there's nothing left.
    • 70 Metascore
    • 63 James Berardinelli
    There are times when musical/comedy elements and the darker, serious drama of the love triangle war with each other. This is one of the great romantic tragedies of all time, and the film falls short of doing it justice.
    • 65 Metascore
    • 63 James Berardinelli
    Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."
    • 49 Metascore
    • 63 James Berardinelli
    Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.
    • 51 Metascore
    • 63 James Berardinelli
    The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.
    • 35 Metascore
    • 63 James Berardinelli
    The Wedding Ringer is imperfect but its imperfections are tolerable because they're accompanied by a dollop of drama, a measure of laughter, and an oversized helping of Kevin Hart.
    • 52 Metascore
    • 63 James Berardinelli
    While Bean branches out from the format developed for the television series, it remains faithful to the concepts and constructs that led to its success.
    • 60 Metascore
    • 63 James Berardinelli
    Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.
    • 55 Metascore
    • 63 James Berardinelli
    The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.
    • 60 Metascore
    • 63 James Berardinelli
    Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.
    • 36 Metascore
    • 63 James Berardinelli
    Sadly, about the nicest thing I can say about What Happens in Vegas is that I didn't hate it - although I suppose that's something.
    • 66 Metascore
    • 63 James Berardinelli
    Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.
    • 59 Metascore
    • 63 James Berardinelli
    The result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.
    • 54 Metascore
    • 63 James Berardinelli
    There's real heart to be found in the story but it comes along with borderline saccharine sentimentality, a too facile ending, and clean outcomes that aren't earned.
    • 37 Metascore
    • 63 James Berardinelli
    This movie was made to be shown to junior high history classes, not audiences in a movie theater.
    • 53 Metascore
    • 63 James Berardinelli
    The problem with The Book of Eli is that the narrative isn't a match for its sentiments. The script feels like it's an iteration or two short of a final draft.
    • 57 Metascore
    • 63 James Berardinelli
    Though Kansas City has its share of arresting moments, the production as a whole is too superficial to be considered amongst the director's best work.
    • 41 Metascore
    • 63 James Berardinelli
    Larry Crowne should not be mistaken for a masterpiece. It is summer entertainment: genial, undemanding, lightweight.
    • 52 Metascore
    • 63 James Berardinelli
    Deadfall suffers most obviously from a sense of not being adequately developed.
    • 41 Metascore
    • 63 James Berardinelli
    The movie as a whole is pleasant, generally satisfying, and has a heart as big as its funny bone. For an early January movie, this is sometimes as good as it gets.
    • 67 Metascore
    • 63 James Berardinelli
    The real problem with Fahrenheit 9/11 isn't that it attacks the current Republican administration, but that it does so clumsily and with poor focus.
    • 73 Metascore
    • 63 James Berardinelli
    A serviceable thriller - no more, no less.
    • 48 Metascore
    • 63 James Berardinelli
    So howlingly awful that it has unwittingly found a place in that elite group of films that can claim to be "so bad they're good."
    • 35 Metascore
    • 63 James Berardinelli
    From start to finish, A Life Less Ordinary feels like a group of sometimes amusing, sometimes clever, and sometimes tedious skits forced to fit together.
    • 47 Metascore
    • 63 James Berardinelli
    Wyatt Earp's attempts to cover so many years lead to too many scenes with little emotional power. The film doesn't shoot blanks, and it is better than Tombstone, but, considering the names involved, a little disappointment isn't out of the question.
    • 70 Metascore
    • 63 James Berardinelli
    The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.
    • 83 Metascore
    • 63 James Berardinelli
    If all it took was verisimilitude and atmosphere to define a movie, The Witch would earn a near-perfect rating. Unfortunately, despite a creepily effective setting and authentic setup, the movie suffers as a result of a frustratingly uneven screenplay.
    • 56 Metascore
    • 63 James Berardinelli
    Twilight isn't an especially good movie, but neither is it an abomination. At times, the dialogue is laugh-aloud bad - almost to the point of being hilarious.
    • 63 Metascore
    • 63 James Berardinelli
    While Straczynski should be commended for remaining reasonably true to the historical record, this results in an open-ended conclusion that isn't entirely satisfying.
    • 63 Metascore
    • 63 James Berardinelli
    Like its main character, the production rarely seems ready for prime time.
    • 68 Metascore
    • 63 James Berardinelli
    The central problem with Rise of the Planet of the Apes is that it feels more like a piece of something larger than a complete motion picture.
    • 37 Metascore
    • 63 James Berardinelli
    P2
    P2 doesn't crash and burn, but its finale is more generic than what the effective first hour leads us to hope for.
    • 56 Metascore
    • 63 James Berardinelli
    Race, like "42," does a workmanlike job of bringing the lead character to life and explaining his historical importance, but it fails to transcend the genre.
    • 50 Metascore
    • 63 James Berardinelli
    If there are any "24" fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered.
    • 52 Metascore
    • 63 James Berardinelli
    As YA romances go – and there are plenty to choose from – this is a lesser option.
    • 49 Metascore
    • 63 James Berardinelli
    Director Clark Johnson and screenwriter George Nolfi (adapting the novel by Gerald Petievich) do an excellent job of setting things up and getting the story underway. Unfortunately, some of their hard work is undone during the movie's final third.
    • 61 Metascore
    • 63 James Berardinelli
    To really work, The Bourne Legacy either needed to turn the title character into a 007-type who can change his face or bring back Damon in some capacity, even if just for a cameo. Neither happens and that works to the movie's detriment.
    • 59 Metascore
    • 63 James Berardinelli
    This is one of those middle-of-the-road art pictures that will impress some music lovers and attract a small audience, but won't really excite anyone. Copying Beethoven does not do for its title composer what Amadeus did for Mozart, and that's a shame.
    • 57 Metascore
    • 63 James Berardinelli
    Indy's companions are weak; we don't identify with them the way we did with Marion and Sallah. There's less action and more overt comedy, and neither change works to the benefit of the story.
    • 56 Metascore
    • 63 James Berardinelli
    An interesting plot element or two and a stylish visual approach can't save James Foley's The Corruptor from coming across as a run-of-the-mill cop movie.
    • 42 Metascore
    • 63 James Berardinelli
    An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.
    • 46 Metascore
    • 63 James Berardinelli
    The problem with the film has little to do with the central triangle, which is engaging enough in a formula-driven way, but with the myriad uninteresting subplots that dot the cinematic landscape and have the unfortunate effect of padding the proceedings to the point of unwieldiness.
    • 58 Metascore
    • 63 James Berardinelli
    It's surprising to admit that the British comedian, known far and wide for his willingness to take risks, plays it safe in The Invention of Lying - a fault from which the movie never truly recovers.
    • 66 Metascore
    • 63 James Berardinelli
    Captain America falls into the prevalent pitfalls of origin stories. So much time and effort is expended explaining how the protagonist gains his super-powers (and exploring his initial usage of them) that there's not enough opportunity to develop a compelling storyline beyond his "baptism."
    • 57 Metascore
    • 63 James Berardinelli
    The movie is unpolished, unabashedly un-PC, and takes on as many "sacred cows" as it can uncover in a slightly-too-long 105 minutes.
    • 49 Metascore
    • 63 James Berardinelli
    This is a mixed bag - passable entertainment made palatable largely by Law, but the question of "Why?" (more than "What's it all about?") still lingers where this remake is concerned.
    • 46 Metascore
    • 63 James Berardinelli
    The musical sequences throb with energy and this allows We Are Your Friends to maintain its trajectory when its momentum flags.
    • 66 Metascore
    • 63 James Berardinelli
    The movie is entertaining on a superficial level, but there's little beneath the surface.
    • 49 Metascore
    • 63 James Berardinelli
    One of the great unanswered questions in Hollywood is how Chevy Chase still gets work. Although his appeal is not as incomprehensible as that of, say, Pauly Shore, it's not obvious, either; "range" is one word no one will ever use in conjunction with Chase's acting ability.
    • 62 Metascore
    • 63 James Berardinelli
    Kristen Bell shines as Veronica, playing the character as a more mature version of her TV persona.
    • 55 Metascore
    • 63 James Berardinelli
    Instead of focusing on FDR as a president, this movie gives up half its length to tawdry soap opera.
    • 71 Metascore
    • 63 James Berardinelli
    Despite its many strengths, Thank You for Smoking hovers around mediocrity, and its lasting impression is like a puff of smoke that is dissipated by a strong gust of wind.
    • 56 Metascore
    • 63 James Berardinelli
    Sure, the viewer who wants to see a tightly-paced thriller with gun-play and emotionally-satisfying moments won't be disappointed, but there is a little more here than simple escapism. Although it takes a number of wrong turns, Falling Down still has the power to disturb.
    • 83 Metascore
    • 63 James Berardinelli
    While Caché offers food for thought, the last third is muddled.
    • 69 Metascore
    • 63 James Berardinelli
    The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.
    • 52 Metascore
    • 63 James Berardinelli
    It ends up feeling a little like warmed-over "Strictly Ballroom" without Baz Lurhmann's over-the-top sense of style.
    • 54 Metascore
    • 63 James Berardinelli
    On the whole, this is another disappointing animated effort and it resides considerably lower on the totem pole than this year's current non-live action champion, "Ratatouille."
    • 68 Metascore
    • 63 James Berardinelli
    The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.
    • 78 Metascore
    • 63 James Berardinelli
    The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.
    • 44 Metascore
    • 63 James Berardinelli
    The key term here is "fairy tale," because, although the movie occasionally tries for dramatic moments, they're overplayed, undercooked, and divorced from reality.
    • 28 Metascore
    • 63 James Berardinelli
    The only thing that differentiates it from far too many other uninspired rom-coms is that some of the material is funny and there is an occasional edge to the repartee. Beyond that, however, it's a cookie-cutter movie, and the cookies are pretty stale.
    • 46 Metascore
    • 63 James Berardinelli
    Bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.
    • 42 Metascore
    • 63 James Berardinelli
    There's probably enough content here to warrant a three-hour movie but Good People is only 90 minutes long.
    • 86 Metascore
    • 63 James Berardinelli
    The problem with Beasts of the Southern Wild is that, like "The Tree of Life," it seeks to integrate its small, very personal story into a much larger, more ambitious tapestry.
    • 88 Metascore
    • 63 James Berardinelli
    It's often diverting and occasionally funny, but it's ultimately inconsequential.
    • 69 Metascore
    • 63 James Berardinelli
    Into the Woods left me out in the cold. The long-gestating cinematic adaptation of Stephen Sondheim's fairy tale-infused Broadway musical, Into the Woods can claim a clever screenplay and a few enjoyable performances but little else.
    • 76 Metascore
    • 63 James Berardinelli
    The final half-hour of Broken Embraces is littered with facile contrivances and plot turns worthy of a soap opera. It's almost mystifying, and more than a little frustrating, to watch a movie cruising at such a high level suddenly suffer a complete breakdown and lose too much altitude.
    • 74 Metascore
    • 63 James Berardinelli
    Enjoyable, but it's a shallow enjoyment.
    • 54 Metascore
    • 63 James Berardinelli
    Booty Call isn't a source of nonstop laughs, and there are a lot of gags that fall flat, but, on those sporadic occasions when something works, the result can be hilarious.
    • 73 Metascore
    • 63 James Berardinelli
    The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.
    • 40 Metascore
    • 63 James Berardinelli
    It's a fast-paced motion picture that fails the "reality test" but maintains a certain intensity for its entire running length. It's entertaining in the same way that an episode of "24" is entertaining.
    • 80 Metascore
    • 63 James Berardinelli
    Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.
    • 56 Metascore
    • 63 James Berardinelli
    For the Watchmen fan, this may be as close to the Holy Grail as a motion picture could come. For everyone else, a sense of frustration and disappointment is not unwarranted. Watchmen is many things but it is not the Next Great Comic Book Movie or the film that will advance graphic novel adaptations to the next level.
    • 57 Metascore
    • 63 James Berardinelli
    It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.
    • 52 Metascore
    • 63 James Berardinelli
    This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors.
    • 54 Metascore
    • 63 James Berardinelli
    The most enjoyable parts of The Secret Life of Walter Mitty are his fantasies, such as one in which he stands up to his boss in a way he never would in real life.
    • 67 Metascore
    • 63 James Berardinelli
    Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.
    • 46 Metascore
    • 63 James Berardinelli
    Take away the performances, and all that would be left is a cheapish B-grade motion picture.
    • 78 Metascore
    • 63 James Berardinelli
    The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.
    • 42 Metascore
    • 63 James Berardinelli
    A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.
    • 62 Metascore
    • 63 James Berardinelli
    I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.
    • 54 Metascore
    • 63 James Berardinelli
    The film's notable quality is the music and as soon as one song is finished, we're ready for the next one. Unfortunately, there are often long passages of dialogue and narrative to endure before getting there.
    • 73 Metascore
    • 63 James Berardinelli
    The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.
    • 63 Metascore
    • 63 James Berardinelli
    For those who enjoy the saturation style of humor and appreciate the way in which parody is not pushed too far into the absurd, Walk Hard is not without merit.
    • 62 Metascore
    • 63 James Berardinelli
    Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.
    • 55 Metascore
    • 63 James Berardinelli
    Perfect Sense offers an epic tale seen through the prism of a tiny, intimate story. It's the inverse of "Contagion," which sacrificed character to scope.
    • 78 Metascore
    • 63 James Berardinelli
    In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
    • 62 Metascore
    • 63 James Berardinelli
    It is not as engaging as "The Royal Tenenbaums," but about on par with "Rushmore" and "Bottle Rocket."
    • 70 Metascore
    • 63 James Berardinelli
    Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.
    • 52 Metascore
    • 63 James Berardinelli
    Mixed together, all of this makes for a fascinating viewing experience, but the unfortunate ending diluted my enthusiasm for the film as a whole.
    • 43 Metascore
    • 63 James Berardinelli
    Overwrought and disjointed, Ewan McGregor’s directorial debut is surprisingly faithful to aspects of the text but the overall presentation is conventional and disappointing.
    • 45 Metascore
    • 63 James Berardinelli
    Elizabeth: The Golden Age lacks the intricate plotting that characterized its predecessor. The screenplay is more action-oriented but not as smart, and some of the dialogue is downright cheesy.
    • 41 Metascore
    • 63 James Berardinelli
    Crank 2: High Voltage is the freak show act at a carnival. It's so over-the-top that the phrase ceases to have meaning in this context. It's a bizarre concoction of testosterone, adrenaline, and psychedelics. It seeks not only to top its predecessor, "Crank," but to outdo itself at every turn.
    • 38 Metascore
    • 63 James Berardinelli
    In general, parodies may not rely overmuch on plot, but they need more in this department than Death to Smoochy possesses.
    • 70 Metascore
    • 63 James Berardinelli
    It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.
    • 54 Metascore
    • 63 James Berardinelli
    There's no shortage of material on the screen in Bee Season - it's just not assembled in a satisfying manner.
    • 52 Metascore
    • 63 James Berardinelli
    It would be nice to argue that the good outweighs the bad in The Switch, but it's a wash.
    • 66 Metascore
    • 63 James Berardinelli
    Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.
    • 66 Metascore
    • 63 James Berardinelli
    The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.
    • 55 Metascore
    • 63 James Berardinelli
    Admittedly, mediocre Sayles is still watchable, but, relative to expectations, Casa de los Babys is a disappointment of significant proportions.
    • 52 Metascore
    • 63 James Berardinelli
    Ghost in the Shell is visually compelling but tone deaf.
    • 66 Metascore
    • 63 James Berardinelli
    Splice is as much a psychological thriller and drama about bio-ethics as it is a horror movie. Like the vastly superior "The Fly," it uses gore sparingly; delivering shocks to the audience is a secondary consideration.
    • 43 Metascore
    • 63 James Berardinelli
    Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.
    • 62 Metascore
    • 63 James Berardinelli
    The problem is one of tone. The Five Year Engagement, despite its serious thesis, tries desperately to be funny. Some of the comedic material provokes laughter and some doesn't, but nearly all of it feels wrong.
    • 80 Metascore
    • 63 James Berardinelli
    The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.
    • 59 Metascore
    • 63 James Berardinelli
    There are times when iconic characters should be left alone to bask in the glory of a single appearance and, unfortunately, that's the case with Gordon Gekko.
    • 59 Metascore
    • 63 James Berardinelli
    If nothing else, Unfriended does an excellent job portraying the frenzy that is on-line teen interaction. This is the new equivalent of "hanging out."
    • 61 Metascore
    • 63 James Berardinelli
    2 Days in New York splits its time between being a quirky comedy and a quasi-serious drama. Comparisons with Woody Allen may be inevitable, in part because of the setting, although none of the characters in this film are neurotic enough to match vintage Allen.
    • 48 Metascore
    • 63 James Berardinelli
    In the end, it's the self-mocking aura that save this film from being a waste of two hours.
    • 31 Metascore
    • 63 James Berardinelli
    It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.
    • 71 Metascore
    • 63 James Berardinelli
    If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.
    • 59 Metascore
    • 63 James Berardinelli
    It wants to be funny, charming, scary, and dramatic. It ends up being a little of each but not successful as any one.
    • 49 Metascore
    • 63 James Berardinelli
    The bad news is that Silent House is 88 minutes long, and the final half hour represents a descent into an anticlimax that ends with a scene as dumb as it is disappointing.
    • 57 Metascore
    • 63 James Berardinelli
    Hicks has made a technically adept film, but one that, for all of its strong acting and vivid photography, left me less moved than I should have been.
    • 53 Metascore
    • 63 James Berardinelli
    Looks great and has some raw, unsettling moments, but the overall impression is of a production that fails to achieve what it sets out to do.
    • 76 Metascore
    • 63 James Berardinelli
    A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.
    • 49 Metascore
    • 63 James Berardinelli
    A tighter version of the same story might have captured and held my interest, but this one had the proceedings wandering like the riderless camels in the desert.
    • 25 Metascore
    • 63 James Berardinelli
    It is neither deep nor intelligent, but it's not intended to be either. The saving grace of the otherwise generic product is that Bell's vivacity and Duhamel's rakish charm allow the viewer to root for them.
    • 45 Metascore
    • 63 James Berardinelli
    Paced more like an action movie than a drama, and, when a pause finally occurs at the end credits, we realize that it hasn't been an altogether satisfying ride.
    • 61 Metascore
    • 63 James Berardinelli
    The problem with The Soloist is that, while Wright shows admirable restraint in dramatizing the interaction between the two principals and does not fall into the trap of following a "movie of the week" formula about mental illness, there is little emotional resonance in the story.
    • 46 Metascore
    • 63 James Berardinelli
    The book tore at my heart; the movie left me strangely unmoved.
    • 38 Metascore
    • 63 James Berardinelli
    The movie voids a lot of good will with a cheesy ending. This is just the kind of denouement I was hoping Taking Lives wouldn't sink to, yet it does.
    • 58 Metascore
    • 63 James Berardinelli
    All the explosions and fights are filmed with consummate skill, and are thrilling in their own right. But that's where it stops. The pacing is erratic and the level of tension ebbs and flows.
    • 44 Metascore
    • 63 James Berardinelli
    Unfortunately, Picture Perfect uses embarrassing contrivances to sabotage what should have been a pleasant excursion down a familiar road.
    • 57 Metascore
    • 63 James Berardinelli
    One could argue that Crank works best as a comedy. It's occasionally funny, and some times VERY funny.
    • 86 Metascore
    • 63 James Berardinelli
    Rushmore is one of those films that's so inconsequential that its memory threatens to fade away before the end credits have finished rolling.
    • 51 Metascore
    • 63 James Berardinelli
    The venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
    • 47 Metascore
    • 63 James Berardinelli
    It's a perfect choice for a mother/daughter evening out...decently constructed, solidly performed, and not too naïve.
    • 38 Metascore
    • 63 James Berardinelli
    Too often, it simply makes no sense.
    • 71 Metascore
    • 63 James Berardinelli
    It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.
    • 51 Metascore
    • 63 James Berardinelli
    Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.
    • 72 Metascore
    • 63 James Berardinelli
    One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.
    • 52 Metascore
    • 63 James Berardinelli
    This picture doesn't have deep enough currents to succeed as a psychological thriller and, as a ghost story, there are times when it has trouble treading water.
    • 54 Metascore
    • 63 James Berardinelli
    When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.
    • 38 Metascore
    • 63 James Berardinelli
    An offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good.
    • 48 Metascore
    • 63 James Berardinelli
    The voices were chosen more for their big name appeal than for their ability to bring life to the drawings. The storyline is flat, linear, and shallow.
    • 47 Metascore
    • 63 James Berardinelli
    The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.
    • 65 Metascore
    • 63 James Berardinelli
    This movie is an entertaining and sometimes wildly-exhilarating ride.
    • 38 Metascore
    • 63 James Berardinelli
    It's a little too low-key to be an effective romance and a little too soft to be anything more ambitious. Ultimately, it's neither offensive nor horrible; it's just another unspectacular, uninspired entry on Nora Ephron's erratic resume.
    • 37 Metascore
    • 63 James Berardinelli
    Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.
    • 37 Metascore
    • 63 James Berardinelli
    A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.
    • 59 Metascore
    • 63 James Berardinelli
    The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.
    • 60 Metascore
    • 63 James Berardinelli
    This is a mediocre horror/comedy that deserves neither high praise nor disparagement.
    • 47 Metascore
    • 63 James Berardinelli
    Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.
    • 79 Metascore
    • 63 James Berardinelli
    Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.
    • 71 Metascore
    • 63 James Berardinelli
    There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.
    • 45 Metascore
    • 63 James Berardinelli
    There are some splendidly over-the-top performances - chiefly those of Nicole Kidman and John Cusack, both cast against type - but the biggest narrative hole lies at the center. The lead character, played by Zac Efron, is dull, uninteresting, and poorly conceived.
    • 61 Metascore
    • 63 James Berardinelli
    If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.
    • 53 Metascore
    • 63 James Berardinelli
    For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.

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