James Berardinelli
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For 2,790 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 6 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 In the Name of the Father
Lowest review score: 0 Bachelorette
Score distribution:
2,790 movie reviews
    • 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
    • 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
    • 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
    • 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
    • 25 James Berardinelli
    The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed.
    • 38 Metascore
    • 75 James Berardinelli
    There's enough compelling drama here to overcome elements of artifice. Men, Women & Children feels meaningful although perhaps not profound.
    • 38 Metascore
    • 63 James Berardinelli
    Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."
    • 38 Metascore
    • 38 James Berardinelli
    Take away the film's attitude, and you're left with "Son of Van Helsing."
    • 38 Metascore
    • 38 James Berardinelli
    The movie mandates complete gullibility and vacuous attention in order to work on any level.
    • 38 Metascore
    • 50 James Berardinelli
    A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.
    • 37 Metascore
    • 63 James Berardinelli
    The performances, excepting perhaps Olivia Wilde's odd turn, are solid, and the central story never loses our attention, but there's a lingering aftertaste of vague dissatisfaction.
    • 37 Metascore
    • 50 James Berardinelli
    A prefabricated example of shoddy workmanship.
    • 37 Metascore
    • 63 James Berardinelli
    This movie was made to be shown to junior high history classes, not audiences in a movie theater.
    • 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.
    • 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.
    • 37 Metascore
    • 0 James Berardinelli
    It's amazing how boring an action movie can be when there's absolutely no point to all of the sound and fury.
    • 37 Metascore
    • 50 James Berardinelli
    When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.
    • 37 Metascore
    • 50 James Berardinelli
    This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.
    • 37 Metascore
    • 50 James Berardinelli
    The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.
    • 37 Metascore
    • 50 James Berardinelli
    Lacks both a focus and an edge, making it an amorphous mess.
    • 37 Metascore
    • 63 James Berardinelli
    As preposterous wannabe Hitchcockian thrillers go, this one is adequate.
    • 37 Metascore
    • 38 James Berardinelli
    One can give Ice Cube props for attitude, but not much more.
    • 37 Metascore
    • 50 James Berardinelli
    For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.
    • 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
    • 50 James Berardinelli
    Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.
    • 37 Metascore
    • 38 James Berardinelli
    Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
    • 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.
    • 37 Metascore
    • 38 James Berardinelli
    Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.
    • 37 Metascore
    • 25 James Berardinelli
    The result is an atrociously unfunny, unromantic, and unpleasant product.
    • 37 Metascore
    • 75 James Berardinelli
    If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.
    • 37 Metascore
    • 50 James Berardinelli
    There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.
    • 37 Metascore
    • 63 James Berardinelli
    It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.
    • 37 Metascore
    • 63 James Berardinelli
    The problem with all of this is that Are You Here is less than two hours long and, to effectively explore issues and themes of this magnitude would require at least a full season of a TV series. So we're left with half-developed characters and quickly sketched relationships.
    • 37 Metascore
    • 50 James Berardinelli
    Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.
    • 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.
    • 37 Metascore
    • 25 James Berardinelli
    Asian horror remakes are typically not screened for critics, and Shutter is no exception. The studios know what they have: watered-down, lifeless shells of motion pictures devoid of characters, drama, or anything remotely resembling horror.
    • 37 Metascore
    • 63 James Berardinelli
    Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.
    • 37 Metascore
    • 75 James Berardinelli
    It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.
    • 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.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
    • 36 Metascore
    • 75 James Berardinelli
    The criss-crossing between drama, thriller, and horror is nothing if not arresting. It is also unsettling.
    • 36 Metascore
    • 63 James Berardinelli
    The ideas underlying Aeon Flux's plot are the film's strength, and the filmmakers deserve some credit for doing more than paying lip service to them.
    • 36 Metascore
    • 50 James Berardinelli
    It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
    • 36 Metascore
    • 63 James Berardinelli
    It succeeds in many of the ways a sports movie should, and, by employing a slightly different viewpoint for most of the production, manages a sense of freshness.
    • 36 Metascore
    • 38 James Berardinelli
    With the flat characters and lifeless performances, it's a wonder that anyone in the audience can stay awake all the way through this dull and dreary production.
    • 36 Metascore
    • 38 James Berardinelli
    Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.
    • 36 Metascore
    • 25 James Berardinelli
    Disney has struck once again, taking a passably entertaining cartoon and turning it into a motion picture so lifeless that it's almost unwatchable.
    • 36 Metascore
    • 63 James Berardinelli
    Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.
    • 36 Metascore
    • 50 James Berardinelli
    Unfortunately, the final act (the Mexico sequences) illustrate where to take a ghost story if you want to exchange old-fashioned horror for a grilled cheese sandwich.
    • 36 Metascore
    • 50 James Berardinelli
    The Canyons is a sleazy soap opera that fails primarily because it gives us no one to care about and no reason why we should be interested that we don't care.
    • 36 Metascore
    • 25 James Berardinelli
    A lame collection of dumber-than-dumb gags, the quality of Big Fat Liar is on par with that of the worst television sit-com gorged to four times its normal size.
    • 36 Metascore
    • 38 James Berardinelli
    It's not just about a disaster, it is a disaster.
    • 36 Metascore
    • 38 James Berardinelli
    Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    Actually, the more distance the studio places between the two films, the better, because the 1997 production can't hold a candle to the 1973 release, and an attempted comparison only makes the new Bruce Willis/Richard Gere vehicle look worse.
    • 36 Metascore
    • 50 James Berardinelli
    Designed with Underworld fans in mind. Others need not apply.
    • 36 Metascore
    • 50 James Berardinelli
    Two fundamental problems afflict Sex Tape (aside from the fact that it's not consistently funny): a shocking ignorance about the state of modern technology and a mistaken belief that the subject matter is inherently edgy.
    • 36 Metascore
    • 50 James Berardinelli
    Its failure to live up to even modest expectations is a blow. There's nothing righteous to be found here.
    • 36 Metascore
    • 38 James Berardinelli
    The 2011 version of Conan the Barbarian looks cheap and feels rushed. The few good elements are dwarfed by a generic, nonsensical plot and shoddy storytelling.
    • 36 Metascore
    • 38 James Berardinelli
    This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
    • 36 Metascore
    • 63 James Berardinelli
    It's the Judd Apatow syndrome and there are times when the blend of romance and raunchiness threatens to curdle. In the end, however, the "love conquers all" mentality wins out.
    • 36 Metascore
    • 50 James Berardinelli
    Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.
    • 36 Metascore
    • 38 James Berardinelli
    The Watch is a studio turd marinated in eau de skunk that stinks worse than week-old fish.
    • 36 Metascore
    • 50 James Berardinelli
    Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.
    • 36 Metascore
    • 38 James Berardinelli
    The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.
    • 36 Metascore
    • 38 James Berardinelli
    It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.
    • 36 Metascore
    • 50 James Berardinelli
    Whatever the reason, the waning months of 2014 have brought us the follow-up to 1994's "Dumb and Dumber", but the lengthy gestation period hasn't resulted in an appreciably upgraded experience.
    • 36 Metascore
    • 38 James Berardinelli
    The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.
    • 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.
    • 36 Metascore
    • 38 James Berardinelli
    The breath of fresh air, to the extent that one can be identified in the staleness of this recycled refuse, is John Cleese.
    • 36 Metascore
    • 50 James Berardinelli
    Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
    • 36 Metascore
    • 50 James Berardinelli
    Yes, the film is interesting, but it doesn't work.
    • 36 Metascore
    • 38 James Berardinelli
    It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.
    • 36 Metascore
    • 75 James Berardinelli
    The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.
    • 35 Metascore
    • 50 James Berardinelli
    On balance, I think I'd rather have seen Rocky 15.
    • 35 Metascore
    • 63 James Berardinelli
    Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.
    • 35 Metascore
    • 50 James Berardinelli
    Once the setup is over, however, Indecent Proposal starts to fall apart, with the implausibilities and contrivances getting worse with every passing minute.
    • 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.
    • 35 Metascore
    • 38 James Berardinelli
    By trying to satisfy every kind of viewer, it's possible that Sphere may end up pleasing no one.
    • 35 Metascore
    • 50 James Berardinelli
    The Clone Wars is the last nail in a coffin that has been propped up ever since George Lucas sold his creative soul in the quest for a few more pieces of gold.
    • 35 Metascore
    • 50 James Berardinelli
    70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
    • 35 Metascore
    • 63 James Berardinelli
    Liman applies the same frenetic approach to action scenes that made "The Bourne Identity" such an engaging and exciting affair.
    • 35 Metascore
    • 50 James Berardinelli
    An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.
    • 35 Metascore
    • 50 James Berardinelli
    For a mostly brainless movie, The Expendables 3 has a surprisingly dense plot, which is part of the problem. The 2-hour running length is unnecessarily long.
    • 35 Metascore
    • 38 James Berardinelli
    The storyline is so infantile that it will appeal to young kids.
    • 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.
    • 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.
    • 35 Metascore
    • 25 James Berardinelli
    It is a ghastly experience, and I left the theater feeling as if I had waded neck-deep through a stream of raw sewage.
    • 35 Metascore
    • 50 James Berardinelli
    This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.
    • 35 Metascore
    • 50 James Berardinelli
    There's nothing remotely memorable about this walk.
    • 35 Metascore
    • 38 James Berardinelli
    To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
    • 35 Metascore
    • 50 James Berardinelli
    Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.
    • 35 Metascore
    • 75 James Berardinelli
    The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!
    • 35 Metascore
    • 50 James Berardinelli
    Post Grad isn't funny, surprising, or insightful enough to provoke more than a ho-hum reaction. It's not bad in the way that many failed comedies are bad; it's simply uninspired.
    • 35 Metascore
    • 12 James Berardinelli
    There are quite a few unintentionally funny moments, although the overall experience was too intensely painful for me to be able to advocate it as being "so bad, it's good."
    • 35 Metascore
    • 25 James Berardinelli
    This feels a lot like some of the recent, unwatchable Adam Sandler offerings: boorish, unfunny comedy colliding with saccharine, quasi-dramatic filler.
    • 35 Metascore
    • 25 James Berardinelli
    It will bore you.
    • 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.
    • 35 Metascore
    • 38 James Berardinelli
    Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.
    • 35 Metascore
    • 50 James Berardinelli
    With each death, the film becomes less interesting. By the end, it's just a routine slasher flick with a too-predictable final "twist."
    • 35 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).
    • 35 Metascore
    • 50 James Berardinelli
    The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
    • 35 Metascore
    • 38 James Berardinelli
    Misses the mark.
    • 35 Metascore
    • 25 James Berardinelli
    The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."
    • 35 Metascore
    • 25 James Berardinelli
    By the end of the film, I was hoping everyone on two legs would die, preferably suffering as much on screen as I was in the audience.
    • 35 Metascore
    • 50 James Berardinelli
    With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 25 James Berardinelli
    The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.
    • 34 Metascore
    • 25 James Berardinelli
    The motion picture version of Bewitched is a travesty of monumental proportions that belongs in the "What the hell were they thinking?" category.
    • 34 Metascore
    • 50 James Berardinelli
    This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.
    • 34 Metascore
    • 38 James Berardinelli
    It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.
    • 34 Metascore
    • 63 James Berardinelli
    Lacks the kind of forceful, attention-grabbing chemistry that elevates a movie in this genre from a passable diversion to a lasting source of entertainment.
    • 34 Metascore
    • 25 James Berardinelli
    Doesn't have the decency to end when it should.
    • 34 Metascore
    • 50 James Berardinelli
    Words cannot express how weary I am of watching lifeless, hollow movies like My Life in Ruins - generic romantic comedies that have no clue when it comes to either "romance" or "comedy."
    • 34 Metascore
    • 38 James Berardinelli
    The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.
    • 34 Metascore
    • 50 James Berardinelli
    It's dull, childish, and uninspired.
    • 34 Metascore
    • 50 James Berardinelli
    The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
    • 34 Metascore
    • 38 James Berardinelli
    Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.
    • 34 Metascore
    • 38 James Berardinelli
    If all you're looking for is breasts, blood, and gore, this film hits pay dirt. None of the killings are terribly inventive, but they are plentiful, and why bother being devious when axes, machetes, knives, and pointed sticks will do the job just as well?
    • 34 Metascore
    • 38 James Berardinelli
    I found the most extreme material to be so tasteless that it voided all comedy.
    • 34 Metascore
    • 25 James Berardinelli
    A dreadful, hackneyed piece of cinema.
    • 34 Metascore
    • 50 James Berardinelli
    The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
    • 34 Metascore
    • 50 James Berardinelli
    Comes across as a cheesy, fundamentally unsatisfying experience.
    • 34 Metascore
    • 50 James Berardinelli
    If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.
    • 34 Metascore
    • 50 James Berardinelli
    Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.
    • 34 Metascore
    • 38 James Berardinelli
    One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.
    • 34 Metascore
    • 50 James Berardinelli
    The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
    • 34 Metascore
    • 50 James Berardinelli
    Reading a Sparks novel allows one's imagination to enter the equation. Watching one of his stories adapted on screen has exactly the opposite effect: it neuters the imagination. This is soap opera, pure and simple.
    • 34 Metascore
    • 25 James Berardinelli
    A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.
    • 34 Metascore
    • 38 James Berardinelli
    A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.
    • 34 Metascore
    • 50 James Berardinelli
    One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.
    • 34 Metascore
    • 38 James Berardinelli
    My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).
    • 33 Metascore
    • 50 James Berardinelli
    Never boring. It is, however, frustrating.
    • 33 Metascore
    • 50 James Berardinelli
    He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.
    • 33 Metascore
    • 12 James Berardinelli
    This is one of those movies where you stay rooted in your seat just to see how bad it can really get.
    • 33 Metascore
    • 38 James Berardinelli
    Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.
    • 33 Metascore
    • 50 James Berardinelli
    This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."
    • 33 Metascore
    • 38 James Berardinelli
    Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.
    • 33 Metascore
    • 38 James Berardinelli
    The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
    • 33 Metascore
    • 50 James Berardinelli
    Awake is short enough (about 85 minutes) that it doesn't wear out its welcome. It's not a good movie but it's silly and lively enough to keep most viewers from dozing off, even if that might be a more profitable use of their time.
    • 33 Metascore
    • 38 James Berardinelli
    This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.
    • 33 Metascore
    • 38 James Berardinelli
    Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.
    • 33 Metascore
    • 25 James Berardinelli
    RV
    On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.
    • 33 Metascore
    • 38 James Berardinelli
    It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.
    • 33 Metascore
    • 50 James Berardinelli
    The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.
    • 33 Metascore
    • 50 James Berardinelli
    The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.
    • 33 Metascore
    • 63 James Berardinelli
    As a video rental, this film will probably play a lot better than it does at the local multiplex.
    • 33 Metascore
    • 50 James Berardinelli
    One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.
    • 33 Metascore
    • 38 James Berardinelli
    Akin to watching a bad sit-com that never ends.
    • 33 Metascore
    • 50 James Berardinelli
    The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.
    • 33 Metascore
    • 63 James Berardinelli
    Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.
    • 33 Metascore
    • 25 James Berardinelli
    The sad truth about After Earth is that not only is it difficult to find things it does well, but there are numerous examples of outright incompetence dotting the landscape.
    • 33 Metascore
    • 38 James Berardinelli
    Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.
    • 33 Metascore
    • 38 James Berardinelli
    Boring and uninspired, this movie gives ghost stories a bad name.
    • 33 Metascore
    • 50 James Berardinelli
    The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.
    • 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.
    • 33 Metascore
    • 12 James Berardinelli
    Straight viewing could result in brain damage.
    • 33 Metascore
    • 63 James Berardinelli
    54
    Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.
    • 33 Metascore
    • 38 James Berardinelli
    For all of its existential posturing, Being Human ends up being a rather shallow motion picture.
    • 33 Metascore
    • 50 James Berardinelli
    We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.
    • 33 Metascore
    • 50 James Berardinelli
    A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.
    • 33 Metascore
    • 63 James Berardinelli
    Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.
    • 33 Metascore
    • 38 James Berardinelli
    The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
    • 33 Metascore
    • 25 James Berardinelli
    Isn't just bad, it's very bad.
    • 32 Metascore
    • 25 James Berardinelli
    Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to The Fan, fear, like the movie, strikes out.
    • 32 Metascore
    • 50 James Berardinelli
    This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.
    • 32 Metascore
    • 50 James Berardinelli
    The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.
    • 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.
    • 32 Metascore
    • 50 James Berardinelli
    Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.
    • 32 Metascore
    • 25 James Berardinelli
    This is as excruciating a movie as is likely to be experienced by anyone, anywhere. It isn't merely that the story is insulting, the characters are bland, the action is dull, and the CGI is everywhere - it's that all this goes on for nearly three hours. That's three hours of your life you'll never get back.
    • 32 Metascore
    • 50 James Berardinelli
    There's a sense that a much better movie is trying to get out but it never attains escape velocity.
    • 32 Metascore
    • 25 James Berardinelli
    After this disgrace, it's time to shut the hills' eyes for good.
    • 32 Metascore
    • 38 James Berardinelli
    However, once you realize there's no "pleasure" to be had from something this wantonly dumb and idiotically constructed, all that's left is "guilt" - guilt that you actually spent money to see this.
    • 32 Metascore
    • 50 James Berardinelli
    Chock full of high-tech action, with a lot of chasing and shooting and explosions.
    • 32 Metascore
    • 50 James Berardinelli
    There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.
    • 32 Metascore
    • 25 James Berardinelli
    For acting to be this bad in movie not directed by Michael Bay or George Lucas, it has to be intentional.
    • 32 Metascore
    • 50 James Berardinelli
    The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.
    • 32 Metascore
    • 38 James Berardinelli
    A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.
    • 32 Metascore
    • 38 James Berardinelli
    The script isn't just "dumbed down," it's lobotomized.
    • 32 Metascore
    • 50 James Berardinelli
    Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."
    • 32 Metascore
    • 0 James Berardinelli
    Disgusting, offensive, and utterly without merit. And, on top of that, it's boring and pretentious.
    • 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.
    • 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.
    • 32 Metascore
    • 75 James Berardinelli
    Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.
    • 32 Metascore
    • 50 James Berardinelli
    Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.
    • 32 Metascore
    • 63 James Berardinelli
    One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.
    • 31 Metascore
    • 25 James Berardinelli
    Regardless of how low your expectations are regarding Fired Up!, it will still surprise you, and not in a good way.
    • 31 Metascore
    • 50 James Berardinelli
    The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.
    • 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.
    • 31 Metascore
    • 38 James Berardinelli
    If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.
    • 31 Metascore
    • 38 James Berardinelli
    Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.
    • 31 Metascore
    • 38 James Berardinelli
    A movie so inane that it fails to rise to the level of "good trash."
    • 31 Metascore
    • 63 James Berardinelli
    Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.
    • 31 Metascore
    • 63 James Berardinelli
    This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.
    • 31 Metascore
    • 63 James Berardinelli
    This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.
    • 31 Metascore
    • 50 James Berardinelli
    The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.
    • 31 Metascore
    • 38 James Berardinelli
    A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.
    • 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.
    • 31 Metascore
    • 25 James Berardinelli
    It's remarkably appropriate that Envy is about turds, because that's what the movie is.
    • 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
    • 31 Metascore
    • 63 James Berardinelli
    By-the-numbers, generic plots no longer work and that, unfortunately, is what Seventh Son delivers. Impressive set design and visuals, excessive CGI, and a loud score from Marco Beltrami can't fully compensate for bland character development and a predictable narrative that rushes along on a linear trajectory.
    • 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.
    • 31 Metascore
    • 50 James Berardinelli
    The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."
    • 31 Metascore
    • 38 James Berardinelli
    To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.
    • 31 Metascore
    • 50 James Berardinelli
    There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.
    • 31 Metascore
    • 38 James Berardinelli
    What's missing from Blended? Two key ingredients: it doesn't touch the heart and it doesn't tickle the funny bone (at least not often enough).
    • 31 Metascore
    • 50 James Berardinelli
    Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.
    • 31 Metascore
    • 50 James Berardinelli
    Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.
    • 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.
    • 31 Metascore
    • 25 James Berardinelli
    There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.
    • 31 Metascore
    • 75 James Berardinelli
    The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.
    • 31 Metascore
    • 50 James Berardinelli
    On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.
    • 31 Metascore
    • 50 James Berardinelli
    Several strokes short of a respectable finish.
    • 31 Metascore
    • 75 James Berardinelli
    This feel-good motion picture is intelligently written and expertly directed.
    • 30 Metascore
    • 50 James Berardinelli
    There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.
    • 30 Metascore
    • 50 James Berardinelli
    This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.
    • 30 Metascore
    • 50 James Berardinelli
    There are good things to be said about The Spirit, but not enough of them to outweigh the bad.
    • 30 Metascore
    • 50 James Berardinelli
    The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.
    • 30 Metascore
    • 25 James Berardinelli
    You may find sperm jokes hilarious, but it's doubtful you'll find them hilarious in The Babymakers, which has serious composition problems.
    • 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.
    • 30 Metascore
    • 38 James Berardinelli
    "The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.
    • 30 Metascore
    • 50 James Berardinelli
    If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.
    • 30 Metascore
    • 63 James Berardinelli
    In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.
    • 30 Metascore
    • 38 James Berardinelli
    Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.
    • 30 Metascore
    • 63 James Berardinelli
    It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.
    • 30 Metascore
    • 25 James Berardinelli
    It's badly directed, poorly edited, and features some of the most unconvincing acting this side of a soup commercial.
    • 30 Metascore
    • 38 James Berardinelli
    Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.
    • 30 Metascore
    • 25 James Berardinelli
    White Noise has nothing. You'll have a better time staying home, tuning your TV to a station that doesn't carry a local signal, and staring.
    • 30 Metascore
    • 50 James Berardinelli
    Turns out to be hopelessly mediocre -- a poorly scripted, preachy fable that forgets about unfolding a coherent, believable story in its zeal to spread propaganda.
    • 30 Metascore
    • 75 James Berardinelli
    No one in their right mind goes to an Adam Sandler movie for any reason other than to laugh, and Grown Ups delivers.
    • 30 Metascore
    • 25 James Berardinelli
    Maybe approaching The Unborn as horror is the wrong approach. Perhaps this should be seen as a comedy. It is quite possibly the most egregiously laughable high-profile supernatural tale since Roman Polanski and Johnny Depp impaled themselves on "The Ninth Gate."
    • 30 Metascore
    • 75 James Berardinelli
    The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.
    • 30 Metascore
    • 38 James Berardinelli
    Sadly, as apt as comparisons to "Underworld" might seem, I, Frankenstein can't even clear that very low bar.
    • 30 Metascore
    • 50 James Berardinelli
    You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.
    • 30 Metascore
    • 25 James Berardinelli
    The "special effects" employed to have the animals' mouths form words might have been state-of-the-art 20 years ago, but they're outdated today, and the gorilla looks like a guy in the monkey suit that was abandoned after the 1976 version of "King Kong." I guess CGI was too sophisticated for the technical crew.
    • 29 Metascore
    • 12 James Berardinelli
    So bad that it will annoy and/or bore those who have minimal standards and a high tolerance for sewage.
    • 29 Metascore
    • 63 James Berardinelli
    The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.
    • 29 Metascore
    • 25 James Berardinelli
    It's a wretched attempt at entertainment, ephemerally redeemed only by the appearance of several attractive girls.
    • 29 Metascore
    • 38 James Berardinelli
    The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.
    • 29 Metascore
    • 25 James Berardinelli
    --- Ho, ho, ho - the joke's on anyone who pays to see this.
    • 29 Metascore
    • 38 James Berardinelli
    The film is critic-proof and it will find an audience, but it's hard to imagine even the film's target demographic (teenage boys) being overly enthusiastic about the product. It's disposable entertainment of the worst kind.
    • 29 Metascore
    • 75 James Berardinelli
    Overall this is a compelling and sometimes disturbing motion picture.
    • 29 Metascore
    • 63 James Berardinelli
    The movie isn't entirely successful as a romance or as an adventure, which makes the experience of watching it feel shallow and hollow, sort of like the stars and the plot.
    • 29 Metascore
    • 50 James Berardinelli
    At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.
    • 29 Metascore
    • 75 James Berardinelli
    In order to show the "happiness" noted in the title, director Peter Chelsom ventures into some dark territory to provide a contrast. This results in a surprisingly unpleasant scene of torture and deprivation that may shock some viewers expecting to see a lightweight Simon Pegg dramedy about the meaning of joy.
    • 29 Metascore
    • 50 James Berardinelli
    It's watchable, but barely.
    • 29 Metascore
    • 38 James Berardinelli
    Unappealing for children and adults alike, The King and I will likely bring families together in their mutual boredom.
    • 29 Metascore
    • 50 James Berardinelli
    If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.
    • 28 Metascore
    • 38 James Berardinelli
    Two agonizing hours of lifeless, mind-numbing hogwash.
    • 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.
    • 28 Metascore
    • 50 James Berardinelli
    About as frightening as Walt Disney's Haunted Mansion.
    • 28 Metascore
    • 12 James Berardinelli
    Even Cowgirls is as close to an unwatchable film as there is available at this time in the theaters.
    • 28 Metascore
    • 38 James Berardinelli
    Boring and repetitive.
    • 28 Metascore
    • 63 James Berardinelli
    She Hate Me is a mixed bag, but at least it's interesting and almost never boring.
    • 28 Metascore
    • 50 James Berardinelli
    Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.
    • 28 Metascore
    • 50 James Berardinelli
    This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.
    • 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.
    • 28 Metascore
    • 63 James Berardinelli
    Although the satire is biting and the tone is irreverent, Drop Dead Gorgeous lacks the killer script and top notch performances necessary to make this a wholly successful production.
    • 28 Metascore
    • 38 James Berardinelli
    Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.
    • 28 Metascore
    • 38 James Berardinelli
    This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
    • 28 Metascore
    • 50 James Berardinelli
    This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.
    • 28 Metascore
    • 75 James Berardinelli
    The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.
    • 28 Metascore
    • 38 James Berardinelli
    Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.
    • 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.
    • 28 Metascore
    • 50 James Berardinelli
    We have entered generic action movie territory and the idiosyncrasies that made the series special at the outset have been leeched out, papered over, or turned into obligatory inserts.
    • 28 Metascore
    • 25 James Berardinelli
    When it comes to comedy, Deck the Halls is remarkably tedious.
    • 27 Metascore
    • 25 James Berardinelli
    This a neutered Garfield, one part tomcat and three parts pussy, recognizable only by his orange coat and love of lasagna. This feline's got a serious case of mange.
    • 27 Metascore
    • 38 James Berardinelli
    Beverly Hills Ninja is essentially a one-joke film.
    • 27 Metascore
    • 50 James Berardinelli
    The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.
    • 27 Metascore
    • 25 James Berardinelli
    It's astounding how a movie this long could accomplish so little.
    • 27 Metascore
    • 38 James Berardinelli
    Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.
    • 27 Metascore
    • 25 James Berardinelli
    In a way, it's probably unfair to blame director Tamra Davis exclusively for this debacle. After all, she's toiling in the shadow of a would-be multi-media superstar, making her essentially a hired gun.
    • 27 Metascore
    • 25 James Berardinelli
    If ever a romantic comedy is going to fail at the box office, this is it. The movie isn't a guy's thing, a girl's thing, or anybody else's thing.
    • 27 Metascore
    • 25 James Berardinelli
    A catastrophe. This motion picture is an embarrassment to all involved.
    • 27 Metascore
    • 38 James Berardinelli
    I wonder if Gamer might make a good game; it certainly doesn't make a good movie.
    • 27 Metascore
    • 38 James Berardinelli
    Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.
    • 27 Metascore
    • 63 James Berardinelli
    This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.
    • 27 Metascore
    • 50 James Berardinelli
    The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.
    • 27 Metascore
    • 50 James Berardinelli
    A sloppy, poorly focused comedy.
    • 27 Metascore
    • 25 James Berardinelli
    It's not scary, it's not chilling, and it's not interesting.
    • 27 Metascore
    • 38 James Berardinelli
    Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.
    • 27 Metascore
    • 25 James Berardinelli
    It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.
    • 27 Metascore
    • 50 James Berardinelli
    A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

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