James Berardinelli

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For 3,194 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 21 Grams
Lowest review score: 0 Captivity
Score distribution:
3194 movie reviews
    • 32 Metascore
    • 50 James Berardinelli
    The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.
    • 61 Metascore
    • 50 James Berardinelli
    As coming of age stories go, Wah-Wah does little to distinguish itself.
    • 46 Metascore
    • 50 James Berardinelli
    Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.
    • 26 Metascore
    • 50 James Berardinelli
    A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.
    • 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.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.
    • 47 Metascore
    • 50 James Berardinelli
    This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
    • 56 Metascore
    • 50 James Berardinelli
    There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.
    • 18 Metascore
    • 50 James Berardinelli
    Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.
    • 45 Metascore
    • 50 James Berardinelli
    The story is so obvious that a viewer could leave the theater for fifteen minutes and not be even a little lost upon his return.
    • 46 Metascore
    • 50 James Berardinelli
    The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.
    • 37 Metascore
    • 50 James Berardinelli
    The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.
    • 33 Metascore
    • 50 James Berardinelli
    The Space between Us is what it looks like when a promising premise is betrayed by a dumbed-down, hackneyed screenplay.
    • 60 Metascore
    • 50 James Berardinelli
    It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.
    • 44 Metascore
    • 50 James Berardinelli
    Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.
    • 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.
    • 19 Metascore
    • 50 James Berardinelli
    Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).
    • 61 Metascore
    • 50 James Berardinelli
    As high camp, Willard might have something going for it, but not as a horror movie.
    • 67 Metascore
    • 50 James Berardinelli
    Yes, A Late Quartet is disappointing. But it's also pretty bad.
    • 47 Metascore
    • 50 James Berardinelli
    Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.
    • 58 Metascore
    • 50 James Berardinelli
    One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.
    • 34 Metascore
    • 50 James Berardinelli
    The Dark Tower isn’t a bad movie even though there’s a clumsiness to its narrative and a cheapness to its appearance.
    • 28 Metascore
    • 50 James Berardinelli
    One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.
    • 32 Metascore
    • 50 James Berardinelli
    The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.
    • 47 Metascore
    • 50 James Berardinelli
    All-in-all, however, even though Chaplin is fitfully entertaining, it fails to touch enough emotional chords to make it of more than passing interest.
    • 59 Metascore
    • 50 James Berardinelli
    The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.
    • 35 Metascore
    • 50 James Berardinelli
    There's no compelling reason to see Deal. Everything it offers is familiar to the extent where even though it's not a remake, it feels like one.
    • 46 Metascore
    • 50 James Berardinelli
    Saved by energetic musical numbers.
    • 52 Metascore
    • 50 James Berardinelli
    Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.

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