James Berardinelli

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For 3,088 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 4 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Das Boot
Lowest review score: 0 Captivity
Score distribution:
3088 movie reviews
    • 45 Metascore
    • 50 James Berardinelli
    A fast-food type of movie - it looks good in the commercials and is easy to sit through, but it doesn't offer much in the way of satisfaction.
    • 45 Metascore
    • 75 James Berardinelli
    It is involving and entertaining, and features an intriguing, independent heroine.
    • 45 Metascore
    • 38 James Berardinelli
    This new horror/romance mashup provides just enough flavor of Jane Austen’s classic to tease without satisfying.
    • 45 Metascore
    • 75 James Berardinelli
    This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.
    • 45 Metascore
    • 75 James Berardinelli
    This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.
    • 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.
    • 45 Metascore
    • 75 James Berardinelli
    Hawke has made this movie his way and the result is a story that is by turns romantic and disquieting. It's well worth the price of admission.
    • 45 Metascore
    • 63 James Berardinelli
    Quality-wise, however, there's a big drop off from sex, lies and videotape to Full Frontal.
    • 45 Metascore
    • 25 James Berardinelli
    It boggles the mind to consider that the fertile writing team of Alec Berg, David Mandel, and Jeff Schaffer, all of whom spent time scripting episodes of "Seinfeld," could turn out something as abysmally unfunny as Eurotrip.
    • 45 Metascore
    • 50 James Berardinelli
    Mechanical and artificial, and tells you what to think.
    • 45 Metascore
    • 75 James Berardinelli
    In a curious way, Snatched is a little like an Amy Schumer stand-up routine: sometimes edgy, occasionally hilarious, and lessened by the bits that fall flat.
    • 45 Metascore
    • 50 James Berardinelli
    Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.
    • 45 Metascore
    • 25 James Berardinelli
    There's nothing worse than a film which mistakenly believes it's the comic event of the year. For no legitimate reason whatsoever, When Nature Calls is full of itself to the point of being offensive.
    • 45 Metascore
    • 50 James Berardinelli
    In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
    • 45 Metascore
    • 50 James Berardinelli
    Likely won't please fans of the original TV series, but the movie hasn't been made for them.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.
    • 45 Metascore
    • 50 James Berardinelli
    The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.
    • 45 Metascore
    • 63 James Berardinelli
    The reason to see Chasing Mavericks is the same reason why people flock to shore locations when a hurricane approaches: the waves. This is less effective as a bio-pic of Jay Moriarty than it is as a big screen National Geographic Special.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.
    • 45 Metascore
    • 75 James Berardinelli
    A thoughtful, almost poetic, piece that puts forth the argument that redemption is not easily achieved.
    • 45 Metascore
    • 88 James Berardinelli
    The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.
    • 44 Metascore
    • 50 James Berardinelli
    The material isn't sufficiently funny to allow me to forgive the film's feeble storyline and two-dimensional inhabitants.
    • 44 Metascore
    • 50 James Berardinelli
    A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.
    • 44 Metascore
    • 75 James Berardinelli
    It's familiar enough to be comfortable but not so familiar that it feels worn and repetitive.
    • 44 Metascore
    • 38 James Berardinelli
    Dull, uninspired, and redundant.
    • 44 Metascore
    • 50 James Berardinelli
    As far as the actors are concerned, Liam Neeson seems to be having fun hamming it up as the villain - a role he rarely gets to play.
    • 44 Metascore
    • 38 James Berardinelli
    Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.
    • 44 Metascore
    • 50 James Berardinelli
    We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.
    • 44 Metascore
    • 75 James Berardinelli
    This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.
    • 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.
    • 44 Metascore
    • 50 James Berardinelli
    The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).
    • 44 Metascore
    • 75 James Berardinelli
    Unlike so many of the bloated, disappointing entries into the 2016 big budget sweepstakes, this is good escapist entertainment.
    • 44 Metascore
    • 12 James Berardinelli
    This movie is so atrocious I kept waiting for Nick Cage to show up.
    • 44 Metascore
    • 75 James Berardinelli
    Hostage has suspense and momentum.
    • 44 Metascore
    • 38 James Berardinelli
    Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.
    • 44 Metascore
    • 50 James Berardinelli
    Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.
    • 44 Metascore
    • 63 James Berardinelli
    Great premise, terrible execution.
    • 44 Metascore
    • 38 James Berardinelli
    Calling Delivery Man a "comedy" is a bit of a stretch, because it's rarely funny. Dumb, yes, but not in a way that's worthy of more than a half-hearted chuckle.
    • 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.
    • 44 Metascore
    • 50 James Berardinelli
    Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.
    • 44 Metascore
    • 88 James Berardinelli
    Funny Games is not entertainment but it is an experience.
    • 44 Metascore
    • 75 James Berardinelli
    In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.
    • 44 Metascore
    • 50 James Berardinelli
    The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.
    • 44 Metascore
    • 63 James Berardinelli
    Unfortunately, Picture Perfect uses embarrassing contrivances to sabotage what should have been a pleasant excursion down a familiar road.
    • 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.
    • 44 Metascore
    • 75 James Berardinelli
    Into the Storm is as straightforward a disaster film as you're likely to find.
    • 44 Metascore
    • 63 James Berardinelli
    The Raven is period piece fun - at least until it realizes there has to be a conclusion. That's where a certain amount of inevitable disappointment sets in. The curse of the two-hour murder mystery is that the ending never seems to justify the build-up.
    • 44 Metascore
    • 63 James Berardinelli
    Unfortunately, while certain aspects of Girl 6 are handled with flair, the film's dramatic scope too often isn't compelling enough for subject matter of such rich and varied possibilities.
    • 44 Metascore
    • 38 James Berardinelli
    A "Jennifer Aniston movie" has become synonymous with "derivative, lackluster mediocrity," and it's a shame. We know she has both talent and charisma but nothing on her recent resume has allowed her to display those qualities. So we're stuck with films that are at best forgettable and at worst painful.
    • 44 Metascore
    • 75 James Berardinelli
    It delivers what it's expected to deliver, and that's likely to make it a success with anyone who laughed his ass off two summers ago.
    • 44 Metascore
    • 88 James Berardinelli
    An engrossing examination of the elemental forces that define human nature.
    • 44 Metascore
    • 38 James Berardinelli
    As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.
    • 44 Metascore
    • 75 James Berardinelli
    What Dreams May Come has the sensibilities of an art film placed into a big-budget feature with an A-list cast.
    • 44 Metascore
    • 63 James Berardinelli
    Once Batman v Superman hits its stride, most viewers will feel equal parts pummeled and immersed. Snyder is a master of the dark spectacle and he pours it on starting around the movie’s midpoint.... Still, although viewers may be riveted at times, the net experience isn’t much fun.
    • 44 Metascore
    • 75 James Berardinelli
    Even considering some of its late-innings flaws, this is an engaging movie that doesn't mistake histrionics and bile for solid family reunion drama.
    • 44 Metascore
    • 63 James Berardinelli
    For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."
    • 44 Metascore
    • 63 James Berardinelli
    The Answer Man is a passable way to kill two hours on a lazy summer afternoon, and perhaps an excuse to get out of the heat.
    • 44 Metascore
    • 75 James Berardinelli
    For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.
    • 44 Metascore
    • 50 James Berardinelli
    Die-hard fans are advised to wait for the video. Everyone else would be better off pretending that this movie doesn't exist. In the long run, you'll have a higher opinion of everyone involved.
    • 44 Metascore
    • 63 James Berardinelli
    By playing it safe, One Last Thing offers tearful interludes but not a lot more.
    • 44 Metascore
    • 50 James Berardinelli
    "Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.
    • 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.
    • 44 Metascore
    • 38 James Berardinelli
    Devil will do little to dispel the growing belief that Shyamalan is a one-trick pony whose horse has keeled over. The laughter during the trailer was sadly prescient; the film is a joke.
    • 44 Metascore
    • 63 James Berardinelli
    Has plenty of funny moments, but there's no chemistry between stars Ben Stiller and Jennifer Aniston. It's hard to accept that these two characters are, or even could be, in love. So, while the film is pleasant and sporadically entertaining, it can't be considered an unequivocal success.
    • 44 Metascore
    • 63 James Berardinelli
    Despite having a perfect cast for a title like Killer Elite, Gary McKendry's feature debut comes across as little more than a generic Jason Statham movie with two high-profile guest stars.
    • 43 Metascore
    • 63 James Berardinelli
    You may end up being pleasantly surprised, especially if you have a ten-year old girl in tow.
    • 43 Metascore
    • 38 James Berardinelli
    There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.
    • 43 Metascore
    • 50 James Berardinelli
    There's not a moment of originality in the entire motion picture.
    • 43 Metascore
    • 50 James Berardinelli
    The visuals of a blasted city are impressive but hardly reason to spend $10 to sit in a theater seat and watch a bunch of underdeveloped characters get chased by zombies for an inordinate amount of time.
    • 43 Metascore
    • 50 James Berardinelli
    There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
    • 43 Metascore
    • 50 James Berardinelli
    On the whole, Star Trek V is a highly forgettable motion picture, regardless of whether you're looking at it from the perspective of a Trek lover or a movie-goer.
    • 43 Metascore
    • 50 James Berardinelli
    It's an orgy for disaster porn devotees.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    Because so little of it works, the film is disposable.
    • 43 Metascore
    • 38 James Berardinelli
    Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.
    • 43 Metascore
    • 75 James Berardinelli
    For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.
    • 43 Metascore
    • 50 James Berardinelli
    A lackluster melodrama with only a few inspired moments.
    • 43 Metascore
    • 38 James Berardinelli
    The only reason any male could have for seeing The Vow is the hope of getting laid afterwards. The only reason any female could have for seeing The Vow is if she views the plots of Harlequin romance novels as the height of modern storytelling.
    • 43 Metascore
    • 63 James Berardinelli
    Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.
    • 43 Metascore
    • 25 James Berardinelli
    Watching this movie, I wished I knew how to use dental floss, a paper clip, and a crumpled movie ticket to break the projector.
    • 43 Metascore
    • 75 James Berardinelli
    Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.
    • 43 Metascore
    • 50 James Berardinelli
    The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.
    • 43 Metascore
    • 38 James Berardinelli
    With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.
    • 43 Metascore
    • 38 James Berardinelli
    The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
    • 43 Metascore
    • 50 James Berardinelli
    The root problem with The Wolfman is that it's a hybrid.
    • 43 Metascore
    • 50 James Berardinelli
    The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.
    • 43 Metascore
    • 63 James Berardinelli
    360
    It is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.
    • 43 Metascore
    • 50 James Berardinelli
    This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.
    • 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.
    • 43 Metascore
    • 38 James Berardinelli
    Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.
    • 43 Metascore
    • 50 James Berardinelli
    Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.
    • 43 Metascore
    • 63 James Berardinelli
    This movie is a vast improvement over the tired and uninspired "American Pie 2," although it fails to make it to the lofty perch occupied by the first film.
    • 43 Metascore
    • 50 James Berardinelli
    A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.
    • 43 Metascore
    • 75 James Berardinelli
    The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.
    • 43 Metascore
    • 75 James Berardinelli
    Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.
    • 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.
    • 43 Metascore
    • 63 James Berardinelli
    The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.
    • 43 Metascore
    • 63 James Berardinelli
    A perfect example of how solid directing and good acting can almost redeem a derivative story.
    • 43 Metascore
    • 50 James Berardinelli
    This could easily go down as the year's best example of solid acting in a wretched motion picture.
    • 43 Metascore
    • 50 James Berardinelli
    Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.
    • 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.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    "Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.
    • 43 Metascore
    • 38 James Berardinelli
    Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.
    • 43 Metascore
    • 63 James Berardinelli
    Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.
    • 43 Metascore
    • 50 James Berardinelli
    The movie, however, seems to make the wrong decision at almost every opportunity, trying for the kind of melodramatic tragedy that only works in opera.
    • 43 Metascore
    • 50 James Berardinelli
    The end result is a meandering story featuring shallow, unconvincing characters attempting to illustrate the evils of technology in its undermining of individual liberties. The Circle offers a lot of good bullet arguments but this is a movie not a Powerpoint presentation.
    • 43 Metascore
    • 0 James Berardinelli
    Zero-star movies are a rare and terrifying breed - films that warrant recommendation only as an alternative to physical distress.
    • 43 Metascore
    • 25 James Berardinelli
    The worst action movie of the summer. I liked Bad Boys II a little less, but making the comparison is like distinguishing between a cow turd and a horse turd. And that pretty much sums it up nicely.
    • 42 Metascore
    • 50 James Berardinelli
    The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.
    • 42 Metascore
    • 63 James Berardinelli
    There's some entertainment value, but the production as a whole is unfocused.
    • 42 Metascore
    • 50 James Berardinelli
    The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.
    • 42 Metascore
    • 50 James Berardinelli
    Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.
    • 42 Metascore
    • 75 James Berardinelli
    Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.
    • 42 Metascore
    • 50 James Berardinelli
    Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
    • 42 Metascore
    • 63 James Berardinelli
    It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.
    • 42 Metascore
    • 50 James Berardinelli
    Science fiction has an obligation to seduce the viewer into applying the "willing suspension of disbelief." With its plot holes and head-scratching incongruities, Transcendence fails in this arena thereby making the production as a whole feel bloated and unsatisfying.
    • 42 Metascore
    • 50 James Berardinelli
    With a movie of this sort, the viewer expects to undergo something grueling and disturbing. Trade's inability to deliver that sort of visceral experience makes it unworthy of anyone's hard-earned dollars.
    • 42 Metascore
    • 38 James Berardinelli
    Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.
    • 42 Metascore
    • 50 James Berardinelli
    The "Da Vinci Code" was adequate but forgettable. "Angels & Demons" was godawful. Inferno is somewhere in between - watchable but by no means worth the money and effort necessary to see it theatrically.
    • 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.
    • 42 Metascore
    • 50 James Berardinelli
    Stargate is peppered with numerous minor faults, some of which - although not all - are easily forgiven. It's the bigger plot problems and lackluster climax which are more difficult to excuse.
    • 42 Metascore
    • 63 James Berardinelli
    The action scenes are crisply directed, brutal, and invigorating.
    • 42 Metascore
    • 50 James Berardinelli
    I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.
    • 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.
    • 42 Metascore
    • 38 James Berardinelli
    If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.
    • 42 Metascore
    • 50 James Berardinelli
    A shift in tone to something like "Kingsman" might have made this a more entertaining experience.
    • 42 Metascore
    • 50 James Berardinelli
    12 year old boys will love the result. That’s not a good sign for anyone who has passed beyond their teenage years.
    • 42 Metascore
    • 75 James Berardinelli
    The movie's sincerity helps it get over some of the most difficult hurdles and the feeling after leaving theater is one of having experienced something worthwhile albeit unremarkable.
    • 42 Metascore
    • 75 James Berardinelli
    This isn't vintage De Niro but at least there's more substance here than in a lot of his other recent projects. Michelle Pfeiffer, who flirted with this sort of a role 25 years ago in "Married to the Mob," is enjoying something of a renaissance after working only sparingly for more than a decade.
    • 42 Metascore
    • 50 James Berardinelli
    Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.
    • 42 Metascore
    • 75 James Berardinelli
    It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.
    • 42 Metascore
    • 63 James Berardinelli
    Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.
    • 42 Metascore
    • 63 James Berardinelli
    The story is unfocused and the character development is virtually nonexistent.
    • 42 Metascore
    • 63 James Berardinelli
    An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.
    • 42 Metascore
    • 38 James Berardinelli
    LaBeouf, who appeared to hit a low in "Indiana Jones and the Kingdom of the Crystal Skull," has sunk to greater levels of incompetence here.
    • 42 Metascore
    • 50 James Berardinelli
    It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.
    • 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.
    • 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.
    • 42 Metascore
    • 38 James Berardinelli
    Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.
    • 42 Metascore
    • 63 James Berardinelli
    The wheels fall off toward the end but, until that point, Illiadis does an excellent job of generating and maintaining an intense sense of dread.
    • 42 Metascore
    • 63 James Berardinelli
    This isn't a bad movie; it's watchable but the direction in which the filmmakers choose to take it results in a vague sense of dissatisfaction.
    • 42 Metascore
    • 75 James Berardinelli
    The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.
    • 42 Metascore
    • 50 James Berardinelli
    At least the set design and costumes are excellent. The movie feels overstuffed and undercooked but it always looks nice.
    • 42 Metascore
    • 50 James Berardinelli
    An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.
    • 42 Metascore
    • 63 James Berardinelli
    The plot is so thin that it's not really worth thinking about, but director Antoine Fuqua and cinematographer Peter Lyons Collister have put so much effort into the feel and appearance of the movie that it held my attention.
    • 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.
    • 42 Metascore
    • 75 James Berardinelli
    With Legend of the Sword, the filmmaker isn’t remaking or adapting anything. This is his version of Arthur’s origin story and, if nothing else, it’s kinetic and attention-grabbing.
    • 41 Metascore
    • 63 James Berardinelli
    It is a recognized truth of the movie industry that even the best film makers will have disappointments, and, for Woody Allen, Celebrity fits into that category.
    • 41 Metascore
    • 50 James Berardinelli
    The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.
    • 41 Metascore
    • 50 James Berardinelli
    Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.
    • 41 Metascore
    • 63 James Berardinelli
    Larry Crowne should not be mistaken for a masterpiece. It is summer entertainment: genial, undemanding, lightweight.
    • 41 Metascore
    • 38 James Berardinelli
    John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.
    • 41 Metascore
    • 50 James Berardinelli
    Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.
    • 41 Metascore
    • 63 James Berardinelli
    Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.
    • 41 Metascore
    • 38 James Berardinelli
    Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.
    • 41 Metascore
    • 50 James Berardinelli
    Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.
    • 41 Metascore
    • 38 James Berardinelli
    Battleship has the IQ of a rutabaga and doesn't require much more intelligence than that to watch. Despite spending copious amounts of time with back story and so-called character development, it's really all about the explosions.
    • 41 Metascore
    • 50 James Berardinelli
    The film occasionally pokes fun at itself, although not nearly as often as it should. I don't recommend it for anything more significant than a bottom-of-the-barrel rental or a desperation cable choice, but it delivers what it advertises, and I suppose that could be considered a virtue.
    • 41 Metascore
    • 63 James Berardinelli
    There are several painfully awkward "dead spots" in Mallrats where nothing works -- not the dialogue, the acting, or the direction.
    • 41 Metascore
    • 25 James Berardinelli
    This is quite possibly the most moronic motion picture I have seen thus far in 2013 and that's saying a lot.
    • 41 Metascore
    • 50 James Berardinelli
    Child 44 is a victim of poor adaptation. It is beset by problems related to flow and coherence; the narrative is confusing, the characters are provided with inadequate time for development, and dead-end subplots abound.
    • 41 Metascore
    • 50 James Berardinelli
    At its best, Ride Along is tolerable. At its worst, it borders on insulting.
    • 41 Metascore
    • 50 James Berardinelli
    The problem lies in the screenplay which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.
    • 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.
    • 41 Metascore
    • 75 James Berardinelli
    Although the film's real-world credibility is shaky, it works on its own terms.
    • 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.
    • 41 Metascore
    • 63 James Berardinelli
    Stay is interesting, but it's hard to recommend to anyone but the small cadre of David Lynch devotees who will inhale anything with a whiff of similarity to their favorite auteur's scent.
    • 41 Metascore
    • 50 James Berardinelli
    Put simply, this movie is dumb.
    • 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.
    • 41 Metascore
    • 63 James Berardinelli
    Arguably Sandler's most enjoyable motion picture to date, but it's still far from a masterpiece.
    • 41 Metascore
    • 50 James Berardinelli
    The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.
    • 41 Metascore
    • 38 James Berardinelli
    At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.
    • 41 Metascore
    • 50 James Berardinelli
    When the Game Stands Tall is one of those cliché-riddled feel good movies that, by trying too hard to be inspirational, ends up as cloying and overly sentimental.
    • 41 Metascore
    • 50 James Berardinelli
    Takes the action/adventure story to new heights of preposterousness. In a way, that's not a bad thing, since it allows a certain level of guilty enjoyment.
    • 41 Metascore
    • 50 James Berardinelli
    While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.
    • 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.
    • 41 Metascore
    • 75 James Berardinelli
    The movie’s failings come during its final act when contrivances and an adherence to big budget conventions transform Passengers into a less compelling experience than what it starts out as.
    • 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.
    • 41 Metascore
    • 75 James Berardinelli
    If you like kinetic movies about crime, criminals, and all sorts of bad behavior, Running Scared will catch and hold your attention.
    • 41 Metascore
    • 63 James Berardinelli
    For most of its running length, Sabotage is a gritty, compelling motion picture with twists to make a pretzel envious.
    • 41 Metascore
    • 50 James Berardinelli
    It's not so much a bad movie as it is a pointless one.
    • 41 Metascore
    • 50 James Berardinelli
    Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.
    • 41 Metascore
    • 50 James Berardinelli
    There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.
    • 41 Metascore
    • 50 James Berardinelli
    Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.
    • 41 Metascore
    • 50 James Berardinelli
    There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.
    • 41 Metascore
    • 50 James Berardinelli
    Four Christmases is waste of time and a disappointment, but it's also relatively painless.
    • 41 Metascore
    • 50 James Berardinelli
    Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.
    • 41 Metascore
    • 63 James Berardinelli
    With each new outing, the Final Destination movies are getting better.
    • 41 Metascore
    • 63 James Berardinelli
    This is a competent, technically proficient rendering that may find favor with those who have never seen Romeo & Juliet on the big screen but it's little more than a curiosity for those with a long history of watching Shakespeare's works translated to the cinema.
    • 41 Metascore
    • 50 James Berardinelli
    The problem is that the writing is too weak for me to come close to recommending it.
    • 40 Metascore
    • 50 James Berardinelli
    This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.
    • 40 Metascore
    • 63 James Berardinelli
    Gangster Squad provides a welcome burst of heat and color, even if those qualities are more illusory than real and subject to a fast fade.
    • 40 Metascore
    • 50 James Berardinelli
    As slasher movies go, Halloween II is far from the bottom of the barrel, but, given its pedigree, one has a right to expect a higher degree of quality that what is delivered.
    • 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.
    • 40 Metascore
    • 25 James Berardinelli
    The element of high camp that makes for enjoyable "good trash" isn't present.
    • 40 Metascore
    • 25 James Berardinelli
    They could have called this Paranormal Inactivity.
    • 40 Metascore
    • 63 James Berardinelli
    The best I can say is that I was never bored, although I was never overwhelmed, either. There are enough small things to keep it interesting even when many of the big things fail.
    • 40 Metascore
    • 38 James Berardinelli
    Painfully unfunny and unnecessarily long, this movie is the antithesis of its predecessor, the delightfully raunchy "Horrible Bosses."
    • 40 Metascore
    • 50 James Berardinelli
    Here Comes the Boom is stale and vanilla. We know we're in trouble early when the first joke fails.
    • 40 Metascore
    • 38 James Berardinelli
    Tedious and predictable, it employs obvious situations and clichés instead of genuine suspense-building elements.
    • 40 Metascore
    • 50 James Berardinelli
    If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.
    • 40 Metascore
    • 50 James Berardinelli
    It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.
    • 40 Metascore
    • 50 James Berardinelli
    Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.
    • 40 Metascore
    • 50 James Berardinelli
    The best bits in this film fall short of being inspired, but they are outrageous.
    • 40 Metascore
    • 75 James Berardinelli
    The Virginity Hit is fresh, unpretentious fun, but the comedy is so raw that it will appeal only to those who appreciate this sort of unfiltered peek into the mind of males in their late teens and early twenties.
    • 40 Metascore
    • 38 James Berardinelli
    It’s artificial, annoying, and boring.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.
    • 40 Metascore
    • 50 James Berardinelli
    There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
    • 40 Metascore
    • 75 James Berardinelli
    Much of what's contained in Phantom is at best speculative and at worst completely made-up. But, regardless of the accuracy, it makes for compelling viewing. Phantom is one of the best films of a lousy early 2013 release roster.
    • 40 Metascore
    • 63 James Berardinelli
    Frustrating because it doesn't seem far removed from a wholly enjoyable motion picture, but the tempo's off, beats are missed, and the production ends up sounding out-of-tune.
    • 40 Metascore
    • 50 James Berardinelli
    A feeling of hopelessness pervades Sleepwalking.
    • 40 Metascore
    • 50 James Berardinelli
    To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.
    • 40 Metascore
    • 50 James Berardinelli
    The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.
    • 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.
    • 40 Metascore
    • 38 James Berardinelli
    Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.
    • 40 Metascore
    • 50 James Berardinelli
    Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).
    • 40 Metascore
    • 38 James Berardinelli
    It is now weighed down by a second half that's equal parts incoherent, tedious, and repetitive.
    • 40 Metascore
    • 63 James Berardinelli
    Jupiter Ascending feels like a truncated, Cliffs Notes version of something that might have worked a lot better as a mini-series. Two hours is too short for this tale and the end result suffers greatly because of that restriction.
    • 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.
    • 40 Metascore
    • 63 James Berardinelli
    Offers solid entertainment, it's too uneven to be considered memorable.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.
    • 40 Metascore
    • 50 James Berardinelli
    Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.
    • 40 Metascore
    • 63 James Berardinelli
    Although the action scenes are competently executed, there's nothing here to raise the pulse.
    • 40 Metascore
    • 38 James Berardinelli
    There's no fun to be had here and if an action movie doesn't make the grade as escapist entertainment, what's the point?
    • 40 Metascore
    • 50 James Berardinelli
    Instead of being respectful of Bram Stoker's creation, it attempts to remake him as a tragic figure with superhero powers.
    • 39 Metascore
    • 50 James Berardinelli
    The result makes the movie seem assembled from bits and pieces of other superhero yarns rather than existing on a plane of its own.
    • 39 Metascore
    • 50 James Berardinelli
    It's an excursion into a melodramatic morass that occasionally becomes difficult to sit through because it's so cloying.
    • 39 Metascore
    • 63 James Berardinelli
    Distilled to its basics, it's little more than a sit-com that has been tarted up with scenes of projectile poop, odd sexual fetishes, and knife wielding babies. It all seems a little tired and, more importantly, not as funny as it should be.
    • 39 Metascore
    • 50 James Berardinelli
    Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.
    • 39 Metascore
    • 50 James Berardinelli
    Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.
    • 39 Metascore
    • 50 James Berardinelli
    A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
    • 39 Metascore
    • 50 James Berardinelli
    It's only possible to have the time of your life once, and, for this franchise, that was in 1987.
    • 39 Metascore
    • 63 James Berardinelli
    The tone and pacing of Dead Man Down have a distinctly European flavor, which may explain why American viewers, used to having background and exposition pared down and cleanly delivered, may feel adrift at the outset.
    • 39 Metascore
    • 63 James Berardinelli
    Clash of the Titans is a flawed but mildly entertaining regurgitation of Greek mythological elements, but it's also an example of how poorly executed 3D can hamstring a would-be spectacle.
    • 39 Metascore
    • 50 James Berardinelli
    For a while, the movie looks like it’s going to go dark but then chickens out and leaves the viewer with a palpable sense of dissatisfaction.
    • 39 Metascore
    • 50 James Berardinelli
    Even as a mindless diversion, it's weak.
    • 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.
    • 39 Metascore
    • 38 James Berardinelli
    National Treasure's storyline isn't compelling or coherent enough to warrant the term "plot."
    • 39 Metascore
    • 38 James Berardinelli
    Director Scott Waugh’s intention may have been to elevate my pulse, but the only thing at which he succeeded was getting me to check my watch repeatedly.
    • 39 Metascore
    • 38 James Berardinelli
    Most of the laughs are unintentional, but the result is absurd and laughable.
    • 39 Metascore
    • 38 James Berardinelli
    Cloying and at times annoying, Life as We Know It is egregiously manipulative, whoring itself out for a few unearned tears.
    • 39 Metascore
    • 50 James Berardinelli
    Pompeii is a big, glorious, cheesy mess.
    • 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.
    • 39 Metascore
    • 38 James Berardinelli
    By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.
    • 39 Metascore
    • 50 James Berardinelli
    This movie isn't bad just because it follows a formula slavishly but because it does so without verve or passion.
    • 39 Metascore
    • 63 James Berardinelli
    Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."
    • 39 Metascore
    • 50 James Berardinelli
    Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.
    • 39 Metascore
    • 50 James Berardinelli
    The movie wallows in remorse. Not only is the main character paralyzed by it but the filmmakers seem to believe that every Caucasian member of the audience should face up to White Guilt for the way in which the Industrial World has encouraged unrest in Africa so resources could be strip-mined. How's that for an uplifting action movie premise?
    • 39 Metascore
    • 38 James Berardinelli
    This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.
    • 39 Metascore
    • 38 James Berardinelli
    A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.
    • 39 Metascore
    • 50 James Berardinelli
    A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.
    • 39 Metascore
    • 38 James Berardinelli
    The Other Woman ignores dozens of potentially edgy possibilities to tell the most banal story imaginable - and to do it badly.
    • 39 Metascore
    • 75 James Berardinelli
    It's not a great film, but it succeeds in being both tender and cathartic.
    • 39 Metascore
    • 50 James Berardinelli
    By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
    • 39 Metascore
    • 50 James Berardinelli
    The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
    • 39 Metascore
    • 50 James Berardinelli
    Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.
    • 39 Metascore
    • 50 James Berardinelli
    Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.
    • 39 Metascore
    • 75 James Berardinelli
    The fact that Reign of Fire does what it sets out to do is a cause for celebration amongst those who like special effects-laden action movies featuring fire-breathing monsters and mayhem.
    • 39 Metascore
    • 50 James Berardinelli
    Quickly causes viewers to lose patience, then interest.
    • 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.
    • 38 Metascore
    • 38 James Berardinelli
    Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.
    • 38 Metascore
    • 75 James Berardinelli
    After the Sunset is a mess, but it's a breezy, fun mess.
    • 38 Metascore
    • 50 James Berardinelli
    The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.
    • 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.
    • 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.
    • 38 Metascore
    • 63 James Berardinelli
    Too often, it simply makes no sense.
    • 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.
    • 38 Metascore
    • 50 James Berardinelli
    If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.
    • 38 Metascore
    • 75 James Berardinelli
    The best one-liners, like the best fight scenes, are reserved for Schwarzenegger. It's too soon to tell whether Terminator Genisys will have a catch phrase like "I'll be back" or "Hasta la vista, baby" but there are several candidates. Much of the film's comedy results from The Terminator's failed attempts to emulate human behavior.
    • 38 Metascore
    • 38 James Berardinelli
    It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.
    • 38 Metascore
    • 50 James Berardinelli
    This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.
    • 38 Metascore
    • 12 James Berardinelli
    The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both.
    • 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.
    • 38 Metascore
    • 88 James Berardinelli
    No Escape is a throwback to an era when movies of this genre were defined by suspense and tension. Dowdle isn't interested in providing a safe harbor for those who want a comfortable way to spend two hours. His vision is edgy and exhausting and, for the most part, his execution breathes life into it, tossing a firecracker into the sleepy post-summer movie doldrums.
    • 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.
    • 38 Metascore
    • 25 James Berardinelli
    It has been a long time since I came as close to walking out of a movie as I did with Confessions of a Shopaholic. Not only did I find this production to be irritating, unfunny, and lacking in entertainment value, but I found its underlying slavishness to a culture of consumption to be morally repugnant.
    • 38 Metascore
    • 50 James Berardinelli
    The November Man feels like just about every B-grade spy thriller that has ever been committed to the silver screen.
    • 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.
    • 38 Metascore
    • 63 James Berardinelli
    It's refreshing to find a horror movie interested in more than slashing and gashing.
    • 38 Metascore
    • 50 James Berardinelli
    Laws of Attraction is a standard-issue romantic comedy that's missing a key ingredient: the attraction.
    • 38 Metascore
    • 50 James Berardinelli
    As unlikely as it may sound, 2004 is the year when directors Kevin Smith and Garry Marshall have made virtually the same movie...Nevertheless, it's impossible to deny that Raising Helen is a near clone of "Jersey Girl."
    • 38 Metascore
    • 38 James Berardinelli
    One has the sense that if the level of violence had been ratcheted up a little, Paparazzi might have been more of a guilty pleasure and less of a chore to watch.
    • 38 Metascore
    • 50 James Berardinelli
    Ultimately, as things develop, this becomes less about revenge than it does about escaping a set-up. A successful production of this sort needs to constantly elevate the stakes as it builds suspense. Seeking Justice fails and that failure makes it a dubious movie-going choice best suited to the low expectations of a video release.
    • 38 Metascore
    • 50 James Berardinelli
    At its best, Bad Santa 2 feels like an echo of its predecessor. At its worst, it’s unfunny, crass, and uncomfortable (not in a good way).
    • 38 Metascore
    • 25 James Berardinelli
    12 Rounds is the unholy stepchild of "Die Hard with a Vengeance" and "Speed," starring a man whose lack of range makes Steven Seagal seem nuanced by comparison.
    • 38 Metascore
    • 50 James Berardinelli
    When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.
    • 38 Metascore
    • 25 James Berardinelli
    August Rush isn't just a bad movie - it's an aggressively bad movie.
    • 38 Metascore
    • 12 James Berardinelli
    This movie only takes a few minutes to crash and burn, but more than an hour and a half to realize it.
    • 38 Metascore
    • 63 James Berardinelli
    The unfortunate ending, which wallows in artifice, is superficial and saccharine, and unworthy of the material that precedes it.
    • 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.
    • 38 Metascore
    • 50 James Berardinelli
    Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.
    • 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.
    • 38 Metascore
    • 25 James Berardinelli
    The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed.

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