James Berardinelli

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For 3,073 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 4.1 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
3073 movie reviews
    • 43 Metascore
    • 50 James Berardinelli
    The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.
    • 57 Metascore
    • 50 James Berardinelli
    Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.
    • 50 Metascore
    • 50 James Berardinelli
    The movie is replete with bloody encounters, sly asides, and one-liners, but the tone is awkward and uneven. There are also some serious structural problems that we're supposed to brush aside.
    • 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).
    • 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.
    • 28 Metascore
    • 50 James Berardinelli
    Hitman: Agent 47 might offer a passable diversion for action junkies but, for everyone else, it's best avoided.
    • 41 Metascore
    • 50 James Berardinelli
    Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.
    • 61 Metascore
    • 50 James Berardinelli
    The plot is straightforward and predictable to the point of painfulness.
    • 39 Metascore
    • 50 James Berardinelli
    The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
    • 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.
    • 38 Metascore
    • 50 James Berardinelli
    Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 James Berardinelli
    He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.
    • 53 Metascore
    • 50 James Berardinelli
    Mediocre and recommended only to those who can claim a familiarity with the play.
    • 53 Metascore
    • 50 James Berardinelli
    There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.
    • 32 Metascore
    • 50 James Berardinelli
    The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.
    • 56 Metascore
    • 50 James Berardinelli
    Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."
    • 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.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    A stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two- minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.
    • 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.
    • 33 Metascore
    • 50 James Berardinelli
    Allegiant tries to cram too little story into too much time. This results in dead spots and uneven pacing.
    • 47 Metascore
    • 50 James Berardinelli
    The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."
    • 39 Metascore
    • 50 James Berardinelli
    Pompeii is a big, glorious, cheesy mess.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 James Berardinelli
    Someone please get director Ric Roman Waugh a tripod! Snitch might be a passable action-thriller but it's hard to say because every time an action scene comes along, the image shakes so badly it's impossible to keep anything in view or focus.
    • 55 Metascore
    • 50 James Berardinelli
    Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.
    • 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.
    • 45 Metascore
    • 50 James Berardinelli
    Neither smart enough nor funny enough to have cross-over appeal to any other demographic.
    • 47 Metascore
    • 50 James Berardinelli
    There’s no rule that main characters have to be likable, and DeHaan’s Lockhart isn’t, but they at least have to be interesting. He fails that litmus test.
    • 54 Metascore
    • 50 James Berardinelli
    MouseHunt is "'Home Alone" with a rodent in the place of Macaulay Culkin.
    • 57 Metascore
    • 50 James Berardinelli
    This isn't just a horror movie with gore - it's a gore movie, period. Blood is its raison d'etre. It's not scary. It's not shocking. It just wallows in viscera. Ho-hum. Pass the ketchup.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    Put simply, this movie is dumb.
    • 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.
    • 34 Metascore
    • 50 James Berardinelli
    Unless you’re a fan of extreme sports photography, the 2015 Point Break lags behind its predecessor in most areas.
    • 48 Metascore
    • 50 James Berardinelli
    There's something a little annoying about a movie that tries this shamelessly to be endearing and family friendly.
    • 34 Metascore
    • 50 James Berardinelli
    Reading a Sparks novel allows one's imagination to enter the equation. Watching one of his stories adapted on screen has exactly the opposite effect: it neuters the imagination. This is soap opera, pure and simple.
    • 72 Metascore
    • 50 James Berardinelli
    This new interpretation does few things better than the original, and many things worse.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    One of those movies in which the principals talk a lot but don't say much.
    • 60 Metascore
    • 50 James Berardinelli
    A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
    • 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.
    • 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.
    • 61 Metascore
    • 50 James Berardinelli
    As coming of age stories go, Wah-Wah does little to distinguish itself.
    • 46 Metascore
    • 50 James Berardinelli
    Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.
    • 26 Metascore
    • 50 James Berardinelli
    A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.
    • 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.
    • 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
    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.
    • 18 Metascore
    • 50 James Berardinelli
    Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.
    • 33 Metascore
    • 50 James Berardinelli
    The Space between Us is what it looks like when a promising premise is betrayed by a dumbed-down, hackneyed screenplay.
    • 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.
    • 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
    By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
    • 35 Metascore
    • 50 James Berardinelli
    Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).
    • 61 Metascore
    • 50 James Berardinelli
    As high camp, Willard might have something going for it, but not as a horror movie.
    • 67 Metascore
    • 50 James Berardinelli
    Yes, A Late Quartet is disappointing. But it's also pretty bad.
    • 47 Metascore
    • 50 James Berardinelli
    Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.
    • 58 Metascore
    • 50 James Berardinelli
    One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.
    • 28 Metascore
    • 50 James Berardinelli
    One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.
    • 32 Metascore
    • 50 James Berardinelli
    The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.
    • 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.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    Saved by energetic musical numbers.
    • 52 Metascore
    • 50 James Berardinelli
    Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.
    • 64 Metascore
    • 50 James Berardinelli
    The Pursuit of Happyness is long, dull, and depressing.
    • 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.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    A prefabricated example of shoddy workmanship.
    • 82 Metascore
    • 50 James Berardinelli
    Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
    • 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.
    • 31 Metascore
    • 50 James Berardinelli
    Several strokes short of a respectable finish.
    • 45 Metascore
    • 50 James Berardinelli
    It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.
    • 38 Metascore
    • 50 James Berardinelli
    An amateurish effort that boasts direct-to-video characteristics, the latest version disappoints in almost every production aspect.
    • 38 Metascore
    • 50 James Berardinelli
    This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.
    • 47 Metascore
    • 50 James Berardinelli
    And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.
    • 32 Metascore
    • 50 James Berardinelli
    The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.
    • 28 Metascore
    • 50 James Berardinelli
    We have entered generic action movie territory and the idiosyncrasies that made the series special at the outset have been leeched out, papered over, or turned into obligatory inserts.
    • 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.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Unfortunately, much of what's good about Promised Land is easily forgotten as a result of the preachy, impossible-to-swallow final 15 minutes in which the protagonist is subjected to character assassination, the screenplay turns into a sermon, and narrative intelligence is discarded in favor of a message.
    • 34 Metascore
    • 50 James Berardinelli
    It is, at best, an oversized, overbudgeted Saturday morning cartoon.
    • 47 Metascore
    • 50 James Berardinelli
    Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.
    • 45 Metascore
    • 50 James Berardinelli
    The most likely facial expression to be elicited by Mona Lisa Smile is a grimace.
    • 58 Metascore
    • 50 James Berardinelli
    Unfortunately, the film stumbles, offering too few legitimate scares and displaying an overreliance on traditional horror movie clichés.
    • 55 Metascore
    • 50 James Berardinelli
    With more attention to detail, this could have worked, but the time travel aspects are so badly executed that the movie as a whole falters and eventually rips apart at the seams.
    • 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).
    • 60 Metascore
    • 50 James Berardinelli
    The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.
    • 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.
    • 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.
    • 66 Metascore
    • 50 James Berardinelli
    Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    The over-the-top acting is forgivable, but the plot's incoherence is not.
    • 47 Metascore
    • 50 James Berardinelli
    Take away Kristen Wiig, and Masterminds offers nothing. She is by far the best thing about the movie and easily outshines her SNL compatriots Kate McKinnon, Leslie Jones, and Jason Sudeikis.
    • 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.
    • 67 Metascore
    • 50 James Berardinelli
    The movie doesn't offer enough to make it interesting or even diverting.
    • 47 Metascore
    • 50 James Berardinelli
    Director Brett Ratner has always been associated with spectacle but, even for him, this represents a misstep because the "wow!" factor is muted.
    • 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.
    • 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.
    • 60 Metascore
    • 50 James Berardinelli
    A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.
    • 65 Metascore
    • 50 James Berardinelli
    The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
    • 40 Metascore
    • 50 James Berardinelli
    Instead of being respectful of Bram Stoker's creation, it attempts to remake him as a tragic figure with superhero powers.
    • 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.
    • 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.
    • 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
    There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    Quickly causes viewers to lose patience, then interest.
    • 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.
    • 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.
    • 19 Metascore
    • 50 James Berardinelli
    This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.
    • 41 Metascore
    • 50 James Berardinelli
    Four Christmases is waste of time and a disappointment, but it's also relatively painless.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
    • 45 Metascore
    • 50 James Berardinelli
    Mechanical and artificial, and tells you what to think.
    • 41 Metascore
    • 50 James Berardinelli
    Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.
    • 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.
    • 40 Metascore
    • 50 James Berardinelli
    It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.
    • 48 Metascore
    • 50 James Berardinelli
    A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
    • 36 Metascore
    • 50 James Berardinelli
    Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
    • 42 Metascore
    • 50 James Berardinelli
    Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
    • 45 Metascore
    • 50 James Berardinelli
    Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.
    • 55 Metascore
    • 50 James Berardinelli
    The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.
    • 22 Metascore
    • 50 James Berardinelli
    Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
    • 51 Metascore
    • 50 James Berardinelli
    The Intern is a romantic comedy without the romance.
    • 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.
    • 44 Metascore
    • 50 James Berardinelli
    "Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.
    • 26 Metascore
    • 50 James Berardinelli
    Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
    • 47 Metascore
    • 50 James Berardinelli
    Call Project Almanac a "shaky-cam special", and it's a damn shame. The resultant production, both shaken and stirred, transforms a potentially entertaining pulp time travel story into a misbegotten exercise in frustration.
    • 33 Metascore
    • 50 James Berardinelli
    Never boring. It is, however, frustrating.
    • 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.
    • 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.
    • 30 Metascore
    • 50 James Berardinelli
    There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.
    • 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.
    • 64 Metascore
    • 50 James Berardinelli
    It's a muddled, meandering affair without a thesis or a point to prove.
    • 55 Metascore
    • 50 James Berardinelli
    The root problem of The 33 is that, in attempting to do too much, it succeeds at too little.
    • 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.
    • 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.
    • 28 Metascore
    • 50 James Berardinelli
    About as frightening as Walt Disney's Haunted Mansion.
    • 36 Metascore
    • 50 James Berardinelli
    Designed with Underworld fans in mind. Others need not apply.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 50 James Berardinelli
    From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
    • 46 Metascore
    • 50 James Berardinelli
    In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.
    • 25 Metascore
    • 50 James Berardinelli
    Gods of Egypt is often sloppy and fails in many ways but the cheesy momentum is hard to resist.
    • 27 Metascore
    • 50 James Berardinelli
    A sloppy, poorly focused comedy.
    • 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.
    • 33 Metascore
    • 50 James Berardinelli
    The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.
    • 41 Metascore
    • 50 James Berardinelli
    Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.
    • 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
    One of the year's most uninspired inspirational stories.
    • 57 Metascore
    • 50 James Berardinelli
    Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.
    • 58 Metascore
    • 50 James Berardinelli
    This is a character we have seen a million times before and Eastwood brings little that's new or original to the part. The movie as a whole can be labeled with the same criticism.
    • 42 Metascore
    • 50 James Berardinelli
    12 year old boys will love the result. That’s not a good sign for anyone who has passed beyond their teenage years.
    • 48 Metascore
    • 50 James Berardinelli
    It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.
    • 66 Metascore
    • 50 James Berardinelli
    For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
    • 49 Metascore
    • 50 James Berardinelli
    The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.
    • 40 Metascore
    • 50 James Berardinelli
    Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).
    • 16 Metascore
    • 50 James Berardinelli
    This is the kind of movie that isn't even worth renting when it comes out on video because, with the possible exception of Michael Lerner and Omar Epps dancing to show tunes, you've seen it all before.
    • 34 Metascore
    • 50 James Berardinelli
    Comes across as a cheesy, fundamentally unsatisfying experience.
    • 34 Metascore
    • 50 James Berardinelli
    It's dull, childish, and uninspired.
    • 32 Metascore
    • 50 James Berardinelli
    Chock full of high-tech action, with a lot of chasing and shooting and explosions.
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    The latest motion picture to take an intriguing premise and flush it into the septic tank.
    • 50 Metascore
    • 50 James Berardinelli
    Jack Reacher has the distinction of being little more than it initially appears to be: a clumsily condensed mystery/thriller novel made into a movie that offers little more than every other clumsily condensed mystery/thriller novel made into a movie.
    • 44 Metascore
    • 50 James Berardinelli
    The material isn't sufficiently funny to allow me to forgive the film's feeble storyline and two-dimensional inhabitants.
    • 51 Metascore
    • 50 James Berardinelli
    Haphazardly plotted, it not only falls prey to absolute predictability but chooses to have nearly every important conversation (except one) occur off-screen. That sort of laziness is unacceptable and results in a strong sense of audience dissatisfaction.
    • 45 Metascore
    • 50 James Berardinelli
    The inevitable twist ties things neatly together before leading to a confusing, borderline-indecipherable ending that fails to satisfy on a number of levels.
    • 50 Metascore
    • 50 James Berardinelli
    It's easy to be cynical about a movie like this which, despite its factual basis, is more product than story. The pandering is obvious.
    • 41 Metascore
    • 50 James Berardinelli
    Child 44 is a victim of poor adaptation. It is beset by problems related to flow and coherence; the narrative is confusing, the characters are provided with inadequate time for development, and dead-end subplots abound.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    At its best, Ride Along is tolerable. At its worst, it borders on insulting.
    • 40 Metascore
    • 50 James Berardinelli
    As slasher movies go, Halloween II is far from the bottom of the barrel, but, given its pedigree, one has a right to expect a higher degree of quality that what is delivered.
    • 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.
    • 34 Metascore
    • 50 James Berardinelli
    Lazily written and indifferently filmed, this sendup of action/spy movies rarely works as a satire and becomes downright unbearable when it attempts to do things like character/relationship building.
    • 36 Metascore
    • 50 James Berardinelli
    Whatever the reason, the waning months of 2014 have brought us the follow-up to 1994's "Dumb and Dumber", but the lengthy gestation period hasn't resulted in an appreciably upgraded experience.
    • 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.
    • 48 Metascore
    • 50 James Berardinelli
    As a shoot-'em-up, blast-'em-to-pieces film, it's not half bad. As a futuristic time travel movie, however, it has some very serious problems.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 50 James Berardinelli
    The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.
    • 43 Metascore
    • 50 James Berardinelli
    There's not a moment of originality in the entire motion picture.
    • 37 Metascore
    • 50 James Berardinelli
    For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
    • 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.
    • 57 Metascore
    • 50 James Berardinelli
    The problem isn’t the non-fiction book by Diane Ackerman around which the narrative has been constructed, but a series of “added” scenes and subplots that seem lifted from a bad B movie and have the unintended consequence of devaluing the story as a whole.
    • 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.
    • 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.
    • 59 Metascore
    • 50 James Berardinelli
    With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.
    • 50 Metascore
    • 50 James Berardinelli
    An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.
    • 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.
    • 49 Metascore
    • 50 James Berardinelli
    Death of a President is celluloid mediocrity. It's neither interesting nor convincing.
    • 42 Metascore
    • 50 James Berardinelli
    Stargate is peppered with numerous minor faults, some of which - although not all - are easily forgiven. It's the bigger plot problems and lackluster climax which are more difficult to excuse.
    • 54 Metascore
    • 50 James Berardinelli
    If there’s a compelling reason to remake The Magnificent Seven, it can’t be found in the 2016 version, a loud, cluttered, and generally disappointing production.
    • 22 Metascore
    • 50 James Berardinelli
    Getaway is pretty much a 90-minute car chase. That's it.
    • 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.
    • 47 Metascore
    • 50 James Berardinelli
    In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.
    • 42 Metascore
    • 50 James Berardinelli
    At least the set design and costumes are excellent. The movie feels overstuffed and undercooked but it always looks nice.
    • 70 Metascore
    • 50 James Berardinelli
    As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.
    • 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.
    • 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.
    • 6 Metascore
    • 50 James Berardinelli
    Formulated on an idiotic idea and develops a predictably lackluster motion picture from it.
    • 52 Metascore
    • 50 James Berardinelli
    "Labor" isn't just a word in the title of Jason Reitman's new film, it's a description of what it feels like to sit through the movie.
    • 47 Metascore
    • 50 James Berardinelli
    Failure to Launch fails at more than just launching. It fails at romance and comedy.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    The film's comedy is lackluster, with supporting actors Nathan Lane and Sean Hayes (as Tad's manager and agent) providing a few mildly amusing moments that would be at home in a sit-com.
    • 47 Metascore
    • 50 James Berardinelli
    Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.
    • 43 Metascore
    • 50 James Berardinelli
    The visuals of a blasted city are impressive but hardly reason to spend $10 to sit in a theater seat and watch a bunch of underdeveloped characters get chased by zombies for an inordinate amount of time.
    • 59 Metascore
    • 50 James Berardinelli
    This movie desperately wants to be liked. The problem is, there's not much here to like -- at least nothing that's new or interesting.
    • 74 Metascore
    • 50 James Berardinelli
    Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.
    • 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.
    • 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.
    • 55 Metascore
    • 50 James Berardinelli
    Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.
    • 53 Metascore
    • 50 James Berardinelli
    If you're desperate to give something up for Lent, make it movies like this one.
    • 19 Metascore
    • 50 James Berardinelli
    It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.
    • 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."
    • 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.
    • 53 Metascore
    • 50 James Berardinelli
    An effective translation of the source material, but that's not necessarily a good thing.
    • 64 Metascore
    • 50 James Berardinelli
    Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.
    • 43 Metascore
    • 50 James Berardinelli
    The root problem with The Wolfman is that it's a hybrid.
    • 29 Metascore
    • 50 James Berardinelli
    It's watchable, but barely.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    This could easily go down as the year's best example of solid acting in a wretched motion picture.
    • 32 Metascore
    • 50 James Berardinelli
    Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.
    • 48 Metascore
    • 50 James Berardinelli
    Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
    • 57 Metascore
    • 50 James Berardinelli
    The main problem with Coach Carter can be summed up simply: too much sermonizing.
    • 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.
    • 43 Metascore
    • 50 James Berardinelli
    It's an orgy for disaster porn devotees.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 50 James Berardinelli
    The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.
    • 34 Metascore
    • 50 James Berardinelli
    The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
    • 35 Metascore
    • 50 James Berardinelli
    On balance, I think I'd rather have seen Rocky 15.
    • 45 Metascore
    • 50 James Berardinelli
    In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
    • 33 Metascore
    • 50 James Berardinelli
    One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.
    • 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.
    • 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.
    • 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.
    • 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?
    • 58 Metascore
    • 50 James Berardinelli
    To be fair, there are occasional moments that succeed dramatically. These are typically the quieter, less histrionic ones.
    • 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.
    • 36 Metascore
    • 50 James Berardinelli
    Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
    • 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.
    • 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.
    • 31 Metascore
    • 50 James Berardinelli
    The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.
    • 53 Metascore
    • 50 James Berardinelli
    Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 50 James Berardinelli
    A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
    • 55 Metascore
    • 50 James Berardinelli
    The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.
    • 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.
    • 46 Metascore
    • 50 James Berardinelli
    This time around, however, the magic has fizzled. Based solely on merit, Now You See Me 2 is a sequel that should never have been made.
    • 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.
    • 48 Metascore
    • 50 James Berardinelli
    It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.
    • 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.
    • 51 Metascore
    • 50 James Berardinelli
    Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
    • 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.
    • 41 Metascore
    • 50 James Berardinelli
    There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.
    • 49 Metascore
    • 50 James Berardinelli
    Whether the core flaw lies in the script or is the result of overly aggressive editing, the final result is offers only sporadic glimpses of the compelling thriller Broken City fails to evolve into.
    • 47 Metascore
    • 50 James Berardinelli
    Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
    • 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.
    • 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.
    • 35 Metascore
    • 50 James Berardinelli
    For a mostly brainless movie, The Expendables 3 has a surprisingly dense plot, which is part of the problem. The 2-hour running length is unnecessarily long.
    • 37 Metascore
    • 50 James Berardinelli
    Lacks both a focus and an edge, making it an amorphous mess.
    • 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.
    • 32 Metascore
    • 50 James Berardinelli
    Warcraft provides the shell of a great fantasy adventure saga but never effectively goes beyond that. This is much more like the bad fantasy of the 1980s and 1990s than the better brand we have recently become accustomed to.
    • 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.
    • 52 Metascore
    • 50 James Berardinelli
    At 2 1/2 hours, the movie is actually too short to adequately tell the full tale (The Ten Commandments is 70 minutes longer) but that doesn't prevent Scott from presenting multiple, seemingly endless scenes of people crossing deserts.
    • 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.
    • 68 Metascore
    • 50 James Berardinelli
    Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.
    • 34 Metascore
    • 50 James Berardinelli
    The Last Witch Hunter feels like the first episode of a would-be series although, unlike some similar endeavors, it tells a stand-alone story.
    • 48 Metascore
    • 50 James Berardinelli
    Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.
    • 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.
    • 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.

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