James Berardinelli
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For 2,822 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 5.6 points higher than other critics. (0-100 point scale)

James Berardinelli's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 A Clockwork Orange
Lowest review score: 0 Feast
Score distribution:
2,822 movie reviews
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 50 James Berardinelli
    Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
    • 39 Metascore
    • 50 James Berardinelli
    The movie wallows in remorse. Not only is the main character paralyzed by it but the filmmakers seem to believe that every Caucasian member of the audience should face up to White Guilt for the way in which the Industrial World has encouraged unrest in Africa so resources could be strip-mined. How's that for an uplifting action movie premise?
    • 34 Metascore
    • 50 James Berardinelli
    One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.
    • 30 Metascore
    • 50 James Berardinelli
    The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.
    • 58 Metascore
    • 50 James Berardinelli
    This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.
    • 41 Metascore
    • 50 James Berardinelli
    When the Game Stands Tall is one of those cliché-riddled feel good movies that, by trying too hard to be inspirational, ends up as cloying and overly sentimental.
    • 50 Metascore
    • 50 James Berardinelli
    The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".
    • 43 Metascore
    • 50 James Berardinelli
    This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.
    • 83 Metascore
    • 50 James Berardinelli
    Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
    • 24 Metascore
    • 50 James Berardinelli
    Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.
    • 35 Metascore
    • 50 James Berardinelli
    This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.
    • 37 Metascore
    • 50 James Berardinelli
    Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.
    • 52 Metascore
    • 50 James Berardinelli
    Generic and forgettable.
    • 37 Metascore
    • 50 James Berardinelli
    At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.
    • 61 Metascore
    • 50 James Berardinelli
    "Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.
    • 38 Metascore
    • 50 James Berardinelli
    The November Man feels like just about every B-grade spy thriller that has ever been committed to the silver screen.
    • 64 Metascore
    • 50 James Berardinelli
    While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.
    • 73 Metascore
    • 50 James Berardinelli
    This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.
    • 38 Metascore
    • 50 James Berardinelli
    Ultimately, as things develop, this becomes less about revenge than it does about escaping a set-up. A successful production of this sort needs to constantly elevate the stakes as it builds suspense. Seeking Justice fails and that failure makes it a dubious movie-going choice best suited to the low expectations of a video release.
    • 33 Metascore
    • 50 James Berardinelli
    The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.
    • 38 Metascore
    • 50 James Berardinelli
    A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.
    • 55 Metascore
    • 50 James Berardinelli
    Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.
    • 43 Metascore
    • 50 James Berardinelli
    On the whole, Star Trek V is a highly forgettable motion picture, regardless of whether you're looking at it from the perspective of a Trek lover or a movie-goer.
    • 26 Metascore
    • 50 James Berardinelli
    Once it gets beyond a hard-to-swallow setup and into the meat of its story, Boxing Helena is surprisingly involving...The movie discloses its terms early, and expects the audience to buy into them, making no apologies for what it is or intends to be.
    • 43 Metascore
    • 50 James Berardinelli
    A lackluster melodrama with only a few inspired moments.
    • 64 Metascore
    • 50 James Berardinelli
    After a promising beginning, this movie crashes and burns.
    • 50 Metascore
    • 50 James Berardinelli
    The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.
    • 57 Metascore
    • 50 James Berardinelli
    Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.
    • 33 Metascore
    • 50 James Berardinelli
    The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.
    • 85 Metascore
    • 50 James Berardinelli
    The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.
    • 46 Metascore
    • 50 James Berardinelli
    A mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in "Almost Famous."
    • 52 Metascore
    • 50 James Berardinelli
    This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't.
    • 53 Metascore
    • 50 James Berardinelli
    As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.
    • 49 Metascore
    • 50 James Berardinelli
    This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.
    • 51 Metascore
    • 50 James Berardinelli
    Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.
    • 34 Metascore
    • 50 James Berardinelli
    The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
    • 43 Metascore
    • 50 James Berardinelli
    Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.
    • 51 Metascore
    • 50 James Berardinelli
    Not without humor, but it lacks the explosive spontaneity of "The Hangover."
    • 39 Metascore
    • 50 James Berardinelli
    Even as a mindless diversion, it's weak.
    • 31 Metascore
    • 50 James Berardinelli
    Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.
    • 67 Metascore
    • 50 James Berardinelli
    Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
    • 27 Metascore
    • 50 James Berardinelli
    Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.
    • 48 Metascore
    • 50 James Berardinelli
    The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.
    • 55 Metascore
    • 50 James Berardinelli
    The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."
    • 41 Metascore
    • 50 James Berardinelli
    There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.
    • 70 Metascore
    • 50 James Berardinelli
    What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
    • 55 Metascore
    • 50 James Berardinelli
    There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.
    • 78 Metascore
    • 50 James Berardinelli
    What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.
    • 48 Metascore
    • 50 James Berardinelli
    It has the sensibilities of a late-'80s/early-'90s forgettable big-screen sit com and probably won't find many interested viewers who aren't card-carrying AARP members.
    • 26 Metascore
    • 50 James Berardinelli
    Taken 3 is exactly what one might anticipate from an unnecessary sequel in a mediocre franchise.
    • 56 Metascore
    • 50 James Berardinelli
    W.
    Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.
    • 48 Metascore
    • 50 James Berardinelli
    Martian Child wants to make us cry. It nearly made me gag. This is an exercise in shameless and inept emotional manipulation.
    • 28 Metascore
    • 50 James Berardinelli
    Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.
    • 53 Metascore
    • 50 James Berardinelli
    The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.
    • 39 Metascore
    • 50 James Berardinelli
    A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.
    • 40 Metascore
    • 50 James Berardinelli
    The best bits in this film fall short of being inspired, but they are outrageous.
    • 48 Metascore
    • 50 James Berardinelli
    The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.
    • 56 Metascore
    • 50 James Berardinelli
    Foster's film offers its fair share of laughs, although most come at the expense of "easy mark" characters. Dramatically, however, the movie is only a step up from a flop.
    • 40 Metascore
    • 50 James Berardinelli
    Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.
    • 49 Metascore
    • 38 James Berardinelli
    Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.
    • 30 Metascore
    • 38 James Berardinelli
    Sadly, as apt as comparisons to "Underworld" might seem, I, Frankenstein can't even clear that very low bar.
    • 30 Metascore
    • 38 James Berardinelli
    Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.
    • 41 Metascore
    • 38 James Berardinelli
    At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.
    • 15 Metascore
    • 38 James Berardinelli
    Things might have been okay if this film had gone someplace, anyplace, but it stalls early, then coasts through an hour of minimally-amusing material before screeching to an amazingly improbable stop.
    • 33 Metascore
    • 38 James Berardinelli
    Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.
    • 64 Metascore
    • 38 James Berardinelli
    An inferior product. It is not well written, well acted, or well directed.
    • 34 Metascore
    • 38 James Berardinelli
    I found the most extreme material to be so tasteless that it voided all comedy.
    • 34 Metascore
    • 38 James Berardinelli
    A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.
    • 33 Metascore
    • 38 James Berardinelli
    Akin to watching a bad sit-com that never ends.
    • 49 Metascore
    • 38 James Berardinelli
    Perhaps the strangest thing about 2012 is that the bad parts of the film are among the most enjoyable, because they're so over-the-top ridiculous that it's impossible not to break out laughing.
    • 51 Metascore
    • 38 James Berardinelli
    For those looking for something positive, this is the only movie I can recall that features music from both ABBA ("Does Your Mother Know") and Handel ("Zadok the Priest"). Let's hear it for musical diversity!
    • 39 Metascore
    • 38 James Berardinelli
    National Treasure's storyline isn't compelling or coherent enough to warrant the term "plot."
    • 39 Metascore
    • 38 James Berardinelli
    This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.
    • 32 Metascore
    • 38 James Berardinelli
    A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.
    • 62 Metascore
    • 38 James Berardinelli
    It's the most disappointing thing to come from the brothers in years.
    • 28 Metascore
    • 38 James Berardinelli
    Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.
    • 63 Metascore
    • 38 James Berardinelli
    It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.
    • 51 Metascore
    • 38 James Berardinelli
    Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.
    • 24 Metascore
    • 38 James Berardinelli
    Godsend is godawful.
    • 37 Metascore
    • 38 James Berardinelli
    One can give Ice Cube props for attitude, but not much more.
    • 29 Metascore
    • 38 James Berardinelli
    Unappealing for children and adults alike, The King and I will likely bring families together in their mutual boredom.
    • 51 Metascore
    • 38 James Berardinelli
    The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.
    • 33 Metascore
    • 38 James Berardinelli
    It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.
    • 56 Metascore
    • 38 James Berardinelli
    No amount of youthful charisma can alter the fact that, in the light of "Dangerous Liaisons", Cruel Intentions is a feeble and dissatisfying shadow.
    • 27 Metascore
    • 38 James Berardinelli
    Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.
    • 35 Metascore
    • 38 James Berardinelli
    By trying to satisfy every kind of viewer, it's possible that Sphere may end up pleasing no one.
    • 52 Metascore
    • 38 James Berardinelli
    This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core.
    • 65 Metascore
    • 38 James Berardinelli
    Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.
    • 31 Metascore
    • 38 James Berardinelli
    A movie so inane that it fails to rise to the level of "good trash."
    • 46 Metascore
    • 38 James Berardinelli
    Who would have imagined that a movie about sex could be so boring? That's the bottom line when it comes to Fifty Shades of Grey.
    • 33 Metascore
    • 38 James Berardinelli
    Boring and uninspired, this movie gives ghost stories a bad name.
    • 36 Metascore
    • 38 James Berardinelli
    With the flat characters and lifeless performances, it's a wonder that anyone in the audience can stay awake all the way through this dull and dreary production.
    • 39 Metascore
    • 38 James Berardinelli
    The Other Woman ignores dozens of potentially edgy possibilities to tell the most banal story imaginable - and to do it badly.
    • 39 Metascore
    • 38 James Berardinelli
    A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.
    • 40 Metascore
    • 38 James Berardinelli
    There's no fun to be had here and if an action movie doesn't make the grade as escapist entertainment, what's the point?
    • 33 Metascore
    • 38 James Berardinelli
    For all of its existential posturing, Being Human ends up being a rather shallow motion picture.
    • 42 Metascore
    • 38 James Berardinelli
    LaBeouf, who appeared to hit a low in "Indiana Jones and the Kingdom of the Crystal Skull," has sunk to greater levels of incompetence here.
    • 62 Metascore
    • 38 James Berardinelli
    Sluggish. Torpid. Boring. Those three words (and more) can describe The Yellow Handkerchief, a stultifying road trip movie whose inept screenplay is only partially counterbalanced by a trio of nice performances.
    • 27 Metascore
    • 38 James Berardinelli
    Beverly Hills Ninja is essentially a one-joke film.
    • 58 Metascore
    • 38 James Berardinelli
    Those who don't understand what it means for an actor to "sleepwalk" through a performance need only watch Men in Black III; there's no shortage of examples.
    • 35 Metascore
    • 38 James Berardinelli
    The storyline is so infantile that it will appeal to young kids.
    • 35 Metascore
    • 38 James Berardinelli
    Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.
    • 36 Metascore
    • 38 James Berardinelli
    The breath of fresh air, to the extent that one can be identified in the staleness of this recycled refuse, is John Cleese.
    • 43 Metascore
    • 38 James Berardinelli
    The only reason any male could have for seeing The Vow is the hope of getting laid afterwards. The only reason any female could have for seeing The Vow is if she views the plots of Harlequin romance novels as the height of modern storytelling.
    • 44 Metascore
    • 38 James Berardinelli
    As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.
    • 26 Metascore
    • 38 James Berardinelli
    The lackluster acting and horrendous dialogue don't help.
    • 40 Metascore
    • 38 James Berardinelli
    Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.
    • 36 Metascore
    • 38 James Berardinelli
    The Watch is a studio turd marinated in eau de skunk that stinks worse than week-old fish.
    • 58 Metascore
    • 38 James Berardinelli
    This is the kind of tearjerker that will cause audience members to cry, but only because they paid hard-earned money to see it.
    • 43 Metascore
    • 38 James Berardinelli
    There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.
    • 31 Metascore
    • 38 James Berardinelli
    What's missing from Blended? Two key ingredients: it doesn't touch the heart and it doesn't tickle the funny bone (at least not often enough).
    • 39 Metascore
    • 38 James Berardinelli
    Cloying and at times annoying, Life as We Know It is egregiously manipulative, whoring itself out for a few unearned tears.
    • 23 Metascore
    • 38 James Berardinelli
    There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.
    • 28 Metascore
    • 38 James Berardinelli
    Two agonizing hours of lifeless, mind-numbing hogwash.
    • 34 Metascore
    • 38 James Berardinelli
    Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.
    • 40 Metascore
    • 38 James Berardinelli
    Tedious and predictable, it employs obvious situations and clichés instead of genuine suspense-building elements.
    • 22 Metascore
    • 38 James Berardinelli
    A preposterous thriller where the only thing more disappointing than the ending is the 93 minutes it takes to get there.
    • 58 Metascore
    • 38 James Berardinelli
    Unfortunately, although there are a few nasty thorns here and there, The First Wives Club is a largely uninspired (and unfunny) comedy that collapses completely in the final fifteen minutes.
    • 32 Metascore
    • 38 James Berardinelli
    As a romance, a drama, or even a sports movie, The Longest Ride never reaches a satisfying destination.
    • 48 Metascore
    • 38 James Berardinelli
    "Mindless" applies, and Book of Secrets is more like a tame, endlessly repetitive amusement park ride than a motion picture.
    • 33 Metascore
    • 38 James Berardinelli
    Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.
    • 43 Metascore
    • 38 James Berardinelli
    Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.
    • 39 Metascore
    • 38 James Berardinelli
    By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.
    • 40 Metascore
    • 38 James Berardinelli
    It’s artificial, annoying, and boring.
    • 47 Metascore
    • 38 James Berardinelli
    This remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter.
    • 27 Metascore
    • 38 James Berardinelli
    Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.
    • 19 Metascore
    • 38 James Berardinelli
    Can't decide whether it wants to be a black comedy, dumb farce, or sentimental sit-com.
    • 26 Metascore
    • 38 James Berardinelli
    Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.
    • 31 Metascore
    • 38 James Berardinelli
    A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.
    • 59 Metascore
    • 38 James Berardinelli
    An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.
    • 48 Metascore
    • 38 James Berardinelli
    Of course, the problem with Angels & Demons is that to get to the final 40 minutes, it's necessary to endure the first 90, and that would be defined as cruel and unusual punishment.
    • 61 Metascore
    • 38 James Berardinelli
    One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.
    • 26 Metascore
    • 38 James Berardinelli
    Echelon Conspiracy is a more evocative title than a movie this stupid deserves.
    • 38 Metascore
    • 38 James Berardinelli
    It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.
    • 39 Metascore
    • 38 James Berardinelli
    Most of the laughs are unintentional, but the result is absurd and laughable.
    • 36 Metascore
    • 38 James Berardinelli
    The 2011 version of Conan the Barbarian looks cheap and feels rushed. The few good elements are dwarfed by a generic, nonsensical plot and shoddy storytelling.
    • 50 Metascore
    • 38 James Berardinelli
    A slow, meandering misfire of a movie.
    • 36 Metascore
    • 38 James Berardinelli
    Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.
    • 36 Metascore
    • 38 James Berardinelli
    Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.
    • 18 Metascore
    • 38 James Berardinelli
    A bad movie. No amount of perfume sprayed on talk show audiences by Madonna and her husband can eliminate the stench of failure emanating from this motion picture.
    • 43 Metascore
    • 38 James Berardinelli
    Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.
    • 62 Metascore
    • 38 James Berardinelli
    The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.
    • 47 Metascore
    • 38 James Berardinelli
    Redundant and unnecessary.
    • 43 Metascore
    • 38 James Berardinelli
    Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.
    • 27 Metascore
    • 38 James Berardinelli
    Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.
    • 36 Metascore
    • 38 James Berardinelli
    It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.
    • 46 Metascore
    • 38 James Berardinelli
    The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.
    • 61 Metascore
    • 38 James Berardinelli
    Louder, flashier, and more hollow than anything else out there.
    • 36 Metascore
    • 38 James Berardinelli
    The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.
    • 54 Metascore
    • 38 James Berardinelli
    This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.
    • 53 Metascore
    • 38 James Berardinelli
    A misfire in far too many meaningful aspects, The Book Thief is so bad that it's tough to decide whether it's better used as a sleep aid or watched while under the influence as an object of derision.
    • 34 Metascore
    • 38 James Berardinelli
    The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.
    • 50 Metascore
    • 38 James Berardinelli
    Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.
    • 36 Metascore
    • 38 James Berardinelli
    The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.
    • 28 Metascore
    • 38 James Berardinelli
    Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.
    • 54 Metascore
    • 38 James Berardinelli
    It's either a failed experiment or a movie that was rushed through production so Allen could fulfill his one project-per-year commitment.
    • 20 Metascore
    • 38 James Berardinelli
    The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.
    • 25 Metascore
    • 38 James Berardinelli
    Director Rick Friedberg (who made the "bad golf" videos with Leslie Nielsen) has crafted a dreadfully unfunny comedy that takes Naked Gun-like sketches and rehashes them without a whit of style or energy.
    • 38 Metascore
    • 38 James Berardinelli
    Take away the film's attitude, and you're left with "Son of Van Helsing."
    • 38 Metascore
    • 38 James Berardinelli
    Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.
    • 25 Metascore
    • 38 James Berardinelli
    In R.I.P.D., we have a legitimate train wreck of a motion picture: a film that doesn't work on any level. It's not funny. It's not exciting. It's not engaging. It's a waste of time and money.
    • 25 Metascore
    • 38 James Berardinelli
    This is a tedious and insulting motion picture. The only ones likely to be surprised by the payoff are those who understandably dozed off fifteen minutes into the proceedings.
    • 80 Metascore
    • 38 James Berardinelli
    Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.
    • 24 Metascore
    • 38 James Berardinelli
    It represents a missed opportunity on every level. As a black comedy, it fails. As a satire of the bloated wedding industry, it fails. As a drama about friendship triumphing over all, it fails.
    • 30 Metascore
    • 38 James Berardinelli
    "The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.
    • 42 Metascore
    • 38 James Berardinelli
    Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.
    • 58 Metascore
    • 38 James Berardinelli
    Very little of what made the written version so enjoyable has been successfully translated to the screen, and what we're left with instead is an overly-long (two hours and thirty-four minutes, to be exact), pedantic thriller.
    • 53 Metascore
    • 38 James Berardinelli
    The result is an unappealing mess, made less bearable by uniformly lackluster performances and the cheesy special effects.
    • 23 Metascore
    • 38 James Berardinelli
    This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.
    • 63 Metascore
    • 38 James Berardinelli
    Regardless of whatever ephemeral entertainment this production may offer to some, it is not by any reasonable definition a good movie. It is badly written, inexpertly directed, poorly acted, erratically paced, and features music of dubious worth.
    • 46 Metascore
    • 38 James Berardinelli
    Plagued by moralizing so strident and a style so artificial that the story never has a chance to speak to an audience.
    • 34 Metascore
    • 38 James Berardinelli
    If all you're looking for is breasts, blood, and gore, this film hits pay dirt. None of the killings are terribly inventive, but they are plentiful, and why bother being devious when axes, machetes, knives, and pointed sticks will do the job just as well?
    • 31 Metascore
    • 38 James Berardinelli
    Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.
    • 31 Metascore
    • 38 James Berardinelli
    To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.
    • 33 Metascore
    • 38 James Berardinelli
    This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.
    • 33 Metascore
    • 38 James Berardinelli
    Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.
    • 19 Metascore
    • 38 James Berardinelli
    The only thing that distinguishes Species 2 is how awful it is.
    • 43 Metascore
    • 38 James Berardinelli
    With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.
    • 50 Metascore
    • 38 James Berardinelli
    A Perfect Murder has inexplicably managed to eliminate almost everything that was worthwhile about "Dial M for Murder," leaving behind the nearly-unwatchable wreckage of a would-be '90s thriller.
    • 47 Metascore
    • 38 James Berardinelli
    The movie starts cheating the audience early, and never lets up.
    • 53 Metascore
    • 38 James Berardinelli
    A shallow, transparent satire/social commentary, Palindromes lives and dies on a gimmick.
    • 57 Metascore
    • 38 James Berardinelli
    A maudlin hack-job.
    • 54 Metascore
    • 38 James Berardinelli
    The only worthwhile portion of Twin Dragons is the climactic action sequence, but, to get to that, it's necessary to endure more than an hour of unfunny physical comedy and excruciating verbal interaction.
    • 34 Metascore
    • 38 James Berardinelli
    My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).
    • 32 Metascore
    • 38 James Berardinelli
    The script isn't just "dumbed down," it's lobotomized.
    • 29 Metascore
    • 38 James Berardinelli
    The film is critic-proof and it will find an audience, but it's hard to imagine even the film's target demographic (teenage boys) being overly enthusiastic about the product. It's disposable entertainment of the worst kind.
    • 12 Metascore
    • 38 James Berardinelli
    Once again, we have a movie where the jokes are aimed at the least common denominator - meaning that to genuinely enjoy the experience of sitting through Slackers, you will need help from a controlled substance.
    • 32 Metascore
    • 38 James Berardinelli
    However, once you realize there's no "pleasure" to be had from something this wantonly dumb and idiotically constructed, all that's left is "guilt" - guilt that you actually spent money to see this.
    • 46 Metascore
    • 38 James Berardinelli
    It's a cloying, humorless motion picture whose only assets are the work of Jim Henson's Creature Shop and a couple of good one-liners by a pair of rodents.
    • 38 Metascore
    • 38 James Berardinelli
    The movie mandates complete gullibility and vacuous attention in order to work on any level.
    • 33 Metascore
    • 38 James Berardinelli
    The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
    • 48 Metascore
    • 38 James Berardinelli
    For a strangely-titled, female-oriented drama about mothers and daughters bonding, try "The Joy Luck Club" and leave Ya-Ya as a phrase uttered by one-year olds who have yet to learn how to talk.
    • 37 Metascore
    • 38 James Berardinelli
    Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.
    • 48 Metascore
    • 38 James Berardinelli
    Lockout is painful. Not painful in the way Uwe Boll or "Sex and the City" movies are painful. But painful enough that I kept waiting for Nicolas Cage to show up. Or Katherine Heigl. Or, god forbid, both.
    • 59 Metascore
    • 38 James Berardinelli
    Nothing short of a disaster -– easily one of the worst movies of the year.
    • 35 Metascore
    • 38 James Berardinelli
    Misses the mark.
    • 28 Metascore
    • 38 James Berardinelli
    This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
    • 34 Metascore
    • 38 James Berardinelli
    One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.
    • 45 Metascore
    • 38 James Berardinelli
    A tedious, incoherent bore.
    • 29 Metascore
    • 38 James Berardinelli
    The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.
    • 28 Metascore
    • 38 James Berardinelli
    Boring and repetitive.
    • 27 Metascore
    • 38 James Berardinelli
    I wonder if Gamer might make a good game; it certainly doesn't make a good movie.
    • 45 Metascore
    • 38 James Berardinelli
    This isn't just typical, unchallenging Hollywood drek -- it's typical, unchallenging Hollywood drek made by people who don't care, for people who don't care.
    • 23 Metascore
    • 38 James Berardinelli
    Speed 2 can be numbered among the worst second chapters ever made.
    • 33 Metascore
    • 38 James Berardinelli
    Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.
    • 41 Metascore
    • 38 James Berardinelli
    Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.
    • 41 Metascore
    • 38 James Berardinelli
    John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.
    • 44 Metascore
    • 38 James Berardinelli
    Devil will do little to dispel the growing belief that Shyamalan is a one-trick pony whose horse has keeled over. The laughter during the trailer was sadly prescient; the film is a joke.
    • 20 Metascore
    • 38 James Berardinelli
    Chase, like his Vacation movies, are things of the past. This is a series that should have died with the '80s. Instead, inexplicably, it has limped on into the '90s.
    • 73 Metascore
    • 38 James Berardinelli
    Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.
    • 47 Metascore
    • 38 James Berardinelli
    A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.
    • 57 Metascore
    • 38 James Berardinelli
    Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.
    • 38 Metascore
    • 38 James Berardinelli
    One has the sense that if the level of violence had been ratcheted up a little, Paparazzi might have been more of a guilty pleasure and less of a chore to watch.
    • 40 Metascore
    • 38 James Berardinelli
    It is now weighed down by a second half that's equal parts incoherent, tedious, and repetitive.
    • 31 Metascore
    • 38 James Berardinelli
    If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.
    • 74 Metascore
    • 38 James Berardinelli
    As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.
    • 40 Metascore
    • 38 James Berardinelli
    Painfully unfunny and unnecessarily long, this movie is the antithesis of its predecessor, the delightfully raunchy "Horrible Bosses."
    • 46 Metascore
    • 38 James Berardinelli
    Too long and too full of itself to offer more than a few fleeting moments of entertainment. It doesn't take long for tediousness to triumph.
    • 59 Metascore
    • 38 James Berardinelli
    Alien 3 is, simply put, a mess. The writers have no idea how to tell a coherent, entertaining story. With the exception of a surprise or two, there isn't much worthwhile here.
    • 44 Metascore
    • 38 James Berardinelli
    Dull, uninspired, and redundant.
    • 36 Metascore
    • 38 James Berardinelli
    It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.
    • 39 Metascore
    • 38 James Berardinelli
    Director Scott Waugh’s intention may have been to elevate my pulse, but the only thing at which he succeeded was getting me to check my watch repeatedly.
    • 46 Metascore
    • 38 James Berardinelli
    It's all about eye candy and the quick tease. It's not over fast enough.
    • 30 Metascore
    • 38 James Berardinelli
    Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.
    • 50 Metascore
    • 38 James Berardinelli
    A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.
    • 36 Metascore
    • 38 James Berardinelli
    This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
    • 44 Metascore
    • 38 James Berardinelli
    A "Jennifer Aniston movie" has become synonymous with "derivative, lackluster mediocrity," and it's a shame. We know she has both talent and charisma but nothing on her recent resume has allowed her to display those qualities. So we're stuck with films that are at best forgettable and at worst painful.
    • 34 Metascore
    • 38 James Berardinelli
    It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.
    • 37 Metascore
    • 38 James Berardinelli
    Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
    • 24 Metascore
    • 38 James Berardinelli
    Uninspired and painfully familiar.
    • 36 Metascore
    • 38 James Berardinelli
    LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
    • 33 Metascore
    • 38 James Berardinelli
    The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
    • 37 Metascore
    • 38 James Berardinelli
    Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.
    • 43 Metascore
    • 38 James Berardinelli
    The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
    • 35 Metascore
    • 38 James Berardinelli
    Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.
    • 46 Metascore
    • 38 James Berardinelli
    A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.
    • 41 Metascore
    • 38 James Berardinelli
    Battleship has the IQ of a rutabaga and doesn't require much more intelligence than that to watch. Despite spending copious amounts of time with back story and so-called character development, it's really all about the explosions.
    • 58 Metascore
    • 38 James Berardinelli
    It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.
    • 32 Metascore
    • 38 James Berardinelli
    Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.
    • 36 Metascore
    • 38 James Berardinelli
    It's not just about a disaster, it is a disaster.
    • 67 Metascore
    • 38 James Berardinelli
    This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
    • 26 Metascore
    • 38 James Berardinelli
    Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
    • 31 Metascore
    • 38 James Berardinelli
    Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.
    • 42 Metascore
    • 38 James Berardinelli
    If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.
    • 31 Metascore
    • 38 James Berardinelli
    Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo

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