James Berardinelli

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For 3,072 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 4.1 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Avatar
Lowest review score: 0 The Neon Demon
Score distribution:
3072 movie reviews
    • 37 Metascore
    • 38 James Berardinelli
    Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
    • 24 Metascore
    • 38 James Berardinelli
    Uninspired and painfully familiar.
    • 36 Metascore
    • 38 James Berardinelli
    LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
    • 33 Metascore
    • 38 James Berardinelli
    The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
    • 37 Metascore
    • 38 James Berardinelli
    Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.
    • 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.
    • 35 Metascore
    • 38 James Berardinelli
    Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.
    • 46 Metascore
    • 38 James Berardinelli
    A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.
    • 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.
    • 58 Metascore
    • 38 James Berardinelli
    It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.
    • 32 Metascore
    • 38 James Berardinelli
    Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.
    • 36 Metascore
    • 38 James Berardinelli
    It's not just about a disaster, it is a disaster.
    • 67 Metascore
    • 38 James Berardinelli
    This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
    • 26 Metascore
    • 38 James Berardinelli
    Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
    • 31 Metascore
    • 38 James Berardinelli
    Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.
    • 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.
    • 31 Metascore
    • 38 James Berardinelli
    Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo
    • 56 Metascore
    • 38 James Berardinelli
    This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.
    • 35 Metascore
    • 38 James Berardinelli
    Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.
    • 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.
    • 51 Metascore
    • 38 James Berardinelli
    Labeling The Call as "relentlessly dumb" would be an overestimation of its intelligence. This is as brain-dead as a movie can be and it assumes the audience will have the I.Q. of a rutabaga.
    • 28 Metascore
    • 38 James Berardinelli
    It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.
    • 35 Metascore
    • 38 James Berardinelli
    Sixteen years after her death, Princess Diana is still capable of generating interest, which is probably the only reason why this dull, pointless movie was greenlighted.
    • 31 Metascore
    • 38 James Berardinelli
    Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.
    • 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.
    • 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.
    • 35 Metascore
    • 38 James Berardinelli
    To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
    • 37 Metascore
    • 38 James Berardinelli
    From the start, it's obvious that this is a vehicle for his comedy, and it mostly works -- for about ten to fifteen minutes. After that, Carrey's act gradually grows less humorous and more tiresome, and the laughter in the audience seems forced.
    • 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.
    • 31 Metascore
    • 25 James Berardinelli
    It's remarkably appropriate that Envy is about turds, because that's what the movie is.

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