James Berardinelli
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For 2,769 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 5.9 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Secrets & Lies
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,769 movie reviews
    • 65 Metascore
    • 50 James Berardinelli
    Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.
    • 43 Metascore
    • 50 James Berardinelli
    Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.
    • 48 Metascore
    • 50 James Berardinelli
    Martian Child wants to make us cry. It nearly made me gag. This is an exercise in shameless and inept emotional manipulation.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    One of those movies in which the principals talk a lot but don't say much.
    • 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.
    • 66 Metascore
    • 50 James Berardinelli
    While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.
    • 48 Metascore
    • 50 James Berardinelli
    There's something a little annoying about a movie that tries this shamelessly to be endearing and family friendly.
    • 49 Metascore
    • 50 James Berardinelli
    This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.
    • 41 Metascore
    • 50 James Berardinelli
    Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.
    • 15 Metascore
    • 50 James Berardinelli
    A second-rate regurgitation of "The Lord of the Rings." Everything about it, down to the set and costume design, apes Peter Jackson's epic trilogy. However, while "The Lord of the Rings" was a grand story of scope and power, In the Name of the King feels small in more ways than one.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    It's not the unevenness of the comedy that kills Welcome Home Roscoe Jenkins but the illegitimacy of the drama.
    • 50 Metascore
    • 50 James Berardinelli
    Much of the average viewer's time in the theater will be spent waiting somewhat impatiently for the high-energy climax. Catnaps are an advisable way to survive some of the slow spots.
    • 47 Metascore
    • 50 James Berardinelli
    Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.
    • 51 Metascore
    • 50 James Berardinelli
    Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    A feeling of hopelessness pervades Sleepwalking.
    • 41 Metascore
    • 50 James Berardinelli
    The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.
    • 48 Metascore
    • 50 James Berardinelli
    The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.
    • 48 Metascore
    • 50 James Berardinelli
    21
    21 doesn't spin a good enough yarn.
    • 61 Metascore
    • 50 James Berardinelli
    After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.
    • 60 Metascore
    • 50 James Berardinelli
    The film has lofty goals, but comes across as leaden and pretentious. It's a character study in which the lead participant is the least interesting person in the movie.
    • 37 Metascore
    • 50 James Berardinelli
    A prefabricated example of shoddy workmanship.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    Pretty pictures - thats what The Fall has to offer.
    • 65 Metascore
    • 50 James Berardinelli
    Simply isn't a very good motion picture.
    • 53 Metascore
    • 50 James Berardinelli
    For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.
    • 54 Metascore
    • 50 James Berardinelli
    A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.
    • 57 Metascore
    • 50 James Berardinelli
    With 3-D, a little goes a long way and, in the absence of a legitimate script with credible characters, the fun dries up long before the running time has expired.
    • 43 Metascore
    • 50 James Berardinelli
    This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.
    • 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.
    • 62 Metascore
    • 50 James Berardinelli
    The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.
    • 25 Metascore
    • 50 James Berardinelli
    The film has energy but isn't well paced. Nothing about it quite gels.
    • 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.
    • 56 Metascore
    • 50 James Berardinelli
    The problem with the movie, whose title compresses "religious" and "ridiculous" into a single word, isn't that it milks more than one sacred cow but that it does so with minimal subtlety and intelligence.
    • 53 Metascore
    • 50 James Berardinelli
    The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.
    • 56 Metascore
    • 50 James Berardinelli
    W.
    Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.
    • 30 Metascore
    • 50 James Berardinelli
    There are good things to be said about The Spirit, but not enough of them to outweigh the bad.
    • 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.
    • 62 Metascore
    • 50 James Berardinelli
    It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
    • 47 Metascore
    • 50 James Berardinelli
    In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.
    • 53 Metascore
    • 50 James Berardinelli
    It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.
    • 41 Metascore
    • 50 James Berardinelli
    Four Christmases is waste of time and a disappointment, but it's also relatively painless.
    • 51 Metascore
    • 50 James Berardinelli
    Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.
    • 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."
    • 40 Metascore
    • 50 James Berardinelli
    Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.
    • 44 Metascore
    • 50 James Berardinelli
    The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.
    • 52 Metascore
    • 50 James Berardinelli
    This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't.
    • 45 Metascore
    • 50 James Berardinelli
    The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.
    • 47 Metascore
    • 50 James Berardinelli
    Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.
    • 48 Metascore
    • 50 James Berardinelli
    The movie doesn't come close to the family-friendly comedic pseudo-incest flirted with in "Back to the Future." That, apparently, is deemed too unsettling for today's audiences. So 17 Again none-too-cleverly tap dances around these issues.
    • 50 Metascore
    • 50 James Berardinelli
    A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.
    • 42 Metascore
    • 50 James Berardinelli
    It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.
    • 40 Metascore
    • 50 James Berardinelli
    The best bits in this film fall short of being inspired, but they are outrageous.
    • 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."
    • 50 Metascore
    • 50 James Berardinelli
    Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    It's not so much a bad movie as it is a pointless one.
    • 54 Metascore
    • 50 James Berardinelli
    The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
    • 48 Metascore
    • 50 James Berardinelli
    Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
    • 40 Metascore
    • 50 James Berardinelli
    There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
    • 63 Metascore
    • 50 James Berardinelli
    A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.
    • 56 Metascore
    • 50 James Berardinelli
    This is a train wreck of an action film -– a stupefying attempt by the filmmakers to force-feed James Bond into the mindless "XXX" mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.
    • 19 Metascore
    • 50 James Berardinelli
    This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.
    • 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.
    • 56 Metascore
    • 50 James Berardinelli
    CQ
    Pretentious and self-indulgent -- those two words come to mind when considering CQ.
    • 58 Metascore
    • 50 James Berardinelli
    The film has two highlights -- a profanity-laced monologue by Peter Falk about boxing and the one-on-one confrontation between Monroe and Chambers in the ring.
    • 39 Metascore
    • 50 James Berardinelli
    Quickly causes viewers to lose patience, then interest.
    • 61 Metascore
    • 50 James Berardinelli
    The plot is straightforward and predictable to the point of painfulness.
    • 47 Metascore
    • 50 James Berardinelli
    The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.
    • 16 Metascore
    • 50 James Berardinelli
    This is the kind of movie that isn't even worth renting when it comes out on video because, with the possible exception of Michael Lerner and Omar Epps dancing to show tunes, you've seen it all before.
    • 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.
    • 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.
    • 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."
    • 61 Metascore
    • 50 James Berardinelli
    As high camp, Willard might have something going for it, but not as a horror movie.
    • 51 Metascore
    • 50 James Berardinelli
    Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.
    • 26 Metascore
    • 50 James Berardinelli
    Once it gets beyond a hard-to-swallow setup and into the meat of its story, Boxing Helena is surprisingly involving...The movie discloses its terms early, and expects the audience to buy into them, making no apologies for what it is or intends to be.
    • 46 Metascore
    • 50 James Berardinelli
    There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.
    • 47 Metascore
    • 50 James Berardinelli
    Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.
    • 33 Metascore
    • 50 James Berardinelli
    A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.
    • 46 Metascore
    • 50 James Berardinelli
    Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.
    • 64 Metascore
    • 50 James Berardinelli
    Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.
    • 65 Metascore
    • 50 James Berardinelli
    Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.
    • 45 Metascore
    • 50 James Berardinelli
    A fast-food type of movie - it looks good in the commercials and is easy to sit through, but it doesn't offer much in the way of satisfaction.
    • 40 Metascore
    • 50 James Berardinelli
    This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.
    • 72 Metascore
    • 50 James Berardinelli
    This new interpretation does few things better than the original, and many things worse.
    • 26 Metascore
    • 50 James Berardinelli
    A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.
    • 25 Metascore
    • 50 James Berardinelli
    Enough is Apted at his most commercial, and, unfortunately, his least compelling.
    • 48 Metascore
    • 50 James Berardinelli
    Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.
    • 41 Metascore
    • 50 James Berardinelli
    There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.
    • 61 Metascore
    • 50 James Berardinelli
    Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.
    • 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.
    • 38 Metascore
    • 50 James Berardinelli
    This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.
    • 52 Metascore
    • 50 James Berardinelli
    A stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two- minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.
    • 41 Metascore
    • 50 James Berardinelli
    Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.
    • 44 Metascore
    • 50 James Berardinelli
    We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.
    • 64 Metascore
    • 50 James Berardinelli
    It's a muddled, meandering affair without a thesis or a point to prove.
    • 45 Metascore
    • 50 James Berardinelli
    Likely won't please fans of the original TV series, but the movie hasn't been made for them.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.
    • 48 Metascore
    • 50 James Berardinelli
    The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.
    • 63 Metascore
    • 50 James Berardinelli
    Disappointing, but barely watchable.
    • 73 Metascore
    • 50 James Berardinelli
    This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.
    • 52 Metascore
    • 50 James Berardinelli
    It has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.
    • 43 Metascore
    • 50 James Berardinelli
    There's not a moment of originality in the entire motion picture.
    • 48 Metascore
    • 50 James Berardinelli
    xXx
    For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.
    • 59 Metascore
    • 50 James Berardinelli
    Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.
    • 64 Metascore
    • 50 James Berardinelli
    While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.
    • 48 Metascore
    • 50 James Berardinelli
    Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    Offers slim pickings for viewers, regardless of whether they're fans of Woody Allen or not. And I'm sure the French will love it.
    • 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.
    • 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.
    • 26 Metascore
    • 50 James Berardinelli
    Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
    • 40 Metascore
    • 50 James Berardinelli
    The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.
    • 41 Metascore
    • 50 James Berardinelli
    The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.
    • 39 Metascore
    • 50 James Berardinelli
    It's an excursion into a melodramatic morass that occasionally becomes difficult to sit through because it's so cloying.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."
    • 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.
    • 38 Metascore
    • 50 James Berardinelli
    Laws of Attraction is a standard-issue romantic comedy that's missing a key ingredient: the attraction.
    • 59 Metascore
    • 50 James Berardinelli
    This movie desperately wants to be liked. The problem is, there's not much here to like -- at least nothing that's new or interesting.
    • 50 Metascore
    • 50 James Berardinelli
    An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.
    • 42 Metascore
    • 50 James Berardinelli
    I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.
    • 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."
    • 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.
    • 49 Metascore
    • 50 James Berardinelli
    In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.
    • 42 Metascore
    • 50 James Berardinelli
    An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.
    • 66 Metascore
    • 50 James Berardinelli
    The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.
    • 46 Metascore
    • 50 James Berardinelli
    In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.
    • 52 Metascore
    • 50 James Berardinelli
    This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.
    • 52 Metascore
    • 50 James Berardinelli
    The film's comedy is lackluster, with supporting actors Nathan Lane and Sean Hayes (as Tad's manager and agent) providing a few mildly amusing moments that would be at home in a sit-com.
    • 68 Metascore
    • 50 James Berardinelli
    Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.
    • 65 Metascore
    • 50 James Berardinelli
    The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    The most likely facial expression to be elicited by Mona Lisa Smile is a grimace.
    • 49 Metascore
    • 50 James Berardinelli
    The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.
    • 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.
    • 67 Metascore
    • 50 James Berardinelli
    As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.
    • 43 Metascore
    • 50 James Berardinelli
    Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.
    • 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.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.
    • 28 Metascore
    • 50 James Berardinelli
    About as frightening as Walt Disney's Haunted Mansion.
    • 48 Metascore
    • 50 James Berardinelli
    It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.
    • 55 Metascore
    • 50 James Berardinelli
    Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.
    • 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.
    • 18 Metascore
    • 50 James Berardinelli
    Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.
    • 34 Metascore
    • 50 James Berardinelli
    It's dull, childish, and uninspired.
    • 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.
    • 59 Metascore
    • 50 James Berardinelli
    With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.
    • 47 Metascore
    • 50 James Berardinelli
    The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."
    • 6 Metascore
    • 50 James Berardinelli
    Formulated on an idiotic idea and develops a predictably lackluster motion picture from it.
    • 61 Metascore
    • 50 James Berardinelli
    This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.
    • 57 Metascore
    • 50 James Berardinelli
    Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.
    • 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.
    • 60 Metascore
    • 50 James Berardinelli
    Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.
    • 34 Metascore
    • 50 James Berardinelli
    Comes across as a cheesy, fundamentally unsatisfying experience.
    • 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."
    • 49 Metascore
    • 50 James Berardinelli
    Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    A lackluster melodrama with only a few inspired moments.
    • 56 Metascore
    • 50 James Berardinelli
    The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.
    • 41 Metascore
    • 50 James Berardinelli
    There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.
    • 24 Metascore
    • 50 James Berardinelli
    Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.
    • 60 Metascore
    • 50 James Berardinelli
    Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.
    • 60 Metascore
    • 50 James Berardinelli
    A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
    • 78 Metascore
    • 50 James Berardinelli
    What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.
    • 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.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.
    • 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.
    • 22 Metascore
    • 50 James Berardinelli
    Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
    • 49 Metascore
    • 50 James Berardinelli
    Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.
    • 35 Metascore
    • 50 James Berardinelli
    There's nothing remotely memorable about this walk.
    • 43 Metascore
    • 50 James Berardinelli
    This could easily go down as the year's best example of solid acting in a wretched motion picture.
    • 53 Metascore
    • 50 James Berardinelli
    If you're desperate to give something up for Lent, make it movies like this one.
    • 39 Metascore
    • 50 James Berardinelli
    By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
    • 46 Metascore
    • 50 James Berardinelli
    Saved by energetic musical numbers.
    • 44 Metascore
    • 50 James Berardinelli
    Die-hard fans are advised to wait for the video. Everyone else would be better off pretending that this movie doesn't exist. In the long run, you'll have a higher opinion of everyone involved.
    • 39 Metascore
    • 50 James Berardinelli
    It's only possible to have the time of your life once, and, for this franchise, that was in 1987.
    • 19 Metascore
    • 50 James Berardinelli
    It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.
    • 54 Metascore
    • 50 James Berardinelli
    MouseHunt is "'Home Alone" with a rodent in the place of Macaulay Culkin.
    • 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.
    • 73 Metascore
    • 50 James Berardinelli
    Ray
    Sluggish, conventional, and almost completely lacking in energy.
    • 82 Metascore
    • 50 James Berardinelli
    Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
    • 36 Metascore
    • 50 James Berardinelli
    Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
    • 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.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    Mechanical and artificial, and tells you what to think.
    • 64 Metascore
    • 50 James Berardinelli
    Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.
    • 55 Metascore
    • 50 James Berardinelli
    There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.
    • 47 Metascore
    • 50 James Berardinelli
    There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
    • 43 Metascore
    • 50 James Berardinelli
    "Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.
    • 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.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.
    • 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.
    • 54 Metascore
    • 50 James Berardinelli
    Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.
    • 39 Metascore
    • 50 James Berardinelli
    Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.
    • 41 Metascore
    • 50 James Berardinelli
    Put simply, this movie is dumb.
    • 56 Metascore
    • 50 James Berardinelli
    Foster's film offers its fair share of laughs, although most come at the expense of "easy mark" characters. Dramatically, however, the movie is only a step up from a flop.
    • 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.
    • 22 Metascore
    • 50 James Berardinelli
    This is easily the worst filmed version of anything penned by the prolific author.
    • 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.
    • 60 Metascore
    • 50 James Berardinelli
    The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.
    • 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.
    • 50 Metascore
    • 50 James Berardinelli
    The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".
    • 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.
    • 57 Metascore
    • 50 James Berardinelli
    The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.
    • 70 Metascore
    • 50 James Berardinelli
    From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
    • 35 Metascore
    • 50 James Berardinelli
    This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.
    • 72 Metascore
    • 50 James Berardinelli
    Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
    • 46 Metascore
    • 50 James Berardinelli
    Grumpier Old Men isn't as fun, spontaneous, or amusing as the original. In short, it's a poor retread that can't be redeemed by the pleasure of seeing Lemmon and Matthau together.
    • 51 Metascore
    • 50 James Berardinelli
    A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.
    • 50 Metascore
    • 50 James Berardinelli
    The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.
    • 43 Metascore
    • 50 James Berardinelli
    The movie, however, seems to make the wrong decision at almost every opportunity, trying for the kind of melodramatic tragedy that only works in opera.
    • 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
    • 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.
    • 49 Metascore
    • 50 James Berardinelli
    If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.
    • 44 Metascore
    • 50 James Berardinelli
    Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.
    • 71 Metascore
    • 50 James Berardinelli
    Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.
    • 62 Metascore
    • 50 James Berardinelli
    Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.
    • 16 Metascore
    • 50 James Berardinelli
    The comedy is mostly restricted to one-liners, some of which aren't funny. And the action is uninspired, barely tapping the vast potential of an amusement park chase film.
    • 44 Metascore
    • 50 James Berardinelli
    Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.
    • 39 Metascore
    • 50 James Berardinelli
    Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.
    • 40 Metascore
    • 50 James Berardinelli
    If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.
    • 39 Metascore
    • 50 James Berardinelli
    Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.
    • 33 Metascore
    • 50 James Berardinelli
    Never boring. It is, however, frustrating.
    • 40 Metascore
    • 50 James Berardinelli
    Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.
    • 43 Metascore
    • 50 James Berardinelli
    There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
    • 47 Metascore
    • 50 James Berardinelli
    And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.
    • 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.
    • 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.
    • 78 Metascore
    • 50 James Berardinelli
    Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.
    • 45 Metascore
    • 50 James Berardinelli
    What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion.
    • 45 Metascore
    • 50 James Berardinelli
    In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
    • 46 Metascore
    • 50 James Berardinelli
    The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.
    • 69 Metascore
    • 50 James Berardinelli
    Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
    • 53 Metascore
    • 50 James Berardinelli
    The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.
    • 51 Metascore
    • 50 James Berardinelli
    Not without humor, but it lacks the explosive spontaneity of "The Hangover."
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.
    • 27 Metascore
    • 50 James Berardinelli
    Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.
    • 39 Metascore
    • 50 James Berardinelli
    Even as a mindless diversion, it's weak.
    • 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."
    • 46 Metascore
    • 50 James Berardinelli
    The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
    • 56 Metascore
    • 50 James Berardinelli
    Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.
    • 52 Metascore
    • 50 James Berardinelli
    Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.
    • 36 Metascore
    • 50 James Berardinelli
    It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
    • 58 Metascore
    • 50 James Berardinelli
    One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.
    • 36 Metascore
    • 50 James Berardinelli
    Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
    • 45 Metascore
    • 50 James Berardinelli
    As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    The result makes the movie seem assembled from bits and pieces of other superhero yarns rather than existing on a plane of its own.
    • 66 Metascore
    • 50 James Berardinelli
    For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
    • 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.
    • 75 Metascore
    • 50 James Berardinelli
    Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
    • 47 Metascore
    • 50 James Berardinelli
    The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.
    • 39 Metascore
    • 50 James Berardinelli
    The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
    • 64 Metascore
    • 50 James Berardinelli
    Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
    • 56 Metascore
    • 50 James Berardinelli
    There are times when the story behind the making of a film is more interesting than the finished product. This is one of those occasions.
    • 59 Metascore
    • 50 James Berardinelli
    The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.
    • 35 Metascore
    • 50 James Berardinelli
    70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
    • 59 Metascore
    • 50 James Berardinelli
    The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.
    • 53 Metascore
    • 50 James Berardinelli
    Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.
    • 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.
    • 51 Metascore
    • 50 James Berardinelli
    Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.
    • 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.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.
    • 60 Metascore
    • 50 James Berardinelli
    It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.
    • 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.
    • 49 Metascore
    • 50 James Berardinelli
    This is a joyless experience made all the sadder because most viewers still remember the naughty delights delivered by "American Pie."
    • 55 Metascore
    • 50 James Berardinelli
    Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.
    • 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.
    • 27 Metascore
    • 50 James Berardinelli
    A sloppy, poorly focused comedy.
    • 54 Metascore
    • 50 James Berardinelli
    The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.
    • 61 Metascore
    • 50 James Berardinelli
    "Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.
    • 57 Metascore
    • 50 James Berardinelli
    Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.

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