James Berardinelli

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For 3,116 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.9 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Braveheart
Lowest review score: 0 Knock Off
Score distribution:
3116 movie reviews
    • 51 Metascore
    • 63 James Berardinelli
    The venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
    • 47 Metascore
    • 63 James Berardinelli
    It's a perfect choice for a mother/daughter evening out...decently constructed, solidly performed, and not too naïve.
    • 38 Metascore
    • 63 James Berardinelli
    Too often, it simply makes no sense.
    • 71 Metascore
    • 63 James Berardinelli
    It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.
    • 51 Metascore
    • 63 James Berardinelli
    Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.
    • 72 Metascore
    • 63 James Berardinelli
    One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.
    • 52 Metascore
    • 63 James Berardinelli
    This picture doesn't have deep enough currents to succeed as a psychological thriller and, as a ghost story, there are times when it has trouble treading water.
    • 54 Metascore
    • 63 James Berardinelli
    When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.
    • 38 Metascore
    • 63 James Berardinelli
    An offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good.
    • 48 Metascore
    • 63 James Berardinelli
    The voices were chosen more for their big name appeal than for their ability to bring life to the drawings. The storyline is flat, linear, and shallow.
    • 47 Metascore
    • 63 James Berardinelli
    The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.
    • 65 Metascore
    • 63 James Berardinelli
    This movie is an entertaining and sometimes wildly-exhilarating ride.
    • 38 Metascore
    • 63 James Berardinelli
    It's a little too low-key to be an effective romance and a little too soft to be anything more ambitious. Ultimately, it's neither offensive nor horrible; it's just another unspectacular, uninspired entry on Nora Ephron's erratic resume.
    • 37 Metascore
    • 63 James Berardinelli
    Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.
    • 37 Metascore
    • 63 James Berardinelli
    A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.
    • 59 Metascore
    • 63 James Berardinelli
    The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.
    • 60 Metascore
    • 63 James Berardinelli
    This is a mediocre horror/comedy that deserves neither high praise nor disparagement.
    • 47 Metascore
    • 63 James Berardinelli
    Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.
    • 79 Metascore
    • 63 James Berardinelli
    Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.
    • 71 Metascore
    • 63 James Berardinelli
    There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.
    • 45 Metascore
    • 63 James Berardinelli
    There are some splendidly over-the-top performances - chiefly those of Nicole Kidman and John Cusack, both cast against type - but the biggest narrative hole lies at the center. The lead character, played by Zac Efron, is dull, uninteresting, and poorly conceived.
    • 61 Metascore
    • 63 James Berardinelli
    If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.
    • 53 Metascore
    • 63 James Berardinelli
    For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.
    • 33 Metascore
    • 63 James Berardinelli
    As a video rental, this film will probably play a lot better than it does at the local multiplex.
    • 58 Metascore
    • 63 James Berardinelli
    Pretty mediocre entertainment, and probably better suited for home viewing than a trip to the multiplex.
    • 61 Metascore
    • 63 James Berardinelli
    If there's a complaint to be made, it's that the humor could be less scattershot.
    • 36 Metascore
    • 63 James Berardinelli
    Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.
    • 48 Metascore
    • 63 James Berardinelli
    As a B-movie whodunnit designed for fast consumption by popcorn munching crowds of inattentive viewers, it’s solidly entertaining. But as a complex, Hitchcockian (as in the obvious inspiration, Rear Window) thriller, it misses by a wide margin.
    • 48 Metascore
    • 63 James Berardinelli
    Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.
    • 59 Metascore
    • 63 James Berardinelli
    As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.
    • 52 Metascore
    • 63 James Berardinelli
    The International possesses the look and feel of a thriller, but not the heart or soul of one.
    • 48 Metascore
    • 63 James Berardinelli
    Project X's first-person verisimilitude is the movie's primary strength and most damning weakness.
    • 64 Metascore
    • 63 James Berardinelli
    This movie is more of a curiosity than a fully formed motion picture.
    • 27 Metascore
    • 63 James Berardinelli
    Perhaps surprisingly, it's no better or worse that the other superhero movies of 2015.
    • 44 Metascore
    • 63 James Berardinelli
    For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."
    • 40 Metascore
    • 63 James Berardinelli
    Gangster Squad provides a welcome burst of heat and color, even if those qualities are more illusory than real and subject to a fast fade.
    • 61 Metascore
    • 63 James Berardinelli
    The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.
    • 56 Metascore
    • 63 James Berardinelli
    Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer.
    • 48 Metascore
    • 63 James Berardinelli
    The rousing success of the final 45 minutes cannot entirely counterbalance the stumbling uncertainty of the first 90 minutes.
    • 70 Metascore
    • 63 James Berardinelli
    An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.
    • 58 Metascore
    • 63 James Berardinelli
    The craftsmanship is impeccable as is the acting, but the storytelling is where the movie falls down.
    • 41 Metascore
    • 63 James Berardinelli
    There are several painfully awkward "dead spots" in Mallrats where nothing works -- not the dialogue, the acting, or the direction.
    • 49 Metascore
    • 63 James Berardinelli
    It is as comfortable and predictable as any Saturday morning cartoon, although with higher production values and a spiffier look.
    • 46 Metascore
    • 63 James Berardinelli
    Weak dramatically, and that limits its overall effectiveness.
    • 44 Metascore
    • 63 James Berardinelli
    Has plenty of funny moments, but there's no chemistry between stars Ben Stiller and Jennifer Aniston. It's hard to accept that these two characters are, or even could be, in love. So, while the film is pleasant and sporadically entertaining, it can't be considered an unequivocal success.
    • 41 Metascore
    • 63 James Berardinelli
    With each new outing, the Final Destination movies are getting better.
    • 50 Metascore
    • 63 James Berardinelli
    The French have an entirely different idea of what constitutes a "comedy" from the Americans. Little White Lies is classified as a "comedy" in its country of origin. I suppose that's meant in a Shakespearean sense, because there's not a lot of humor in Canet's screenplay, which is primarily dramatic and includes scenes of outright tragedy.
    • 38 Metascore
    • 63 James Berardinelli
    Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."
    • 67 Metascore
    • 63 James Berardinelli
    The plot runs out of steam just past the one-hour mark and the charade, although necessary to the story, goes on for too long. The ending is, of course, the requisite happy one, but it seems a little anticlimactic.
    • 49 Metascore
    • 63 James Berardinelli
    Kalifornia is disturbing, and, while it doesn't overdo the blood, neither is the violence understated.
    • 66 Metascore
    • 63 James Berardinelli
    Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”
    • 75 Metascore
    • 63 James Berardinelli
    It's bland as often as it is affecting, and presents little that's new or original.
    • 50 Metascore
    • 63 James Berardinelli
    Marginally worth seeing if you're a Pacino fan but, even then, waiting for the DVD is the smart bet.
    • 61 Metascore
    • 63 James Berardinelli
    The story as a whole seems stale and overly familiar.
    • 40 Metascore
    • 63 James Berardinelli
    Jupiter Ascending feels like a truncated, Cliffs Notes version of something that might have worked a lot better as a mini-series. Two hours is too short for this tale and the end result suffers greatly because of that restriction.
    • 40 Metascore
    • 63 James Berardinelli
    Although the action scenes are competently executed, there's nothing here to raise the pulse.
    • 45 Metascore
    • 63 James Berardinelli
    When compared to today's visual standards for animated films, Hoodwinked is far below the curve.
    • 24 Metascore
    • 63 James Berardinelli
    Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.
    • 58 Metascore
    • 63 James Berardinelli
    The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.
    • 54 Metascore
    • 63 James Berardinelli
    The film, directed by South Korean Jee-woon Kim, hits all the necessary action beats and effectively blends in the humor.
    • 67 Metascore
    • 63 James Berardinelli
    Nothing in T2 is memorable.
    • 56 Metascore
    • 63 James Berardinelli
    No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.
    • 39 Metascore
    • 63 James Berardinelli
    Distilled to its basics, it's little more than a sit-com that has been tarted up with scenes of projectile poop, odd sexual fetishes, and knife wielding babies. It all seems a little tired and, more importantly, not as funny as it should be.
    • 81 Metascore
    • 63 James Berardinelli
    Raw
    It relies on gross-out scenes to earn the right to be called “disturbing” and seems more interested in delivering schlocky shocks than suffocating the viewer with suspense or dread.
    • 31 Metascore
    • 63 James Berardinelli
    This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.
    • 64 Metascore
    • 63 James Berardinelli
    The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.
    • 61 Metascore
    • 63 James Berardinelli
    Watching The Sense of an Ending, I was struck by the realization that this should have been a good movie. Unfortunately, as is too often the case, something didn’t translate from the written page to the big screen.
    • 69 Metascore
    • 63 James Berardinelli
    Take away Bruce Willis and this is straight-to-video material.
    • 63 Metascore
    • 63 James Berardinelli
    The film's central flaw is that the characters are haphazardly developed, and don't come across as more interesting than the props.
    • 65 Metascore
    • 63 James Berardinelli
    It's disappointing that so much talent has been assembled with so little to do.
    • 50 Metascore
    • 63 James Berardinelli
    The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.
    • 40 Metascore
    • 63 James Berardinelli
    Frustrating because it doesn't seem far removed from a wholly enjoyable motion picture, but the tempo's off, beats are missed, and the production ends up sounding out-of-tune.
    • 52 Metascore
    • 63 James Berardinelli
    The Hills Have Eyes gets points for gore and general creepiness, and for occasional periods of tension, but it's not scary enough to linger long in the subconscious.
    • 23 Metascore
    • 63 James Berardinelli
    Despite being mediocre and largely forgettable, Couples Retreat is not unpleasant, although it's easier to recommend it for home viewing than for a trip to a theater.
    • 63 Metascore
    • 63 James Berardinelli
    Just a run-of-the-mill slasher/thriller.
    • 44 Metascore
    • 63 James Berardinelli
    The Answer Man is a passable way to kill two hours on a lazy summer afternoon, and perhaps an excuse to get out of the heat.
    • 63 Metascore
    • 63 James Berardinelli
    The screenplay feels like the culmination of all sorts of things being thrown against a wall to see what sticks. As it turns out, there's not enough.
    • 76 Metascore
    • 63 James Berardinelli
    Safe does not succeed at everything it attempts. The film is overlong and there are times when more aggressive editing might have improved the pace. However, despite certain dramatic shortcomings, Safe is an insightful and darkly comical social commentary.
    • 69 Metascore
    • 63 James Berardinelli
    It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.
    • 63 Metascore
    • 63 James Berardinelli
    Has a bold, inventive style that occasionally compensates for story weaknesses. And, admittedly, there's a certain visceral appeal to the action sequences.
    • 63 Metascore
    • 63 James Berardinelli
    The good points about Unfaithful can't overcome the movie's eventual downward spiral.
    • 67 Metascore
    • 63 James Berardinelli
    Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.
    • 37 Metascore
    • 63 James Berardinelli
    The performances, excepting perhaps Olivia Wilde's odd turn, are solid, and the central story never loses our attention, but there's a lingering aftertaste of vague dissatisfaction.
    • 60 Metascore
    • 63 James Berardinelli
    It feels incomplete and the ending is entirely too convenient.
    • 55 Metascore
    • 63 James Berardinelli
    Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.
    • 45 Metascore
    • 63 James Berardinelli
    The reason to see Chasing Mavericks is the same reason why people flock to shore locations when a hurricane approaches: the waves. This is less effective as a bio-pic of Jay Moriarty than it is as a big screen National Geographic Special.
    • 44 Metascore
    • 63 James Berardinelli
    The Raven is period piece fun - at least until it realizes there has to be a conclusion. That's where a certain amount of inevitable disappointment sets in. The curse of the two-hour murder mystery is that the ending never seems to justify the build-up.
    • 57 Metascore
    • 63 James Berardinelli
    Although it would be unfair to label Cars 2 as unwatchable, it is surprisingly tedious in parts and not as satisfying as one might expect.
    • 61 Metascore
    • 63 James Berardinelli
    Without the impressive photography and energetic action sequences, Blue Crush would have been a lot worse. But, if the filmmakers had invested in real characters instead of cardboard cut-outs, it would have been a lot better.
    • 44 Metascore
    • 63 James Berardinelli
    Despite having a perfect cast for a title like Killer Elite, Gary McKendry's feature debut comes across as little more than a generic Jason Statham movie with two high-profile guest stars.
    • 51 Metascore
    • 63 James Berardinelli
    The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.
    • 68 Metascore
    • 63 James Berardinelli
    The movie as a whole is a mixed bag. It's overlong and a times sluggish. The fights and battles, designed to give an epic fantasy feel to the movie, are grave miscalculations.
    • 66 Metascore
    • 63 James Berardinelli
    The marriage of these two tales, however, should have ended in divorce court.
    • 67 Metascore
    • 63 James Berardinelli
    As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.
    • 55 Metascore
    • 63 James Berardinelli
    Solid performances from David Duchovny (in a cleaned-up version of his Californication character), Demi Moore (defying age), Ben Hollingsworth, and Amber Heard can't save the movie when the screenplay goes as limp as a noodle and turns into a long string of clichés.
    • 41 Metascore
    • 63 James Berardinelli
    For most of its running length, Sabotage is a gritty, compelling motion picture with twists to make a pretzel envious.
    • 35 Metascore
    • 63 James Berardinelli
    Liman applies the same frenetic approach to action scenes that made "The Bourne Identity" such an engaging and exciting affair.
    • 47 Metascore
    • 63 James Berardinelli
    One could argue that such an approach isn't all bad - after all, it allows us to know and like the characters - but there are times when Ladder 49 gets a little too cute.
    • 64 Metascore
    • 63 James Berardinelli
    A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.
    • 41 Metascore
    • 63 James Berardinelli
    This is a competent, technically proficient rendering that may find favor with those who have never seen Romeo & Juliet on the big screen but it's little more than a curiosity for those with a long history of watching Shakespeare's works translated to the cinema.
    • 75 Metascore
    • 63 James Berardinelli
    We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.
    • 65 Metascore
    • 63 James Berardinelli
    According to Schnabel, the movie is intended to celebrate the man's life, not to mourn his death, so Basquiat's last days are not shown. It's one of many miscalculations made by the director, because, when the end credits roll, we're left without a sense of closure.
    • 54 Metascore
    • 63 James Berardinelli
    Traditional and uninspired, it does an adequate job of relating Duran’s story but falls short of providing an engaging cinematic experience.
    • 51 Metascore
    • 63 James Berardinelli
    The result is that the film comes across as preachy and clichéd. And, while the battle sequences are well executed from a technical point-of-view, they often seem repetitive and uninspired.
    • 55 Metascore
    • 63 James Berardinelli
    Unfortunately, despite a surfeit of talent in front of and behind the camera, the movie is unable to overcome a shaky narrative whose increasing preposterousness ensures it’s difficult to take seriously.
    • 55 Metascore
    • 63 James Berardinelli
    Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.
    • 53 Metascore
    • 63 James Berardinelli
    Hysteria's "hook" is that it chronicles the development of one of the 20th century's most popular home appliances: the vibrator. However, although the details surrounding the deplorable state of women's medicine during the Victorian era are intriguing, the central story - a romantic comedy between a progressive woman and a forward-thinking doctor - is flaccid.
    • 53 Metascore
    • 63 James Berardinelli
    Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.
    • 66 Metascore
    • 63 James Berardinelli
    Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.
    • 68 Metascore
    • 63 James Berardinelli
    It fails to sustain its comic momentum or high energy level. The first half is fresh and funny, but it doesn't last.
    • 41 Metascore
    • 63 James Berardinelli
    It is a recognized truth of the movie industry that even the best film makers will have disappointments, and, for Woody Allen, Celebrity fits into that category.
    • 49 Metascore
    • 63 James Berardinelli
    A palatable film. It offers a few solid laughs and will provoke some smiles.
    • 45 Metascore
    • 63 James Berardinelli
    By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.
    • 59 Metascore
    • 63 James Berardinelli
    Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.
    • 52 Metascore
    • 63 James Berardinelli
    They say the third time's the charm. Not with the Insidious series, it isn't. Admittedly, installment #3 is an improvement over #2, but it fails to reach the highs of the chilling-but-uneven original.
    • 51 Metascore
    • 63 James Berardinelli
    There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.
    • 56 Metascore
    • 63 James Berardinelli
    Loud, kinetic, unflinching action.
    • 61 Metascore
    • 63 James Berardinelli
    It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...
    • 58 Metascore
    • 63 James Berardinelli
    A quirky romantic comedy that suffers from a rare cinematic malady: it's too short.
    • 57 Metascore
    • 63 James Berardinelli
    The main problem with Smart People is that it never breaks new ground. This is territory we have seen tilled to better effect by more perceptive motion pictures.
    • 48 Metascore
    • 63 James Berardinelli
    My evaluation is to wait-list Admission and catch it when it reaches the less demanding platform of home video.
    • 47 Metascore
    • 63 James Berardinelli
    I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.
    • 46 Metascore
    • 63 James Berardinelli
    Sadly, the result is a disappointment. Sure, the aerial battles are technically adept and occasionally exhilarating, but it's almost painful to sit through some of the "drama" that occurs on the ground.
    • 55 Metascore
    • 63 James Berardinelli
    The problem with Mr. and Mrs. Smith is that it's really two movies in one. The first is a sly comedy/thriller worthy of Hitchcock, and the other is a big, noisy summer action flick.
    • 57 Metascore
    • 63 James Berardinelli
    Despite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.
    • 47 Metascore
    • 63 James Berardinelli
    Despite its flaws, The Box remains intriguing; however, as its mysteries are solved, the prevailing sense is one of frustration rather than satisfaction. That makes The Box worthy of the dubious label of "an interesting failure."
    • 66 Metascore
    • 63 James Berardinelli
    Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.
    • 57 Metascore
    • 63 James Berardinelli
    There's no debating that Bad Words contains some big, politically incorrect laughs. The movie isn't awash in them but there are enough to keep the chuckles coming. The film's problem is that, despite obvious aspirations to be more than just a profane joke factory, it never fulfills its dramatic ambitions.
    • 50 Metascore
    • 63 James Berardinelli
    The film has an undeniable energy, and, at times, it works as light entertainment, but there is a problem. The central character is consistently aggravating.
    • 65 Metascore
    • 63 James Berardinelli
    The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema.
    • 60 Metascore
    • 63 James Berardinelli
    The movie wears thin its welcome a couple of reels before Apatow has finished telling his story.
    • 69 Metascore
    • 63 James Berardinelli
    Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.
    • 58 Metascore
    • 63 James Berardinelli
    Not a complete waste of time, but it doesn't make us FEEL the way better dramas do, and, in the end, it lacks the qualities that would make it memorable or powerful.
    • 42 Metascore
    • 63 James Berardinelli
    This isn't a bad movie; it's watchable but the direction in which the filmmakers choose to take it results in a vague sense of dissatisfaction.
    • 34 Metascore
    • 63 James Berardinelli
    Lacks the kind of forceful, attention-grabbing chemistry that elevates a movie in this genre from a passable diversion to a lasting source of entertainment.
    • 56 Metascore
    • 63 James Berardinelli
    Sylvia underwhelms.
    • 64 Metascore
    • 63 James Berardinelli
    Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.
    • 62 Metascore
    • 63 James Berardinelli
    This is strictly B-movie fare. It tries to do some of the same things as "Kiss Kiss Bang Bang" and suffers as a result of the comparison.
    • 43 Metascore
    • 63 James Berardinelli
    360
    It is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative.
    • 49 Metascore
    • 63 James Berardinelli
    The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters.
    • 62 Metascore
    • 63 James Berardinelli
    A nice little mystery thriller that takes a wrong turn on the way to its climax and morphs into a slasher movie.
    • 65 Metascore
    • 63 James Berardinelli
    Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.
    • 58 Metascore
    • 63 James Berardinelli
    There are moments of pure poetry in the movie but the production as a whole seems overlong and repetitive and takes a detour or two that distract from the aching beauty of the central story.
    • 31 Metascore
    • 63 James Berardinelli
    This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.
    • 62 Metascore
    • 63 James Berardinelli
    The Nutty Professor aims for guffaws at the lowest level -- anyone with a double-digit IQ will get every joke. Whether you laugh at them or not is often more of a matter of taste than a question of having a sense of humor.
    • 33 Metascore
    • 63 James Berardinelli
    Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.
    • 51 Metascore
    • 63 James Berardinelli
    The overall experience fails to satisfy on a basic level. This is one of those films it's easier to be impressed with than it is to like.
    • 69 Metascore
    • 63 James Berardinelli
    Batman is largely content to skim the surface and bask in the light of its visual style.
    • 62 Metascore
    • 63 James Berardinelli
    It is neither as clever nor as funny nor as inventive as the daring title might lead one to expect.
    • 36 Metascore
    • 63 James Berardinelli
    It succeeds in many of the ways a sports movie should, and, by employing a slightly different viewpoint for most of the production, manages a sense of freshness.
    • 39 Metascore
    • 63 James Berardinelli
    Clash of the Titans is a flawed but mildly entertaining regurgitation of Greek mythological elements, but it's also an example of how poorly executed 3D can hamstring a would-be spectacle.
    • 43 Metascore
    • 63 James Berardinelli
    You may end up being pleasantly surprised, especially if you have a ten-year old girl in tow.
    • 79 Metascore
    • 63 James Berardinelli
    This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.
    • 41 Metascore
    • 50 James Berardinelli
    The problem is that the writing is too weak for me to come close to recommending it.
    • 52 Metascore
    • 50 James Berardinelli
    The pacing is uneven, the frenetic action is rarely suspenseful, the dialogue is neither witty nor intelligent, and the anticlimactic endgame drags out to an improbable conclusion.
    • 47 Metascore
    • 50 James Berardinelli
    An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.
    • 60 Metascore
    • 50 James Berardinelli
    For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.
    • 42 Metascore
    • 50 James Berardinelli
    The "Da Vinci Code" was adequate but forgettable. "Angels & Demons" was godawful. Inferno is somewhere in between - watchable but by no means worth the money and effort necessary to see it theatrically.
    • 56 Metascore
    • 50 James Berardinelli
    CQ
    Pretentious and self-indulgent -- those two words come to mind when considering CQ.
    • 27 Metascore
    • 50 James Berardinelli
    A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.
    • 55 Metascore
    • 50 James Berardinelli
    Legend seems like a movie Scorsese might have made if he wasn’t paying attention - the elements are present but they are clumsily assembled and the outcome underwhelms.
    • 40 Metascore
    • 50 James Berardinelli
    There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
    • 29 Metascore
    • 50 James Berardinelli
    If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.
    • 30 Metascore
    • 50 James Berardinelli
    If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.
    • 35 Metascore
    • 50 James Berardinelli
    The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
    • 57 Metascore
    • 50 James Berardinelli
    What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.
    • 31 Metascore
    • 50 James Berardinelli
    There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.
    • 35 Metascore
    • 50 James Berardinelli
    Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.
    • 54 Metascore
    • 50 James Berardinelli
    A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.
    • 55 Metascore
    • 50 James Berardinelli
    The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.
    • 38 Metascore
    • 50 James Berardinelli
    At its best, Bad Santa 2 feels like an echo of its predecessor. At its worst, it’s unfunny, crass, and uncomfortable (not in a good way).
    • 29 Metascore
    • 50 James Berardinelli
    The level of quality is such that this does not deserve a theatrical distribution and will only find appeal among pre-teen kids or those who have been fans of the games since their inception more than a decade ago.
    • 32 Metascore
    • 50 James Berardinelli
    Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.
    • 53 Metascore
    • 50 James Berardinelli
    This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.
    • 40 Metascore
    • 50 James Berardinelli
    Here Comes the Boom is stale and vanilla. We know we're in trouble early when the first joke fails.
    • 73 Metascore
    • 50 James Berardinelli
    Ray
    Sluggish, conventional, and almost completely lacking in energy.
    • 48 Metascore
    • 50 James Berardinelli
    It's not so much a bad film as it is a disappointing one. A very disappointing one.
    • 37 Metascore
    • 50 James Berardinelli
    When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.
    • 41 Metascore
    • 50 James Berardinelli
    The problem lies in the screenplay which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.
    • 39 Metascore
    • 50 James Berardinelli
    This movie isn't bad just because it follows a formula slavishly but because it does so without verve or passion.
    • 46 Metascore
    • 50 James Berardinelli
    Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.
    • 38 Metascore
    • 50 James Berardinelli
    The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.
    • 47 Metascore
    • 50 James Berardinelli
    The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.
    • 78 Metascore
    • 50 James Berardinelli
    "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
    • 31 Metascore
    • 50 James Berardinelli
    Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.
    • 39 Metascore
    • 50 James Berardinelli
    For a while, the movie looks like it’s going to go dark but then chickens out and leaves the viewer with a palpable sense of dissatisfaction.
    • 30 Metascore
    • 50 James Berardinelli
    There are good things to be said about The Spirit, but not enough of them to outweigh the bad.
    • 41 Metascore
    • 50 James Berardinelli
    The film occasionally pokes fun at itself, although not nearly as often as it should. I don't recommend it for anything more significant than a bottom-of-the-barrel rental or a desperation cable choice, but it delivers what it advertises, and I suppose that could be considered a virtue.
    • 64 Metascore
    • 50 James Berardinelli
    Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
    • 42 Metascore
    • 50 James Berardinelli
    Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.
    • 34 Metascore
    • 50 James Berardinelli
    Zoolander would have been better left as a stand-alone cult classic.
    • 37 Metascore
    • 50 James Berardinelli
    This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.
    • 30 Metascore
    • 50 James Berardinelli
    You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.
    • 63 Metascore
    • 50 James Berardinelli
    There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.
    • 37 Metascore
    • 50 James Berardinelli
    There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.
    • 47 Metascore
    • 50 James Berardinelli
    Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.
    • 61 Metascore
    • 50 James Berardinelli
    This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.
    • 51 Metascore
    • 50 James Berardinelli
    Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.
    • 44 Metascore
    • 50 James Berardinelli
    We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.
    • 51 Metascore
    • 50 James Berardinelli
    All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.
    • 35 Metascore
    • 50 James Berardinelli
    By cramming far too much material into 114 minutes, The Huntsman: Winter’s War feels rushed and incomplete. It doesn’t help that the screenplay is at times awful, forcing accomplished actors to recite excruciatingly bad dialogue while maintaining a straight face.
    • 55 Metascore
    • 50 James Berardinelli
    V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.
    • 25 Metascore
    • 50 James Berardinelli
    Enough is Apted at his most commercial, and, unfortunately, his least compelling.
    • 38 Metascore
    • 50 James Berardinelli
    When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.
    • 24 Metascore
    • 50 James Berardinelli
    The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.
    • 41 Metascore
    • 50 James Berardinelli
    Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.
    • 76 Metascore
    • 50 James Berardinelli
    I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.
    • 47 Metascore
    • 50 James Berardinelli
    In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.
    • 46 Metascore
    • 50 James Berardinelli
    If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.
    • 41 Metascore
    • 50 James Berardinelli
    While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.
    • 25 Metascore
    • 50 James Berardinelli
    The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.
    • 40 Metascore
    • 50 James Berardinelli
    Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.
    • 37 Metascore
    • 50 James Berardinelli
    Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.
    • 45 Metascore
    • 50 James Berardinelli
    Likely won't please fans of the original TV series, but the movie hasn't been made for them.
    • 65 Metascore
    • 50 James Berardinelli
    Simply isn't a very good motion picture.
    • 43 Metascore
    • 50 James Berardinelli
    Because so little of it works, the film is disposable.
    • 32 Metascore
    • 50 James Berardinelli
    Tarnishes the image of its predecessor but the original Independence Day wasn’t all that good to begin with.
    • 32 Metascore
    • 50 James Berardinelli
    Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."
    • 52 Metascore
    • 50 James Berardinelli
    I'm not a religious man but, Hallelujah! I may not be done with Meyer but at least I'll never again have to cope with the angst, self-absorption, and vampire mythology mutilation that characterized these five movies.
    • 49 Metascore
    • 50 James Berardinelli
    While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.
    • 21 Metascore
    • 50 James Berardinelli
    Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.
    • 48 Metascore
    • 50 James Berardinelli
    Bullet to the Head is bloody and violent but not nearly as much fun as it should be.
    • 42 Metascore
    • 50 James Berardinelli
    The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.
    • 35 Metascore
    • 50 James Berardinelli
    There's nothing remotely memorable about this walk.
    • 42 Metascore
    • 50 James Berardinelli
    Science fiction has an obligation to seduce the viewer into applying the "willing suspension of disbelief." With its plot holes and head-scratching incongruities, Transcendence fails in this arena thereby making the production as a whole feel bloated and unsatisfying.
    • 57 Metascore
    • 50 James Berardinelli
    Poorly paced with a tendency to veer into the pretentious and littered with contrivances and dramatic short-cuts, I Origins fails to provide a single three-dimensional character or compelling relationship.
    • 45 Metascore
    • 50 James Berardinelli
    The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.
    • 66 Metascore
    • 50 James Berardinelli
    You laugh a few times but, in the end, you wonder why you bothered.
    • 14 Metascore
    • 50 James Berardinelli
    What's missing is honesty. It has been supplanted by artifice.
    • 49 Metascore
    • 50 James Berardinelli
    The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example
    • 47 Metascore
    • 50 James Berardinelli
    A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.
    • 38 Metascore
    • 50 James Berardinelli
    As unlikely as it may sound, 2004 is the year when directors Kevin Smith and Garry Marshall have made virtually the same movie...Nevertheless, it's impossible to deny that Raising Helen is a near clone of "Jersey Girl."
    • 47 Metascore
    • 50 James Berardinelli
    There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.
    • 63 Metascore
    • 50 James Berardinelli
    It's a cobbled together mess of clichés that fails to surprise at any of its turns.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 James Berardinelli
    Although Going in Style’s heist represents a high point and gets props for being suitably clever, it’s swamped by bad melodrama and lame comedy.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 50 James Berardinelli
    The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    A feeling of hopelessness pervades Sleepwalking.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Pride has little to be proud about.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    It's not so much a bad movie as it is a pointless one.
    • 43 Metascore
    • 50 James Berardinelli
    The end result is a meandering story featuring shallow, unconvincing characters attempting to illustrate the evils of technology in its undermining of individual liberties. The Circle offers a lot of good bullet arguments but this is a movie not a Powerpoint presentation.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    The Canyons is a sleazy soap opera that fails primarily because it gives us no one to care about and no reason why we should be interested that we don't care.
    • 56 Metascore
    • 50 James Berardinelli
    The result is sappy, saccharine, and predictable to the point where it's almost painful.
    • 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.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    There are problems with De Palma's version, especially in its portrayal of the key relationship between Carrie and her mother, but it's a more engaging and insightful portrayal than Kimberly Peirce's too-slick remake.
    • 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.
    • 34 Metascore
    • 50 James Berardinelli
    To be fair, The Forest boasts a promising premise but squanders most of its goodwill as a result of narrative shortcuts and contrivances, horror film clichés, and haphazard editing.
    • 41 Metascore
    • 50 James Berardinelli
    Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.
    • 48 Metascore
    • 50 James Berardinelli
    21
    21 doesn't spin a good enough yarn.
    • 64 Metascore
    • 50 James Berardinelli
    Pretty pictures - thats what The Fall has to offer.
    • 61 Metascore
    • 50 James Berardinelli
    It's disposable entertainment at its most extreme.
    • 36 Metascore
    • 50 James Berardinelli
    Yes, the film is interesting, but it doesn't work.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.
    • 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.
    • 60 Metascore
    • 50 James Berardinelli
    At a guess, I'd say that Goosebumps will satisfy its core audience - fans of R.L. Stine's popular children's books - and bore pretty much everyone else.
    • 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.
    • 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."
    • 57 Metascore
    • 50 James Berardinelli
    Despite a strong opening and riveting first 45 minutes, The Maze Runner devolves into one of the weakest post-apocalyptic Young Adult movies to reach theaters in recent years.
    • 62 Metascore
    • 50 James Berardinelli
    It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
    • 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.
    • 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."
    • 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.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Despite a promising premise and effective "Shyamalan twist", this low-budget horror film still underwhelms. "The Sixth Sense" writer/director is his own worst enemy in the choices he makes bringing The Visit to the screen.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 50 James Berardinelli
    It's tough to make a good tearjerker - one need look no further than this misfire to understand why.
    • 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.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    The movie's central flaw: it's not funny enough to be worth the price of admission.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.
    • 54 Metascore
    • 50 James Berardinelli
    The only time Sparkle evidences energy is during the song performances, of which there are too few. The half-baked melodrama provides an unappealing and overlong buffer between them that fails to justify the nearly two-hour running time.
    • 36 Metascore
    • 50 James Berardinelli
    Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.
    • 53 Metascore
    • 50 James Berardinelli
    Coscarelli's screenplay introduces an abundance of intriguing concepts but never goes very far with any of them. The characters are paper thin and the special effects are laughably bad.
    • 31 Metascore
    • 50 James Berardinelli
    On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.
    • 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.
    • 32 Metascore
    • 50 James Berardinelli
    Although Sinister 2 continues the story begun in Scott Derrickson's creepily effective "Sinister," it feels more like an unnecessary retread than an organic extension of the original.
    • 42 Metascore
    • 50 James Berardinelli
    Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.
    • 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.
    • 56 Metascore
    • 50 James Berardinelli
    Inept storytelling is one of Lords of Dogtown's great frustrations.

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