James Berardinelli
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For 2,790 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Untouchables
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,790 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    There's not a moment of originality in the entire motion picture.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 50 James Berardinelli
    MouseHunt is "'Home Alone" with a rodent in the place of Macaulay Culkin.
    • 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
    This could easily go down as the year's best example of solid acting in a wretched motion picture.
    • 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.
    • 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.
    • 49 Metascore
    • 50 James Berardinelli
    Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.
    • 73 Metascore
    • 50 James Berardinelli
    Ray
    Sluggish, conventional, and almost completely lacking in energy.
    • 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
    By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
    • 22 Metascore
    • 50 James Berardinelli
    Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
    • 46 Metascore
    • 50 James Berardinelli
    Saved by energetic musical numbers.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 James Berardinelli
    The main problem with Coach Carter can be summed up simply: too much sermonizing.
    • 34 Metascore
    • 50 James Berardinelli
    One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.
    • 32 Metascore
    • 50 James Berardinelli
    This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.
    • 31 Metascore
    • 50 James Berardinelli
    Several strokes short of a respectable finish.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    Lacks both a focus and an edge, making it an amorphous mess.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    Takes the action/adventure story to new heights of preposterousness. In a way, that's not a bad thing, since it allows a certain level of guilty enjoyment.
    • 33 Metascore
    • 50 James Berardinelli
    The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.
    • 41 Metascore
    • 50 James Berardinelli
    The problem is that the writing is too weak for me to come close to recommending it.
    • 56 Metascore
    • 50 James Berardinelli
    Inept storytelling is one of Lords of Dogtown's great frustrations.
    • 64 Metascore
    • 50 James Berardinelli
    After a promising beginning, this movie crashes and burns.
    • 45 Metascore
    • 50 James Berardinelli
    Pretty Persuasion reminds me of a half-hour TV series that has a great pilot episode, then falls apart in subsequent installments. Movies need to grow and change to keep things interesting; this one is stagnant.
    • 47 Metascore
    • 50 James Berardinelli
    Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
    • 45 Metascore
    • 50 James Berardinelli
    It's not as clever as it thinks it is, not as funny or exciting as it should be, and not as engaging as it needs to be to prevent kids from losing interest and parents from falling asleep.
    • 43 Metascore
    • 50 James Berardinelli
    Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 James Berardinelli
    This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.
    • 53 Metascore
    • 50 James Berardinelli
    The latest motion picture to take an intriguing premise and flush it into the septic tank.
    • 55 Metascore
    • 50 James Berardinelli
    The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.
    • 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.
    • 60 Metascore
    • 50 James Berardinelli
    Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.
    • 36 Metascore
    • 50 James Berardinelli
    Yes, the film is interesting, but it doesn't work.
    • 47 Metascore
    • 50 James Berardinelli
    It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.
    • 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.
    • 59 Metascore
    • 50 James Berardinelli
    Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.
    • 41 Metascore
    • 50 James Berardinelli
    Put simply, this movie is dumb.
    • 47 Metascore
    • 50 James Berardinelli
    Cursed with two of the least interesting bad guys in recent memory. While McGivens and Armand are unquestionably villainous, there's nothing about them to cause audiences to hiss. They're boring.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    Mediocre and recommended only to those who can claim a familiarity with the play.
    • 52 Metascore
    • 50 James Berardinelli
    The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.
    • 53 Metascore
    • 50 James Berardinelli
    The over-the-top acting is forgivable, but the plot's incoherence is not.
    • 55 Metascore
    • 50 James Berardinelli
    A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    Strange that a movie about comedy is so lacking in this quality.
    • 36 Metascore
    • 50 James Berardinelli
    Designed with Underworld fans in mind. Others need not apply.
    • 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.
    • 27 Metascore
    • 50 James Berardinelli
    The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.
    • 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.
    • 63 Metascore
    • 50 James Berardinelli
    It's a cobbled together mess of clichés that fails to surprise at any of its turns.
    • 70 Metascore
    • 50 James Berardinelli
    From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
    • 47 Metascore
    • 50 James Berardinelli
    Failure to Launch fails at more than just launching. It fails at romance and comedy.
    • 45 Metascore
    • 50 James Berardinelli
    Neither smart enough nor funny enough to have cross-over appeal to any other demographic.
    • 55 Metascore
    • 50 James Berardinelli
    One of the year's most uninspired inspirational stories.
    • 40 Metascore
    • 50 James Berardinelli
    To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.
    • 56 Metascore
    • 50 James Berardinelli
    Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."
    • 29 Metascore
    • 50 James Berardinelli
    It's watchable, but barely.
    • 61 Metascore
    • 50 James Berardinelli
    As coming of age stories go, Wah-Wah does little to distinguish itself.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    Too much in Nacho Libre doesn't work to enable me to recommend it to anyone except a card-carrying member of the Jack Black fan club.
    • 46 Metascore
    • 50 James Berardinelli
    A mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in "Almost Famous."
    • 48 Metascore
    • 50 James Berardinelli
    A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
    • 59 Metascore
    • 50 James Berardinelli
    Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?
    • 66 Metascore
    • 50 James Berardinelli
    You laugh a few times but, in the end, you wonder why you bothered.
    • 63 Metascore
    • 50 James Berardinelli
    From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.
    • 49 Metascore
    • 50 James Berardinelli
    The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.
    • 57 Metascore
    • 50 James Berardinelli
    Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.
    • 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.
    • 70 Metascore
    • 50 James Berardinelli
    What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
    • 53 Metascore
    • 50 James Berardinelli
    There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.
    • 44 Metascore
    • 50 James Berardinelli
    A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.
    • 64 Metascore
    • 50 James Berardinelli
    Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.
    • 49 Metascore
    • 50 James Berardinelli
    Death of a President is celluloid mediocrity. It's neither interesting nor convincing.
    • 32 Metascore
    • 50 James Berardinelli
    There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.
    • 54 Metascore
    • 50 James Berardinelli
    The resulting finished project is a series of skits performed by famous people doing favors for a friend, and it works about as well as one might expect from such an endeavor.
    • 55 Metascore
    • 50 James Berardinelli
    In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.
    • 52 Metascore
    • 50 James Berardinelli
    As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting.
    • 36 Metascore
    • 50 James Berardinelli
    Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.
    • 52 Metascore
    • 50 James Berardinelli
    The Holiday is no vacation. Sloppy writing, an overindulgent editor, and poor casting have taken an intriguing premise and transformed it into an uneven mess.
    • 56 Metascore
    • 50 James Berardinelli
    There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.
    • 64 Metascore
    • 50 James Berardinelli
    The Pursuit of Happyness is long, dull, and depressing.
    • 42 Metascore
    • 50 James Berardinelli
    Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
    • 48 Metascore
    • 50 James Berardinelli
    With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.
    • 45 Metascore
    • 50 James Berardinelli
    The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.
    • 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.
    • 28 Metascore
    • 50 James Berardinelli
    This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.
    • 33 Metascore
    • 50 James Berardinelli
    The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.
    • 43 Metascore
    • 50 James Berardinelli
    Because so little of it works, the film is disposable.
    • 45 Metascore
    • 50 James Berardinelli
    Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.
    • 35 Metascore
    • 50 James Berardinelli
    With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
    • 47 Metascore
    • 50 James Berardinelli
    Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Pride has little to be proud about.
    • 61 Metascore
    • 50 James Berardinelli
    It's tough to make a good tearjerker - one need look no further than this misfire to understand why.
    • 64 Metascore
    • 50 James Berardinelli
    The movie's central flaw: it's not funny enough to be worth the price of admission.
    • 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.
    • 59 Metascore
    • 50 James Berardinelli
    Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.
    • 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.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    An effective translation of the source material, but that's not necessarily a good thing.
    • 55 Metascore
    • 50 James Berardinelli
    There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.
    • 37 Metascore
    • 50 James Berardinelli
    Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.
    • 52 Metascore
    • 50 James Berardinelli
    The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.
    • 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.
    • 50 Metascore
    • 50 James Berardinelli
    There are lengthy stretches during this movie when it's deadly dull. This is the kind of film that's ideal for DVD viewing. Judicious use of the fast forward button will greatly increase The Ten's appeal.
    • 67 Metascore
    • 50 James Berardinelli
    The movie doesn't offer enough to make it interesting or even diverting.
    • 56 Metascore
    • 50 James Berardinelli
    This time, it's not because mainstream movie-goers in this country lack taste but because the film isn't worth buying a ticket to see. Mr. Bean's Holiday is no vacation.
    • 45 Metascore
    • 50 James Berardinelli
    The mismatched blending of Hirschbiegel's low-key horror and the Wachowski Brothers' anything-but-low-key action sequences results in a cinematic dud.
    • 37 Metascore
    • 50 James Berardinelli
    When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.
    • 47 Metascore
    • 50 James Berardinelli
    This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
    • 56 Metascore
    • 50 James Berardinelli
    Elements of Across the Universe are shockingly awful and the film lasts at least 30 minutes past the bearable stage. But if you like the Beatles and the idea of hearing about 20 covers of their work fills you with a perverse joy, this may be the movie for you.
    • 82 Metascore
    • 50 James Berardinelli
    Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
    • 19 Metascore
    • 50 James Berardinelli
    At least Jessica Alba's legion of fans will have something to smile about. If nothing else, Helfrich has shown her in the best light. If only there was something worth seeing here other than her.
    • 42 Metascore
    • 50 James Berardinelli
    With a movie of this sort, the viewer expects to undergo something grueling and disturbing. Trade's inability to deliver that sort of visceral experience makes it unworthy of anyone's hard-earned dollars.
    • 46 Metascore
    • 50 James Berardinelli
    The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.
    • 55 Metascore
    • 50 James Berardinelli
    The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.
    • 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.
    • 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
    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.
    • 39 Metascore
    • 50 James Berardinelli
    Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.
    • 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.
    • 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.
    • 51 Metascore
    • 50 James Berardinelli
    Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
    • 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.
    • 61 Metascore
    • 50 James Berardinelli
    It's disposable entertainment at its most extreme.
    • 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.
    • 67 Metascore
    • 50 James Berardinelli
    Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
    • 41 Metascore
    • 50 James Berardinelli
    Four Christmases is waste of time and a disappointment, but it's also relatively painless.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    Che
    What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    The best bits in this film fall short of being inspired, but they are outrageous.
    • 45 Metascore
    • 50 James Berardinelli
    The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.
    • 41 Metascore
    • 50 James Berardinelli
    Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.
    • 47 Metascore
    • 50 James Berardinelli
    Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.
    • 32 Metascore
    • 50 James Berardinelli
    Chock full of high-tech action, with a lot of chasing and shooting and explosions.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    It's not so much a bad movie as it is a pointless one.
    • 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."
    • 39 Metascore
    • 50 James Berardinelli
    A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
    • 83 Metascore
    • 50 James Berardinelli
    Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
    • 48 Metascore
    • 50 James Berardinelli
    The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.
    • 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.
    • 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.
    • 44 Metascore
    • 50 James Berardinelli
    The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).
    • 68 Metascore
    • 50 James Berardinelli
    At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.
    • 43 Metascore
    • 50 James Berardinelli
    A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.
    • 42 Metascore
    • 50 James Berardinelli
    The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.
    • 34 Metascore
    • 50 James Berardinelli
    The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
    • 34 Metascore
    • 50 James Berardinelli
    The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
    • 55 Metascore
    • 50 James Berardinelli
    Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.
    • 43 Metascore
    • 50 James Berardinelli
    The root problem with The Wolfman is that it's a hybrid.
    • 33 Metascore
    • 50 James Berardinelli
    We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.
    • 48 Metascore
    • 50 James Berardinelli
    Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
    • 45 Metascore
    • 50 James Berardinelli
    The most intriguing aspects of Extraordinary Measures relate to the behind-the-scenes politicking that goes on to keep the drug development on track, although the screenplay cheats toward the end (presumably because of time constraints and a concern that too much detail might bore audiences).
    • 43 Metascore
    • 50 James Berardinelli
    The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.
    • 34 Metascore
    • 50 James Berardinelli
    The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
    • 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.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 James Berardinelli
    Never boring. It is, however, frustrating.
    • 43 Metascore
    • 50 James Berardinelli
    There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 James Berardinelli
    Not without humor, but it lacks the explosive spontaneity of "The Hangover."
    • 27 Metascore
    • 50 James Berardinelli
    Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.
    • 46 Metascore
    • 50 James Berardinelli
    The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
    • 39 Metascore
    • 50 James Berardinelli
    Even as a mindless diversion, it's weak.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
    • 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
    Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
    • 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.
    • 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
    70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
    • 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.
    • 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.
    • 57 Metascore
    • 50 James Berardinelli
    Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
    • 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.
    • 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.

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