James Berardinelli

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For 3,198 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 The Departed
Lowest review score: 0 Knock Off
Score distribution:
3198 movie reviews
    • 80 Metascore
    • 63 James Berardinelli
    Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.
    • 56 Metascore
    • 63 James Berardinelli
    For the Watchmen fan, this may be as close to the Holy Grail as a motion picture could come. For everyone else, a sense of frustration and disappointment is not unwarranted. Watchmen is many things but it is not the Next Great Comic Book Movie or the film that will advance graphic novel adaptations to the next level.
    • 23 Metascore
    • 63 James Berardinelli
    Temple shows a better path for horror films to follow but the screenplay is too threadbare and the characters too poorly developed for it to really work. This is about 2/3 of a solid effort – unfortunately, the other 1/3 was never made.
    • 57 Metascore
    • 63 James Berardinelli
    It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.
    • 52 Metascore
    • 63 James Berardinelli
    This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors.
    • 54 Metascore
    • 63 James Berardinelli
    The most enjoyable parts of The Secret Life of Walter Mitty are his fantasies, such as one in which he stands up to his boss in a way he never would in real life.
    • 67 Metascore
    • 63 James Berardinelli
    Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.
    • 46 Metascore
    • 63 James Berardinelli
    Take away the performances, and all that would be left is a cheapish B-grade motion picture.
    • 78 Metascore
    • 63 James Berardinelli
    The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.
    • 42 Metascore
    • 63 James Berardinelli
    A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.
    • 62 Metascore
    • 63 James Berardinelli
    I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.
    • 54 Metascore
    • 63 James Berardinelli
    The film's notable quality is the music and as soon as one song is finished, we're ready for the next one. Unfortunately, there are often long passages of dialogue and narrative to endure before getting there.
    • 73 Metascore
    • 63 James Berardinelli
    The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.
    • 63 Metascore
    • 63 James Berardinelli
    For those who enjoy the saturation style of humor and appreciate the way in which parody is not pushed too far into the absurd, Walk Hard is not without merit.
    • 62 Metascore
    • 63 James Berardinelli
    Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.
    • 55 Metascore
    • 63 James Berardinelli
    Perfect Sense offers an epic tale seen through the prism of a tiny, intimate story. It's the inverse of "Contagion," which sacrificed character to scope.
    • 78 Metascore
    • 63 James Berardinelli
    In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
    • 62 Metascore
    • 63 James Berardinelli
    It is not as engaging as "The Royal Tenenbaums," but about on par with "Rushmore" and "Bottle Rocket."
    • 70 Metascore
    • 63 James Berardinelli
    Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.
    • 52 Metascore
    • 63 James Berardinelli
    Mixed together, all of this makes for a fascinating viewing experience, but the unfortunate ending diluted my enthusiasm for the film as a whole.
    • 43 Metascore
    • 63 James Berardinelli
    Overwrought and disjointed, Ewan McGregor’s directorial debut is surprisingly faithful to aspects of the text but the overall presentation is conventional and disappointing.
    • 45 Metascore
    • 63 James Berardinelli
    Elizabeth: The Golden Age lacks the intricate plotting that characterized its predecessor. The screenplay is more action-oriented but not as smart, and some of the dialogue is downright cheesy.
    • 41 Metascore
    • 63 James Berardinelli
    Crank 2: High Voltage is the freak show act at a carnival. It's so over-the-top that the phrase ceases to have meaning in this context. It's a bizarre concoction of testosterone, adrenaline, and psychedelics. It seeks not only to top its predecessor, "Crank," but to outdo itself at every turn.
    • 38 Metascore
    • 63 James Berardinelli
    In general, parodies may not rely overmuch on plot, but they need more in this department than Death to Smoochy possesses.
    • 70 Metascore
    • 63 James Berardinelli
    It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.
    • 54 Metascore
    • 63 James Berardinelli
    There's no shortage of material on the screen in Bee Season - it's just not assembled in a satisfying manner.
    • 52 Metascore
    • 63 James Berardinelli
    It would be nice to argue that the good outweighs the bad in The Switch, but it's a wash.
    • 66 Metascore
    • 63 James Berardinelli
    Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.
    • 66 Metascore
    • 63 James Berardinelli
    The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.
    • 55 Metascore
    • 63 James Berardinelli
    Admittedly, mediocre Sayles is still watchable, but, relative to expectations, Casa de los Babys is a disappointment of significant proportions.
    • 52 Metascore
    • 63 James Berardinelli
    Ghost in the Shell is visually compelling but tone deaf.
    • 66 Metascore
    • 63 James Berardinelli
    Splice is as much a psychological thriller and drama about bio-ethics as it is a horror movie. Like the vastly superior "The Fly," it uses gore sparingly; delivering shocks to the audience is a secondary consideration.
    • 43 Metascore
    • 63 James Berardinelli
    Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.
    • 62 Metascore
    • 63 James Berardinelli
    The problem is one of tone. The Five Year Engagement, despite its serious thesis, tries desperately to be funny. Some of the comedic material provokes laughter and some doesn't, but nearly all of it feels wrong.
    • 80 Metascore
    • 63 James Berardinelli
    The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.
    • 59 Metascore
    • 63 James Berardinelli
    There are times when iconic characters should be left alone to bask in the glory of a single appearance and, unfortunately, that's the case with Gordon Gekko.
    • 59 Metascore
    • 63 James Berardinelli
    If nothing else, Unfriended does an excellent job portraying the frenzy that is on-line teen interaction. This is the new equivalent of "hanging out."
    • 61 Metascore
    • 63 James Berardinelli
    2 Days in New York splits its time between being a quirky comedy and a quasi-serious drama. Comparisons with Woody Allen may be inevitable, in part because of the setting, although none of the characters in this film are neurotic enough to match vintage Allen.
    • 48 Metascore
    • 63 James Berardinelli
    In the end, it's the self-mocking aura that save this film from being a waste of two hours.
    • 31 Metascore
    • 63 James Berardinelli
    It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.
    • 71 Metascore
    • 63 James Berardinelli
    If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.
    • 59 Metascore
    • 63 James Berardinelli
    It wants to be funny, charming, scary, and dramatic. It ends up being a little of each but not successful as any one.
    • 49 Metascore
    • 63 James Berardinelli
    The bad news is that Silent House is 88 minutes long, and the final half hour represents a descent into an anticlimax that ends with a scene as dumb as it is disappointing.
    • 57 Metascore
    • 63 James Berardinelli
    Hicks has made a technically adept film, but one that, for all of its strong acting and vivid photography, left me less moved than I should have been.
    • 53 Metascore
    • 63 James Berardinelli
    Looks great and has some raw, unsettling moments, but the overall impression is of a production that fails to achieve what it sets out to do.
    • 76 Metascore
    • 63 James Berardinelli
    A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.
    • 49 Metascore
    • 63 James Berardinelli
    A tighter version of the same story might have captured and held my interest, but this one had the proceedings wandering like the riderless camels in the desert.
    • 25 Metascore
    • 63 James Berardinelli
    It is neither deep nor intelligent, but it's not intended to be either. The saving grace of the otherwise generic product is that Bell's vivacity and Duhamel's rakish charm allow the viewer to root for them.
    • 45 Metascore
    • 63 James Berardinelli
    Paced more like an action movie than a drama, and, when a pause finally occurs at the end credits, we realize that it hasn't been an altogether satisfying ride.
    • 61 Metascore
    • 63 James Berardinelli
    The problem with The Soloist is that, while Wright shows admirable restraint in dramatizing the interaction between the two principals and does not fall into the trap of following a "movie of the week" formula about mental illness, there is little emotional resonance in the story.
    • 46 Metascore
    • 63 James Berardinelli
    The book tore at my heart; the movie left me strangely unmoved.
    • 38 Metascore
    • 63 James Berardinelli
    The movie voids a lot of good will with a cheesy ending. This is just the kind of denouement I was hoping Taking Lives wouldn't sink to, yet it does.
    • 58 Metascore
    • 63 James Berardinelli
    All the explosions and fights are filmed with consummate skill, and are thrilling in their own right. But that's where it stops. The pacing is erratic and the level of tension ebbs and flows.
    • 44 Metascore
    • 63 James Berardinelli
    Unfortunately, Picture Perfect uses embarrassing contrivances to sabotage what should have been a pleasant excursion down a familiar road.
    • 44 Metascore
    • 63 James Berardinelli
    Parodies are hard to do well, as is shown by the mediocrity of so many recent attempts. No matter how ripe a genre is for satirizing, unless you know how to do it, there are no guarantees. Fortunately for Men in Tights, Mel Brooks has been doing this kind of thing for decades.
    • 57 Metascore
    • 63 James Berardinelli
    One could argue that Crank works best as a comedy. It's occasionally funny, and some times VERY funny.
    • 86 Metascore
    • 63 James Berardinelli
    Rushmore is one of those films that's so inconsequential that its memory threatens to fade away before the end credits have finished rolling.
    • 51 Metascore
    • 63 James Berardinelli
    The venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
    • 47 Metascore
    • 63 James Berardinelli
    It's a perfect choice for a mother/daughter evening out...decently constructed, solidly performed, and not too naïve.
    • 38 Metascore
    • 63 James Berardinelli
    Too often, it simply makes no sense.
    • 71 Metascore
    • 63 James Berardinelli
    It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.
    • 51 Metascore
    • 63 James Berardinelli
    Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.
    • 72 Metascore
    • 63 James Berardinelli
    One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.
    • 52 Metascore
    • 63 James Berardinelli
    This picture doesn't have deep enough currents to succeed as a psychological thriller and, as a ghost story, there are times when it has trouble treading water.
    • 54 Metascore
    • 63 James Berardinelli
    When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.
    • 38 Metascore
    • 63 James Berardinelli
    An offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good.
    • 48 Metascore
    • 63 James Berardinelli
    The voices were chosen more for their big name appeal than for their ability to bring life to the drawings. The storyline is flat, linear, and shallow.
    • 47 Metascore
    • 63 James Berardinelli
    The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.
    • 65 Metascore
    • 63 James Berardinelli
    This movie is an entertaining and sometimes wildly-exhilarating ride.
    • 38 Metascore
    • 63 James Berardinelli
    It's a little too low-key to be an effective romance and a little too soft to be anything more ambitious. Ultimately, it's neither offensive nor horrible; it's just another unspectacular, uninspired entry on Nora Ephron's erratic resume.
    • 37 Metascore
    • 63 James Berardinelli
    Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.
    • 37 Metascore
    • 63 James Berardinelli
    A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.
    • 59 Metascore
    • 63 James Berardinelli
    The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.
    • 60 Metascore
    • 63 James Berardinelli
    This is a mediocre horror/comedy that deserves neither high praise nor disparagement.
    • 47 Metascore
    • 63 James Berardinelli
    Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.
    • 79 Metascore
    • 63 James Berardinelli
    Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.
    • 71 Metascore
    • 63 James Berardinelli
    There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.
    • 45 Metascore
    • 63 James Berardinelli
    There are some splendidly over-the-top performances - chiefly those of Nicole Kidman and John Cusack, both cast against type - but the biggest narrative hole lies at the center. The lead character, played by Zac Efron, is dull, uninteresting, and poorly conceived.
    • 61 Metascore
    • 63 James Berardinelli
    If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.
    • 53 Metascore
    • 63 James Berardinelli
    For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.
    • 47 Metascore
    • 63 James Berardinelli
    Links between climate change, population growth, and a potentially catastrophic worldwide famine are reduced to background plot points. The moral/ethical conundrums of the “solution” are paid lip service but not aggressively integrated into the story.
    • 33 Metascore
    • 63 James Berardinelli
    As a video rental, this film will probably play a lot better than it does at the local multiplex.
    • 58 Metascore
    • 63 James Berardinelli
    Pretty mediocre entertainment, and probably better suited for home viewing than a trip to the multiplex.
    • 61 Metascore
    • 63 James Berardinelli
    If there's a complaint to be made, it's that the humor could be less scattershot.
    • 36 Metascore
    • 63 James Berardinelli
    Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.
    • 61 Metascore
    • 63 James Berardinelli
    Unfortunately, this is also among the weakest of the early Bond films, although Connery is in peak form.
    • 48 Metascore
    • 63 James Berardinelli
    As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.
    • 48 Metascore
    • 63 James Berardinelli
    Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.
    • 59 Metascore
    • 63 James Berardinelli
    As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.
    • 52 Metascore
    • 63 James Berardinelli
    The International possesses the look and feel of a thriller, but not the heart or soul of one.
    • 48 Metascore
    • 63 James Berardinelli
    Project X's first-person verisimilitude is the movie's primary strength and most damning weakness.
    • 64 Metascore
    • 63 James Berardinelli
    This movie is more of a curiosity than a fully formed motion picture.
    • 27 Metascore
    • 63 James Berardinelli
    Perhaps surprisingly, it's no better or worse that the other superhero movies of 2015.
    • 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."
    • 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.
    • 61 Metascore
    • 63 James Berardinelli
    The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.
    • 56 Metascore
    • 63 James Berardinelli
    Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer.
    • 48 Metascore
    • 63 James Berardinelli
    The rousing success of the final 45 minutes cannot entirely counterbalance the stumbling uncertainty of the first 90 minutes.
    • 70 Metascore
    • 63 James Berardinelli
    An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.
    • 58 Metascore
    • 63 James Berardinelli
    The craftsmanship is impeccable as is the acting, but the storytelling is where the movie falls down.
    • 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.
    • 49 Metascore
    • 63 James Berardinelli
    It is as comfortable and predictable as any Saturday morning cartoon, although with higher production values and a spiffier look.
    • 46 Metascore
    • 63 James Berardinelli
    Weak dramatically, and that limits its overall effectiveness.
    • 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.
    • 56 Metascore
    • 63 James Berardinelli
    In the final analysis, Rising Sun is yet another book-to-movie conversion that loses something in the translation. Despite the always-welcome presence of Sean Connery, the film fails to satisfy completely. There are a few too many plot holes and logical errors. Rising Sun may be solidly-paced, but not all aspects of the production are as successful.
    • 41 Metascore
    • 63 James Berardinelli
    With each new outing, the Final Destination movies are getting better.
    • 50 Metascore
    • 63 James Berardinelli
    The French have an entirely different idea of what constitutes a "comedy" from the Americans. Little White Lies is classified as a "comedy" in its country of origin. I suppose that's meant in a Shakespearean sense, because there's not a lot of humor in Canet's screenplay, which is primarily dramatic and includes scenes of outright tragedy.
    • 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."
    • 67 Metascore
    • 63 James Berardinelli
    The plot runs out of steam just past the one-hour mark and the charade, although necessary to the story, goes on for too long. The ending is, of course, the requisite happy one, but it seems a little anticlimactic.
    • 49 Metascore
    • 63 James Berardinelli
    Kalifornia is disturbing, and, while it doesn't overdo the blood, neither is the violence understated.
    • 66 Metascore
    • 63 James Berardinelli
    Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”
    • 75 Metascore
    • 63 James Berardinelli
    It's bland as often as it is affecting, and presents little that's new or original.
    • 50 Metascore
    • 63 James Berardinelli
    Marginally worth seeing if you're a Pacino fan but, even then, waiting for the DVD is the smart bet.
    • 61 Metascore
    • 63 James Berardinelli
    The story as a whole seems stale and overly familiar.
    • 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
    Although the action scenes are competently executed, there's nothing here to raise the pulse.
    • 45 Metascore
    • 63 James Berardinelli
    When compared to today's visual standards for animated films, Hoodwinked is far below the curve.
    • 24 Metascore
    • 63 James Berardinelli
    Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.
    • 58 Metascore
    • 63 James Berardinelli
    The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.
    • 54 Metascore
    • 63 James Berardinelli
    The film, directed by South Korean Jee-woon Kim, hits all the necessary action beats and effectively blends in the humor.
    • 67 Metascore
    • 63 James Berardinelli
    Nothing in T2 is memorable.
    • 56 Metascore
    • 63 James Berardinelli
    No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.
    • 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.
    • 81 Metascore
    • 63 James Berardinelli
    Raw
    It relies on gross-out scenes to earn the right to be called “disturbing” and seems more interested in delivering schlocky shocks than suffocating the viewer with suspense or dread.
    • 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.
    • 64 Metascore
    • 63 James Berardinelli
    The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.
    • 61 Metascore
    • 63 James Berardinelli
    Watching The Sense of an Ending, I was struck by the realization that this should have been a good movie. Unfortunately, as is too often the case, something didn’t translate from the written page to the big screen.
    • 69 Metascore
    • 63 James Berardinelli
    Take away Bruce Willis and this is straight-to-video material.
    • 63 Metascore
    • 63 James Berardinelli
    The film's central flaw is that the characters are haphazardly developed, and don't come across as more interesting than the props.
    • 65 Metascore
    • 63 James Berardinelli
    It's disappointing that so much talent has been assembled with so little to do.
    • 50 Metascore
    • 63 James Berardinelli
    The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.
    • 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.
    • 52 Metascore
    • 63 James Berardinelli
    The Hills Have Eyes gets points for gore and general creepiness, and for occasional periods of tension, but it's not scary enough to linger long in the subconscious.
    • 23 Metascore
    • 63 James Berardinelli
    Despite being mediocre and largely forgettable, Couples Retreat is not unpleasant, although it's easier to recommend it for home viewing than for a trip to a theater.
    • 63 Metascore
    • 63 James Berardinelli
    Just a run-of-the-mill slasher/thriller.
    • 77 Metascore
    • 63 James Berardinelli
    It’s a near-miss that offers a captivating atmosphere and strong performances to go along with an uneven tone and a climax that’s so overcooked that it bursts at the seams with unintentional humor.
    • 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.
    • 53 Metascore
    • 63 James Berardinelli
    At its best, The Journey is riveting drama, with Paisley and McGuinness acting as proxies for the two sides in the long-simmering, bitter civil war that divided Northern Ireland for 40 years along sectarian lines.
    • 63 Metascore
    • 63 James Berardinelli
    The screenplay feels like the culmination of all sorts of things being thrown against a wall to see what sticks. As it turns out, there's not enough.
    • 76 Metascore
    • 63 James Berardinelli
    Safe does not succeed at everything it attempts. The film is overlong and there are times when more aggressive editing might have improved the pace. However, despite certain dramatic shortcomings, Safe is an insightful and darkly comical social commentary.
    • 69 Metascore
    • 63 James Berardinelli
    It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.
    • 63 Metascore
    • 63 James Berardinelli
    Has a bold, inventive style that occasionally compensates for story weaknesses. And, admittedly, there's a certain visceral appeal to the action sequences.
    • 63 Metascore
    • 63 James Berardinelli
    The good points about Unfaithful can't overcome the movie's eventual downward spiral.
    • 67 Metascore
    • 63 James Berardinelli
    Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.
    • 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.
    • 60 Metascore
    • 63 James Berardinelli
    It feels incomplete and the ending is entirely too convenient.
    • 55 Metascore
    • 63 James Berardinelli
    Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.
    • 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.
    • 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.
    • 57 Metascore
    • 63 James Berardinelli
    Although it would be unfair to label Cars 2 as unwatchable, it is surprisingly tedious in parts and not as satisfying as one might expect.
    • 61 Metascore
    • 63 James Berardinelli
    Without the impressive photography and energetic action sequences, Blue Crush would have been a lot worse. But, if the filmmakers had invested in real characters instead of cardboard cut-outs, it would have been a lot better.
    • 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.
    • 51 Metascore
    • 63 James Berardinelli
    The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.
    • 68 Metascore
    • 63 James Berardinelli
    The movie as a whole is a mixed bag. It's overlong and a times sluggish. The fights and battles, designed to give an epic fantasy feel to the movie, are grave miscalculations.
    • 51 Metascore
    • 63 James Berardinelli
    Freaky Friday is motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial. It will please those who seek it out, and probably won't horrify or disgust anyone who ends up seeing it for other reasons (dragged along, bribed, or otherwise coerced). There are enough clever and/or funny moments to provoke laughter from even a scowling 13-year old boy who wants to be next door watching Terminator 3 for the third time.
    • 66 Metascore
    • 63 James Berardinelli
    The marriage of these two tales, however, should have ended in divorce court.
    • 67 Metascore
    • 63 James Berardinelli
    As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.
    • 55 Metascore
    • 63 James Berardinelli
    Solid performances from David Duchovny (in a cleaned-up version of his Californication character), Demi Moore (defying age), Ben Hollingsworth, and Amber Heard can't save the movie when the screenplay goes as limp as a noodle and turns into a long string of clichés.
    • 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.
    • 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.
    • 47 Metascore
    • 63 James Berardinelli
    One could argue that such an approach isn't all bad - after all, it allows us to know and like the characters - but there are times when Ladder 49 gets a little too cute.
    • 64 Metascore
    • 63 James Berardinelli
    A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.
    • 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.
    • 75 Metascore
    • 63 James Berardinelli
    We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.
    • 65 Metascore
    • 63 James Berardinelli
    According to Schnabel, the movie is intended to celebrate the man's life, not to mourn his death, so Basquiat's last days are not shown. It's one of many miscalculations made by the director, because, when the end credits roll, we're left without a sense of closure.
    • 54 Metascore
    • 63 James Berardinelli
    Traditional and uninspired, it does an adequate job of relating Duran’s story but falls short of providing an engaging cinematic experience.
    • 51 Metascore
    • 63 James Berardinelli
    The result is that the film comes across as preachy and clichéd. And, while the battle sequences are well executed from a technical point-of-view, they often seem repetitive and uninspired.
    • 55 Metascore
    • 63 James Berardinelli
    Unfortunately, despite a surfeit of talent in front of and behind the camera, the movie is unable to overcome a shaky narrative whose increasing preposterousness ensures it’s difficult to take seriously.
    • 55 Metascore
    • 63 James Berardinelli
    Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.
    • 53 Metascore
    • 63 James Berardinelli
    Hysteria's "hook" is that it chronicles the development of one of the 20th century's most popular home appliances: the vibrator. However, although the details surrounding the deplorable state of women's medicine during the Victorian era are intriguing, the central story - a romantic comedy between a progressive woman and a forward-thinking doctor - is flaccid.
    • 53 Metascore
    • 63 James Berardinelli
    Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.
    • 66 Metascore
    • 63 James Berardinelli
    Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.
    • 68 Metascore
    • 63 James Berardinelli
    It fails to sustain its comic momentum or high energy level. The first half is fresh and funny, but it doesn't last.
    • 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.
    • 49 Metascore
    • 63 James Berardinelli
    A palatable film. It offers a few solid laughs and will provoke some smiles.
    • 45 Metascore
    • 63 James Berardinelli
    By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.
    • 59 Metascore
    • 63 James Berardinelli
    Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.
    • 52 Metascore
    • 63 James Berardinelli
    They say the third time's the charm. Not with the Insidious series, it isn't. Admittedly, installment #3 is an improvement over #2, but it fails to reach the highs of the chilling-but-uneven original.
    • 51 Metascore
    • 63 James Berardinelli
    There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.
    • 56 Metascore
    • 63 James Berardinelli
    Loud, kinetic, unflinching action.
    • 61 Metascore
    • 63 James Berardinelli
    It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...
    • 49 Metascore
    • 63 James Berardinelli
    Despicable Me 3 is an example of how even the most promising animated franchises can hit a wall if allowed to continue too long.
    • 58 Metascore
    • 63 James Berardinelli
    A quirky romantic comedy that suffers from a rare cinematic malady: it's too short.
    • 57 Metascore
    • 63 James Berardinelli
    The main problem with Smart People is that it never breaks new ground. This is territory we have seen tilled to better effect by more perceptive motion pictures.
    • 48 Metascore
    • 63 James Berardinelli
    My evaluation is to wait-list Admission and catch it when it reaches the less demanding platform of home video.
    • 47 Metascore
    • 63 James Berardinelli
    I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.
    • 46 Metascore
    • 63 James Berardinelli
    Sadly, the result is a disappointment. Sure, the aerial battles are technically adept and occasionally exhilarating, but it's almost painful to sit through some of the "drama" that occurs on the ground.
    • 55 Metascore
    • 63 James Berardinelli
    The problem with Mr. and Mrs. Smith is that it's really two movies in one. The first is a sly comedy/thriller worthy of Hitchcock, and the other is a big, noisy summer action flick.
    • 57 Metascore
    • 63 James Berardinelli
    Despite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.
    • 47 Metascore
    • 63 James Berardinelli
    Despite its flaws, The Box remains intriguing; however, as its mysteries are solved, the prevailing sense is one of frustration rather than satisfaction. That makes The Box worthy of the dubious label of "an interesting failure."
    • 66 Metascore
    • 63 James Berardinelli
    Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.
    • 57 Metascore
    • 63 James Berardinelli
    There's no debating that Bad Words contains some big, politically incorrect laughs. The movie isn't awash in them but there are enough to keep the chuckles coming. The film's problem is that, despite obvious aspirations to be more than just a profane joke factory, it never fulfills its dramatic ambitions.
    • 50 Metascore
    • 63 James Berardinelli
    The film has an undeniable energy, and, at times, it works as light entertainment, but there is a problem. The central character is consistently aggravating.
    • 65 Metascore
    • 63 James Berardinelli
    The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema.
    • 60 Metascore
    • 63 James Berardinelli
    The movie wears thin its welcome a couple of reels before Apatow has finished telling his story.
    • 69 Metascore
    • 63 James Berardinelli
    Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.
    • 58 Metascore
    • 63 James Berardinelli
    Not a complete waste of time, but it doesn't make us FEEL the way better dramas do, and, in the end, it lacks the qualities that would make it memorable or powerful.
    • 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.
    • 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.
    • 56 Metascore
    • 63 James Berardinelli
    Sylvia underwhelms.
    • 64 Metascore
    • 63 James Berardinelli
    Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.
    • 62 Metascore
    • 63 James Berardinelli
    This is strictly B-movie fare. It tries to do some of the same things as "Kiss Kiss Bang Bang" and suffers as a result of the comparison.
    • 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.
    • 49 Metascore
    • 63 James Berardinelli
    The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters.
    • 62 Metascore
    • 63 James Berardinelli
    A nice little mystery thriller that takes a wrong turn on the way to its climax and morphs into a slasher movie.
    • 65 Metascore
    • 63 James Berardinelli
    Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.
    • 58 Metascore
    • 63 James Berardinelli
    There are moments of pure poetry in the movie but the production as a whole seems overlong and repetitive and takes a detour or two that distract from the aching beauty of the central story.
    • 31 Metascore
    • 63 James Berardinelli
    This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.
    • 62 Metascore
    • 63 James Berardinelli
    The Nutty Professor aims for guffaws at the lowest level -- anyone with a double-digit IQ will get every joke. Whether you laugh at them or not is often more of a matter of taste than a question of having a sense of humor.
    • 33 Metascore
    • 63 James Berardinelli
    Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.
    • 51 Metascore
    • 63 James Berardinelli
    The overall experience fails to satisfy on a basic level. This is one of those films it's easier to be impressed with than it is to like.
    • 69 Metascore
    • 63 James Berardinelli
    Batman is largely content to skim the surface and bask in the light of its visual style.
    • 62 Metascore
    • 63 James Berardinelli
    It is neither as clever nor as funny nor as inventive as the daring title might lead one to expect.
    • 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.
    • 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.
    • 43 Metascore
    • 63 James Berardinelli
    You may end up being pleasantly surprised, especially if you have a ten-year old girl in tow.
    • 79 Metascore
    • 63 James Berardinelli
    This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.
    • 41 Metascore
    • 50 James Berardinelli
    The problem is that the writing is too weak for me to come close to recommending it.
    • 52 Metascore
    • 50 James Berardinelli
    The pacing is uneven, the frenetic action is rarely suspenseful, the dialogue is neither witty nor intelligent, and the anticlimactic endgame drags out to an improbable conclusion.
    • 47 Metascore
    • 50 James Berardinelli
    An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.
    • 60 Metascore
    • 50 James Berardinelli
    For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.
    • 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.
    • 56 Metascore
    • 50 James Berardinelli
    CQ
    Pretentious and self-indulgent -- those two words come to mind when considering CQ.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Legend seems like a movie Scorsese might have made if he wasn’t paying attention - the elements are present but they are clumsily assembled and the outcome underwhelms.
    • 40 Metascore
    • 50 James Berardinelli
    There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
    • 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.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
    • 57 Metascore
    • 50 James Berardinelli
    What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.
    • 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.
    • 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.
    • 54 Metascore
    • 50 James Berardinelli
    A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.
    • 55 Metascore
    • 50 James Berardinelli
    The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.
    • 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).
    • 29 Metascore
    • 50 James Berardinelli
    The level of quality is such that this does not deserve a theatrical distribution and will only find appeal among pre-teen kids or those who have been fans of the games since their inception more than a decade ago.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.
    • 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.
    • 73 Metascore
    • 50 James Berardinelli
    Ray
    Sluggish, conventional, and almost completely lacking in energy.
    • 60 Metascore
    • 50 James Berardinelli
    I'll be among the first to admit that Timothy Dalton is a fine actor. But giving a solid performance has little to do with being a good James Bond, and, as accomplished as Dalton is, he's a failure as 007 in The Living Daylights.
    • 48 Metascore
    • 50 James Berardinelli
    It's not so much a bad film as it is a disappointing one. A very disappointing one.
    • 37 Metascore
    • 50 James Berardinelli
    When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.
    • 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.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.
    • 78 Metascore
    • 50 James Berardinelli
    "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
    • 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.
    • 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.
    • 30 Metascore
    • 50 James Berardinelli
    There are good things to be said about The Spirit, but not enough of them to outweigh the bad.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
    • 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.
    • 34 Metascore
    • 50 James Berardinelli
    Zoolander would have been better left as a stand-alone cult classic.
    • 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.
    • 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.
    • 63 Metascore
    • 50 James Berardinelli
    There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.
    • 61 Metascore
    • 50 James Berardinelli
    This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.
    • 51 Metascore
    • 50 James Berardinelli
    Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.
    • 44 Metascore
    • 50 James Berardinelli
    We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.
    • 51 Metascore
    • 50 James Berardinelli
    All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.
    • 35 Metascore
    • 50 James Berardinelli
    By cramming far too much material into 114 minutes, The Huntsman: Winter’s War feels rushed and incomplete. It doesn’t help that the screenplay is at times awful, forcing accomplished actors to recite excruciatingly bad dialogue while maintaining a straight face.
    • 55 Metascore
    • 50 James Berardinelli
    V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.
    • 25 Metascore
    • 50 James Berardinelli
    Enough is Apted at his most commercial, and, unfortunately, his least compelling.
    • 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.
    • 24 Metascore
    • 50 James Berardinelli
    The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.
    • 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.
    • 76 Metascore
    • 50 James Berardinelli
    I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.
    • 47 Metascore
    • 50 James Berardinelli
    In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.
    • 46 Metascore
    • 50 James Berardinelli
    If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.
    • 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.
    • 25 Metascore
    • 50 James Berardinelli
    The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.
    • 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.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    Likely won't please fans of the original TV series, but the movie hasn't been made for them.
    • 65 Metascore
    • 50 James Berardinelli
    Simply isn't a very good motion picture.
    • 43 Metascore
    • 50 James Berardinelli
    Because so little of it works, the film is disposable.
    • 32 Metascore
    • 50 James Berardinelli
    Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.
    • 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."
    • 52 Metascore
    • 50 James Berardinelli
    I'm not a religious man but, Hallelujah! I may not be done with Meyer but at least I'll never again have to cope with the angst, self-absorption, and vampire mythology mutilation that characterized these five movies.
    • 49 Metascore
    • 50 James Berardinelli
    While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.
    • 21 Metascore
    • 50 James Berardinelli
    Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.
    • 48 Metascore
    • 50 James Berardinelli
    Bullet to the Head is bloody and violent but not nearly as much fun as it should be.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    There's nothing remotely memorable about this walk.
    • 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.
    • 57 Metascore
    • 50 James Berardinelli
    Poorly paced with a tendency to veer into the pretentious and littered with contrivances and dramatic short-cuts, I Origins fails to provide a single three-dimensional character or compelling relationship.
    • 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.
    • 66 Metascore
    • 50 James Berardinelli
    You laugh a few times but, in the end, you wonder why you bothered.
    • 14 Metascore
    • 50 James Berardinelli
    What's missing is honesty. It has been supplanted by artifice.
    • 49 Metascore
    • 50 James Berardinelli
    The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example
    • 47 Metascore
    • 50 James Berardinelli
    A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.
    • 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."
    • 47 Metascore
    • 50 James Berardinelli
    There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.
    • 63 Metascore
    • 50 James Berardinelli
    It's a cobbled together mess of clichés that fails to surprise at any of its turns.

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