Jeannette Catsoulis
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For 944 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Jeannette Catsoulis' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Gregory Crewdson: Brief Encounters
Lowest review score: 0 Oconomowoc
Score distribution:
944 movie reviews
    • 43 Metascore
    • 50 Jeannette Catsoulis
    At its best when merging shocks with social commentary, this halting compilation improves significantly as it nears the end of the alphabet.
    • 58 Metascore
    • 50 Jeannette Catsoulis
    This Lithuanian love story from Kristina Buozyte offers a discomfiting blend of visual ecstasy and narrative sterility.
    • 47 Metascore
    • 50 Jeannette Catsoulis
    Shot with some wit and considerable speed, its short, sharp beatdowns are a refreshing change from the bloated action sequences favored by some of Mr. Kang’s genre contemporaries.
    • 47 Metascore
    • 50 Jeannette Catsoulis
    Grim, intelligent and vividly photographed by the director’s father, Philippe Lavalette, Inch’Allah works best when the camera alights on Ava and Rand, whose marvelously mobile faces convey all the complexity that Chloe lacks.
    • 40 Metascore
    • 50 Jeannette Catsoulis
    Flu
    The romance may be risible, but the scenes of mass panic and political desperation are slickly disturbing.
    • 60 Metascore
    • 50 Jeannette Catsoulis
    Good Ol’ Freda celebrates an intensely private witness to four of the most public lives in pop-culture history.
    • 38 Metascore
    • 50 Jeannette Catsoulis
    The Citizen is a heartfelt plea for charity, tolerance and all-around loving kindness — admirable aims sadly shackled to Sam Kadi’s inexpert direction.
    • 63 Metascore
    • 50 Jeannette Catsoulis
    Has plenty of humor but no satirical bite.
    • 59 Metascore
    • 50 Jeannette Catsoulis
    Though the developing bond between the two men — one of whom is virtually nonverbal — is credible and even touching, the storytelling is too oblique to reel you in.
    • 50 Metascore
    • 50 Jeannette Catsoulis
    A muddled supernatural thriller that fails to capitalize on either its horrific prologue or eerie location.
    • 37 Metascore
    • 50 Jeannette Catsoulis
    Taking a credibility-straining premise and running with it, the Dutch director Arne Toonen gives Black Out way more energy than sense. Luckily, his antihero, Jos (Raymond Thiry), lacks neither.
    • 45 Metascore
    • 50 Jeannette Catsoulis
    At once comic, tragic and goofily romantic, and resting too often on Odd’s clarifying narration, this young-adult lark breaches the nonsense barrier with some regularity.
    • 63 Metascore
    • 50 Jeannette Catsoulis
    Vividly painting Queens in the early 1990s as a landscape of crack and graffiti, the filmmakers go on to smother any menace with a swoony-upbeat soundtrack and an “oh, those kooky kids” tone.
    • 49 Metascore
    • 50 Jeannette Catsoulis
    A tropical tornado of cadmium and cobalt, magenta and marigold, Carlos Saldanha’s frantic follow-up to his well-received 2011 animated feature, “Rio,” ups the ante on sound and movement but pays scant attention to story.
    • 44 Metascore
    • 50 Jeannette Catsoulis
    13 Sins is occasionally inventive but mostly uninvolving.
    • 55 Metascore
    • 50 Jeannette Catsoulis
    Writer and director Kat Candler struggles to shape an undercooked story into compelling drama.
    • 34 Metascore
    • 50 Jeannette Catsoulis
    Sparing with scares and judicious with gore, the director, Ben Ketai (working from a screenplay by Patrick J. Doody and Chris Valenziano), proves better at summoning atmosphere than developing characters.
    • 50 Metascore
    • 50 Jeannette Catsoulis
    Written and directed by Jeff Baena, this first feature feels sloppily plotted and uncertain of its destination. Seasoned actors are left to yell pointlessly at one another, while Beth and the zombie angle slowly decompose.
    • 58 Metascore
    • 50 Jeannette Catsoulis
    Belle and Sebastian fans will be fully sated; everyone else might feel as if they’d consumed a meal consisting entirely of meringue.
    • 66 Metascore
    • 50 Jeannette Catsoulis
    A documentary that purports to chronicle the sober and urgent work of those who ferret out human-rights abuses, but instead plays like a portrait of a rather glamorous marriage.
    • 22 Metascore
    • 50 Jeannette Catsoulis
    Featuring the usual fractured visuals, generic victims and pinballing cameras — both hand-held and mounted on bike helmets — Exists nevertheless has an unusually dreamy opening and a few surprisingly entertaining tweaks.
    • 34 Metascore
    • 45 Jeannette Catsoulis
    Playing like a mashup of tropes from far superior small- and large-screen entertainments (Scandal, House of Lies, Ides of March), this clunky feature from Bill Guttentag is satire at its most soft-bellied and toadying.
    • 51 Metascore
    • 42 Jeannette Catsoulis
    By anyone's reckoning, Predators is a middling 1980s B movie; too bad this is 2010.
    • 44 Metascore
    • 40 Jeannette Catsoulis
    Stagy, stiff and marinated in egg cream.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    Employee of the Month is more tired than a Wal-Mart greeter at the end of a Saturday shift. One can only hope its halfhearted suggestion that winning isn't everything is some comfort if the movie's grosses are as disappointing as its jokes.
    • 33 Metascore
    • 40 Jeannette Catsoulis
    Puberty causes an exponential increase in evil -- and in incoherence -- in The Grudge 2.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    The most depressing thing about this series is not the creativity of the bloodletting but the bleak view of human nature.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    You may see scarier movies this year, but none so redolent of decomposition.
    • 56 Metascore
    • 40 Jeannette Catsoulis
    A warning to parents everywhere about the dangers of indulging irrational behavior, Opal Dream is a sickly sweet tale of deep dysfunction masquerading as family solidarity.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    If some of the characters won't be returning for the sequel, no matter. In all likelihood, neither will the audience.
    • 33 Metascore
    • 40 Jeannette Catsoulis
    Uninvolving and cliché-ridden (even shape-shifters, it seems, deserve a falling-in-love montage), Blood & Chocolate is "Romeo and Juliet" with fewer manners and more exotic dentition.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    Leaving no cliché unturned, Coffee Date provides cheesy music, chats about "gaydar" and the obligatory are-you-looking-at-mine? urinal scene.
    • 49 Metascore
    • 40 Jeannette Catsoulis
    Reeking of self-righteousness and moral reprimand, Michael O. Sajbel’s Ultimate Gift”is a hairball of good-for-you filmmaking.
    • 41 Metascore
    • 40 Jeannette Catsoulis
    The turtles themselves may look prettier, but are no smarter; torn irreparably from their countercultural roots, our superheroes on the half shell have been firmly co-opted by the industry their creators once sought to spoof.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    Set in North Florida and based on a book by Harry Crews, The Hawk Is Dying is a dreary study of male angst groaning beneath the weight of its own symbolism.
    • 50 Metascore
    • 40 Jeannette Catsoulis
    Self-consciously edgy and romantically limp.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    An ill-advised sequel to "Are We There Yet?" and a feeble fable of better parenting through home improvement.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    This latest recycling of foreign-grown frights shows less interest in horror than in healing.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Unfortunately, in keeping its inflammatory subject matter at arm’s length, Provoked does exactly the same to its audience.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    A Michael Keaton outing is always cause for celebration, no matter how ramshackle the vehicle ("First Daughter," anyone?) or paper-thin the role.
    • 56 Metascore
    • 40 Jeannette Catsoulis
    A coming-of-age tale so treacly it doesn’t just tug your heartstrings, it attempts to glue them to your ribs.
    • 30 Metascore
    • 40 Jeannette Catsoulis
    The sledgehammer message is clear: Best friends can help when you need a McMansion, but only God can help when your husband needs a man.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    A faux documentary grounded in ethnicity and mired in absurdity, Finishing the Game is a terrific idea still waiting to be fashioned into a real movie.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Whether on a Middle Eastern battlefield or the streets of New York, characters converse in stilted, expository mouthfuls that smother emotion.
    • 51 Metascore
    • 40 Jeannette Catsoulis
    There’s a riveting story lurking inside Holly, a documentary-fiction hybrid about sex trafficking in Cambodia. It’s just not the one the filmmakers want to tell.
    • 57 Metascore
    • 40 Jeannette Catsoulis
    There’s precious little to laugh at in The Sasquatch Gang, a sad attempt to board the loser-nerd comedy bandwagon.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    Like a feature-length version of the television sitcom “My Name Is Earl,” only Canadian -- and not funny.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    Louder and more literal than its inspiration, The Eye benefits from a spiky performance by Alessandro Nivola as Sydney’s rehabilitation counselor. “Your eyes are not the problem,” he tells her at one point. He is so, so right.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    Eyes popping and mouths agape, Martin Lawrence and Raven-Symoné mug their way through College Road Trip as if it were a silent movie -- which, come to think of it, would have been a lot less irritating.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    Flash Point”attaches coldly professional visuals to a narrative so baffling that it’s rarely clear who is pounding on whom or why.
    • 59 Metascore
    • 40 Jeannette Catsoulis
    This is screenwriting by numbers. Unlike, say, Ken Loach’s marvelous “Bread and Roses,” Under the Same Moon is too busy sanctifying its protagonists and prodding our tear ducts to say anything remotely novel about immigration policies or their helpless victims.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    More tired than the fantasy it promotes, A Previous Engagement aims at middle-aged women with the subtlety of a pitch for bladder-control medication.
    • 59 Metascore
    • 40 Jeannette Catsoulis
    Plays less like a documentary than an E! exposé of lowlife skulduggery.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    An animated twist on the Frankenstein story that never sparks to life.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    The message may be clear -- suppress the past at your peril -- but the execution is a mess. As for the line-dancing soldiers, your guess is as good as mine.
    • 31 Metascore
    • 40 Jeannette Catsoulis
    Hounddog is never more than a sluggish dawdle from shack to swimmin' hole and back again.
    • 27 Metascore
    • 40 Jeannette Catsoulis
    Too leaden for adults and too baffling for kids.
    • 27 Metascore
    • 40 Jeannette Catsoulis
    Easy on the eyes but brutal on the ears.
    • 57 Metascore
    • 40 Jeannette Catsoulis
    The movie imprisons its talented cast (including Alia Shawkat as Danny’s overlooked soul mate and Brandon Hardesty as his worldly best friend) in roles that leave little room for anything but caricature.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Smothering insightful moments in verbal and musical treacle (courtesy of Harriet Schock’s sticky songs), Mr. Jaglom displays an endearing lack of cynicism but an equal lack of discipline.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    A muddled morality tale more interested in coming of age than getting of wisdom.
    • 43 Metascore
    • 40 Jeannette Catsoulis
    Offering neither balance nor solutions (a segment on the overuse of medications like Ritalin is especially powerful, but especially in need of counterargument), The War on Kids questions what kind of citizens we are producing.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    The problem with these my-family-was-messed-up-and-I need-to-share projects is that they require an audience of complete strangers to give a damn. And while we sometimes do, it’s usually because the material is inherently compelling (“Tarnation”) or the filmmaking uncovers truths beyond the template of family therapy (“51 Birch Street”). Sadly, Phyllis and Harold fulfills neither requirement.
    • 34 Metascore
    • 40 Jeannette Catsoulis
    Intermittently beautiful but frustratingly leaden, Shutterbug labors ineffectually to promote authenticity over artifice. A heavily stylized paean to undoctored images, the movie never quite clicks as a succession of moving ones.
    • 31 Metascore
    • 40 Jeannette Catsoulis
    Puzzles more than it pleases.
    • 59 Metascore
    • 40 Jeannette Catsoulis
    The Trotsky runs 20 minutes too long and several rungs above the head of its target audience. And though Mr. Baruchel can be very funny in small doses -- a slacker sidekick in “Knocked Up,” a gung-ho kid in “Tropic Thunder” -- here he swiftly becomes insufferable, a neurotic nudnik in funeral director attire and John Turturro hairdo.
    • 33 Metascore
    • 40 Jeannette Catsoulis
    Idolized in some quarters and reviled in others, Mr. Korine, now 37, may be a bit long in the tooth for the enfant terrible act.
    • 43 Metascore
    • 40 Jeannette Catsoulis
    Placidly photographed and lacking in urgency, "Survival" shows us the living flailing at fate and the dead just flailing.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    Sincere performances elevate an underdeveloped script and awkward filmmaking in The Dry Land, a coming-home drama as inexpressive as its traumatized lead.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    Belonging more in the realm of tragic melodrama than true crime, The Sicilian Girl is hobbled by sluggish direction (by Marco Amenta, who previously addressed Atria's story in his 1997 documentary, "One Girl Against the Mafia: Diary of a Sicilian Rebel"), and a revulsion to nuance.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    A raunchy romantic comedy that, like its heroine, rarely has both feet on the ground.
    • 18 Metascore
    • 40 Jeannette Catsoulis
    This pointless parody dumps us in the fictional town of Sporks, Wash., a location lousy with vampires and werewolves.
    • 44 Metascore
    • 40 Jeannette Catsoulis
    Say what you like about "America's Next Top Model," any single episode of Tyra Banks's campy confection offers more insight into objectification and disposability than this film in its entirety.
    • 43 Metascore
    • 40 Jeannette Catsoulis
    Offsetting its outlandish premise with believable performances, Rage (Rabia) delivers a heavy-handed metaphor for immigrant invisibility.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Even those viewers who share the film's conviction that preparing a collection for New York Fashion Week is inherently fascinating may lose interest long before the final frock is fitted.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    We've heard it all before, if not in the schoolmarmish tones of Glenn Close, whose patronizing narration ("The earth is a miracle") makes the film feel almost as long as the life of its subject.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    Sluggish and derivative, I Am Number Four is another elaborate puberty metaphor with superpowers substituting for testosterone.
    • 24 Metascore
    • 40 Jeannette Catsoulis
    Offensive only in Mr. Wortham's dreadful acting, Now & Later is part of a series at the Quad called "Unrated: A Week of Sex in Cinema" - a title that should ensure plenty of backsides on seats.
    • 49 Metascore
    • 40 Jeannette Catsoulis
    This drippy dramedy embraces every inappropriate-oldster cliché with depressing calculation.
    • 50 Metascore
    • 40 Jeannette Catsoulis
    An extravagantly corny ode to the collapse of the Cleveland mafia in the 1970s.
    • 53 Metascore
    • 40 Jeannette Catsoulis
    Imagine spending an afternoon watching a bunch of vagrants putter around on an abandoned city lot, and you've pretty much nailed the viewing experience of Earthwork, a painfully dull account of a year in the life of the Kansas crop artist Stan Herd.
    • 31 Metascore
    • 40 Jeannette Catsoulis
    An exhausted pileup of rock-movie clichés, The Perfect Age of Rock 'n' Roll presents artistic self-destruction with the solemnity of a movie that has invented a spanking-new genre.
    • 22 Metascore
    • 40 Jeannette Catsoulis
    The result is a movie that isn't crummy, exactly, just blah: when the freakiest teeth on screen belong not to one of Walt Conti's animatronically realized sharks but to a good-ol'-boy called Red, you know you have a problem.
    • 54 Metascore
    • 40 Jeannette Catsoulis
    Notable at least in part for its fumbled potential, this health-care-industry melodrama possesses all the right ingredients: an idealistic young lawyer, a corrupt corporate villain and a sympathetic victim. It just fails to assemble them into a compelling whole.
    • 35 Metascore
    • 40 Jeannette Catsoulis
    This crackpot thriller from the usually competent Jim Sheridan leaves only one mystery unsolved: what on earth was he thinking?
    • 49 Metascore
    • 40 Jeannette Catsoulis
    This debut feature from Matthijs van Heijningen is as stiff as the Antarctic tundra. Where the earlier film pulsed with precisely calibrated paranoia and distinctly drawn characters, this inarticulate replay unfolds as mechanistically as a video game.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    What could have been a moderately entertaining short film is yanked to intolerable lengths in Killing Bono, a shapeless rock-music caper that, like its deluded antihero, just doesn't know when to stop.
    • 13 Metascore
    • 40 Jeannette Catsoulis
    Red Hook Black crawls forward by means of stilted conversations and vacuous exchanges.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    An intermittently interesting but fatally clichéd comedy of personal and professional suicide.
    • 43 Metascore
    • 40 Jeannette Catsoulis
    Mr. Defa and his cinematographer, Mike Gioulakis, are united in their disdain for information over mood: as the camera skitters spastically around its troubled schlub, the film becomes a muddy, minimalist moan of desperation.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    The result is a movie that feels more like a free-market sales pitch than like a critical look at one weapon in the poverty-fighting arsenal that may or may not offer long-term hope.
    • 52 Metascore
    • 40 Jeannette Catsoulis
    Political menace stalks youthful idealism in Putin's Kiss, a portentous, rather creepy documentary that masks its lack of historical context with an atmosphere of accumulating threat.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    This archipelago of maneuvers, however jaw-dropping, never coheres into a real movie.
    • 38 Metascore
    • 40 Jeannette Catsoulis
    Mr. Donaldson has proven deftness with panting plots and knife-edge tension, but this cobbled-together noir does him no justice at all.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    This mawkish rom-com mines class, ethnic and ambulatory boundaries for cheap laughs and cheap-looking visuals.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    If the 20-odd seconds of blank screen squatting pointlessly amid the opening credits aren't enough warning that you're in for some seriously sluggish storytelling, then the adoption of a snail as one of the central motifs should drive the point home.
    • 57 Metascore
    • 40 Jeannette Catsoulis
    To experience Chimpanzee, the latest piece of gorgeously shot pablum from Disneynature, is to endure an orgy of cuteness pasted over some of the most asinine narration ever to ruin a wildlife movie.
    • 34 Metascore
    • 40 Jeannette Catsoulis
    Crisply shot and surprisingly well acted, Mother's Day suffers from an overly long script (a tornado hovers off screen to no apparent purpose) and annoying glitches in continuity.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    The best thing about Small, Beautifully Moving Parts is its admission that a positive pregnancy test is not always cause for giddy celebration; the worst thing is that, even at a lean 73 minutes, this flimsy road movie feels at least 43 minutes too long.
    • 37 Metascore
    • 40 Jeannette Catsoulis
    His (Jackson) doleful revenant is in almost every scene, and this hardworking actor seems to know that the film around him should be a light-footed caper instead of a grim noir with a side order of deviance.
    • 31 Metascore
    • 40 Jeannette Catsoulis
    An ostensible romantic comedy that's really just a grating portrait of an irredeemable jerk.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    Creepy, silly, startling, irritating, and black-vomit-and-multicolored-urine disgusting, The Oregonian wears out its welcome within 30 minutes.
    • 55 Metascore
    • 40 Jeannette Catsoulis
    Alien invasion is just an excuse for romantic farce in Extraterrestrial, a tiresome roundelay of lies, lust and leaping paranoia.
    • 20 Metascore
    • 40 Jeannette Catsoulis
    For the thickheaded thriller Assassin's Bullet the Bulgarian actress Elika Portnoy dreamed up a story with three roles for herself and fails to convince in any of them.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    With slapstick smothering the scares, [REC 3] is further marred by a plot in which the muted Catholicism of its antecedents is turned up to full blast.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Taking place almost entirely inside computer-simulated global locations, "Retribution" moves closer than ever to its airless video game roots.
    • 50 Metascore
    • 40 Jeannette Catsoulis
    Exhaustive and exhausting, the new energy documentary Switch is so monotonous it makes "An Inconvenient Truth" look like "Armageddon."
    • 43 Metascore
    • 40 Jeannette Catsoulis
    Pairing a dull romance with an even duller sport (at least as represented here), this cliché-ridden vanity project is more suited to the ABC Family channel than to the inside of a movie theater.
    • 34 Metascore
    • 40 Jeannette Catsoulis
    Despite Ms. Janssen's fine taste in music - it's lovely to hear Jorma Kaukonen's "Genesis" on the soundtrack - her film's downfall was ensured by a leading lady who will always be more credible chasing zombies than the American dream.
    • 31 Metascore
    • 40 Jeannette Catsoulis
    Unable to shape these events into a dramatic structure, the director, Camilo Vila, resorts to a meandering tale of random indignities suffered by a lead so bland he comes across less as principled than as stupendously naïve.
    • 55 Metascore
    • 40 Jeannette Catsoulis
    A low-budget horror anthology with segments both ghastly and moronic.
    • 29 Metascore
    • 40 Jeannette Catsoulis
    Part infomercial, part public-service announcement, Trade of Innocents carries such a suffocating human-rights burden that it never had much chance of becoming an actual movie. Yes, child trafficking is horrific; but embedding your raise-the-alarm mission in a film this inept runs the risk of arousing more amusement than activism.
    • 32 Metascore
    • 40 Jeannette Catsoulis
    Though both actors deliver performances more credible than the plot that frames them, their authenticity only highlights the script's affection for improbable coincidences and an ending even Garry Marshall might consider too pat.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    Jack & Diane offers a glaring example of a writer and director, Bradley Rust Gray, unable to trust in the simple strength of his material.
    • 35 Metascore
    • 40 Jeannette Catsoulis
    This well-acted debut feature from Michael Connors (a former Army captain) is too limited in ambition and scope to satisfy our expectations.
    • 36 Metascore
    • 40 Jeannette Catsoulis
    Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
    • 43 Metascore
    • 40 Jeannette Catsoulis
    An awkward blend of anti-Semitic atrocities and identity-swapping absurdity, the World War II drama My Best Enemy struggles to find a convincing tone.
    • 56 Metascore
    • 40 Jeannette Catsoulis
    It’s all a bit precious and predictable.
    • 41 Metascore
    • 40 Jeannette Catsoulis
    Whether viewed as empowerment tools or aphrodisiacs, stress relievers or deadly bodyguards, these weapons and their owners never cohere into an actual point.
    • 20 Metascore
    • 40 Jeannette Catsoulis
    Mundane conversations and outings drag on while the central mystery takes baby steps forward, suggesting that a shorter running time or a more developed script might have better served the originality of the premise.
    • 35 Metascore
    • 40 Jeannette Catsoulis
    This poor-surfers-make-good drama from Morgan O’Neill and Ben Nott relies more than it should on toned thighs and taut gluteals. Be grateful; there’s nothing to see on dry land that’s anywhere near as compelling.
    • 33 Metascore
    • 40 Jeannette Catsoulis
    Too much of the film feels like shorthand, a trail of teasing crumbs to lead us to the inevitable sequels.
    • 60 Metascore
    • 40 Jeannette Catsoulis
    Despite smatterings of wit and a stable of skilled performers, C.O.G. struggles to find a consistent tone, its episodic structure veering from farcical to poignant to dangerously raw.
    • 54 Metascore
    • 40 Jeannette Catsoulis
    Mr. Banker teases us with a dizzy, dislocating shooting style that throws up a succession of eerily arresting images. Even so, his film never overcomes the fact that watching drugged-out wastrels is rarely interesting — unless, of course, you’re one of them.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    In this blood-splattered wasteland, neither original ideas nor acting skills flourish.
    • 48 Metascore
    • 40 Jeannette Catsoulis
    Dignified to a fault and crammed with historical worthies (like a pre-deportation Emma Goldman), this dry tour of union hall strife and kitchen table sentiment wears its sympathies proudly.
    • 47 Metascore
    • 40 Jeannette Catsoulis
    Preachy and pretty, Heaven is a classy-looking product with a vanilla flavor and a pastel palette.
    • 44 Metascore
    • 40 Jeannette Catsoulis
    Even more inadvisable was the decision (whether made by Mr. McLean or his backers) to transform the mercurial psychopath Mick Taylor (a truly menacing John Jarratt) into a roguish cartoon.
    • 52 Metascore
    • 40 Jeannette Catsoulis
    This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    Essentially, we’re watching dead people refuse to lie down, yet the acting isn’t terrible, and Scott Winig’s photography is satisfyingly bleak and grimy.
    • 51 Metascore
    • 40 Jeannette Catsoulis
    Narratively and emotionally, this weirdly becalmed trifle by Maria Sole Tognazzi ends up almost exactly where it started.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    Unfocused and repetitive, this feature-length commercial by Jeremy Snead uses a muddled timeline and bargain basement graphics to produce a horn-tooting, “Aren’t games awesome?” tone.
    • 59 Metascore
    • 40 Jeannette Catsoulis
    A balloon of cuteness that makes you yearn for a pin, What If is Saturday night comfort food for those who need to believe that even the most curdled among us can find a mate.
    • 45 Metascore
    • 40 Jeannette Catsoulis
    Proceeding in a tone of unrelieved misery, Coldwater is a punishing, predictable drama that’s almost rescued by strong acting and good intentions.
    • 52 Metascore
    • 40 Jeannette Catsoulis
    The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
    • 46 Metascore
    • 40 Jeannette Catsoulis
    The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.
    • 40 Metascore
    • 40 Jeannette Catsoulis
    Playing characters with no real substance, the actors struggle to develop a sense of shared peril.
    • 39 Metascore
    • 40 Jeannette Catsoulis
    Burdened by a ludicrous script and messy direction, Ms. Kirkland — a headstrong veteran performer who is nothing if not game — has proved that she can play this kind of role in her sleep. If only the movie around it were worthy of her efforts.
    • 52 Metascore
    • 40 Jeannette Catsoulis
    the Australian drama Felony proves only that skilled actors and slick photography can tart up even the most problematic script.
    • 54 Metascore
    • 35 Jeannette Catsoulis
    Whichever side of the aisle you inhabit, you will leave The Iron Lady feeling disgusted; you will also feel cheated - of information, insight or even an identifiable point of view.
    • 59 Metascore
    • 30 Jeannette Catsoulis
    Cocaine Cowboys is a tabloid headline, a movie as oppressive and inarticulate as the lives it represents.
    • 52 Metascore
    • 30 Jeannette Catsoulis
    A limp urban comedy not nearly as whimsical as its title.
    • 34 Metascore
    • 30 Jeannette Catsoulis
    Though the film's final, disturbing image forces race to the forefront and belatedly raises wider issues of persecution, its most controversial suggestion is not that Jesus might have been black but that he might have been a really terrible actor.
    • 39 Metascore
    • 30 Jeannette Catsoulis
    A Rubik’s Cube of shifting sexual orientation and elaborate sex fantasies, “Sloppy Seconds” gathers all the accouterments of soft pornography -- cheesy music, low-rent acting and attractively framed genitals -- into a plot of stunning imbecility.
    • 21 Metascore
    • 30 Jeannette Catsoulis
    National Lampoon’s Van Wilder 2: The Rise of Taj harnesses smut and silliness to an oddly innocent tale of true love.
    • 43 Metascore
    • 30 Jeannette Catsoulis
    A limp sci-fi comedy with fewer laughs than a meeting of Abductees Anonymous.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    This dissociation leaves the supporting cast to its own devices, with no one suffering more than the appealing Eva Mendes as Johnny's true love, Roxanne. If Ms. Mendes ever finds a director willing to allow her to perform with her shirts fully buttoned, there will be no stopping her.
    • 26 Metascore
    • 30 Jeannette Catsoulis
    A tiresome blend of overacting and underwriting, The Salon moves from one predictable conversation to another -- the lack of available black men, the wondrousness of Bill Clinton -- without originality or comic rhythm.
    • 44 Metascore
    • 30 Jeannette Catsoulis
    Rehashing characters and plots from the "Law & Order" playbook, the director, Rafal Zielinski, supplements his material with religious iconography and more gauzy close-ups than a Barbra Streisand marathon.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Sweetness and whimsy fill the screen to capacity in I'm Reed Fish, a rural coming-of-age tale that's so laid-back that its cast is almost horizontal.
    • 24 Metascore
    • 30 Jeannette Catsoulis
    The movie has been thoroughly eclipsed by "Captivity" the marketing.
    • 21 Metascore
    • 30 Jeannette Catsoulis
    Arriving as inevitably as puberty, Bratz introduces the swollen-headed, fashion-addicted dolls of the title to a live-action movie.
    • 37 Metascore
    • 30 Jeannette Catsoulis
    Underdog may have been originally created to sell cereal for General Mills, but this latest incarnation couldn't sell Frisbees at a dog park.
    • 40 Metascore
    • 30 Jeannette Catsoulis
    Luridly earnest and laughably immoral, Illegal Tender is an old genre movie with a new look. Call it Hispanixploitation.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    The writer and director, Joby Harold, claims to have been inspired to write the film while suffering from a particularly painful kidney stone. Watching it may be for some a comparable experience.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    The film version is now being granted a limited release. Exactly how limited will depend on your tolerance for tasteless behavior, extravagant overacting and a decibel level to rival the unveiling of Oprah’s Favorite Things.
    • 24 Metascore
    • 30 Jeannette Catsoulis
    A poker-faced puzzle whose biggest shock is the absence of Sarah Michelle Gellar.
    • 39 Metascore
    • 30 Jeannette Catsoulis
    The movie speeds up and slows down as though controlled by a director in the grip of competing medications. For those who make it to the final beatdown, however, the only pill worth taking is the one that makes you forget.
    • 30 Metascore
    • 30 Jeannette Catsoulis
    Harnessing mostly fine actors to a wholly asinine script, the directors, Melisa Wallack and Bernie Goldmann, have created a movie as spineless and dithering as its benighted namesake.
    • 20 Metascore
    • 30 Jeannette Catsoulis
    Expelled is an unprincipled propaganda piece that insults believers and nonbelievers alike.
    • 49 Metascore
    • 30 Jeannette Catsoulis
    A dreary, interminable drama written and directed by Eva Aridjis, is exactly one-third of a good movie. That third is Frank Wood's beautifully modulated and modest central performance.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    All in all, this is a movie best enjoyed with a snoot full and a morbid disposition.
    • 39 Metascore
    • 30 Jeannette Catsoulis
    The movie's amoral momentum is fatally slowed by an acronym-heavy script and flimsy characterizations that offer fine actors -- including Rip Torn as Tom's contemptuous father and Naomie Harris as his missed opportunity -- little to play.
    • 26 Metascore
    • 30 Jeannette Catsoulis
    Features annoying characters navigating unbelievable situations.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    Soured by its enervated star and uninspired writing, the movie offers only tiny moments of joy, like a hailstorm of gumballs that's unexpectedly magical.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    Gives you the creeps, the giggles and the groans in almost equal measure.
    • 28 Metascore
    • 30 Jeannette Catsoulis
    Suffers from abusive close-ups, repetitive fight sequences and uninspired demon design.
    • 30 Metascore
    • 30 Jeannette Catsoulis
    There used to be entertainment in the dodging and wit in the scripts; now there’s 3-D.
    • 28 Metascore
    • 30 Jeannette Catsoulis
    According to the press notes, pandorum means “Orbital Dysfunctional Syndrome”; whatever that is, by the end of the movie I was convinced I had caught it.
    • 24 Metascore
    • 30 Jeannette Catsoulis
    As depressing as the résumés of its 9-to-5 characters, The Strip sweats to wring laughs from overworked themes and underwhelming performances.
    • 38 Metascore
    • 30 Jeannette Catsoulis
    Alternately rancid and ridiculous, strident and sickly sweet, Our Family Wedding”offers plenty that’s old, borrowed and blue; it’s the something new that’s missing.
    • 14 Metascore
    • 30 Jeannette Catsoulis
    A cheapie hostage drama with a lot more swagger than substance, The Killing Jar strains to wring tension from a tired premise and an airless script.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    An unruly mash-up of terrific anecdotes and terrible teeth, grainy film and garish memories, Who Killed Nancy? cares less about investigating a death than about vindicating an accused killer.
    • 57 Metascore
    • 30 Jeannette Catsoulis
    You may not believe it's possible to bore people to death with a film about risking your life, but The Wildest Dream comes shockingly close.
    • 37 Metascore
    • 30 Jeannette Catsoulis
    This witless installment features the usual ultra-slow-motion mayhem and helpful freeze-frames to allow us to admire the extra dimension. Fans will not be happy, however, to learn that Ms. Jovovich is more decently clothed this time around.
    • 30 Metascore
    • 30 Jeannette Catsoulis
    A tired mash-up of every men-behaving-badly sitcom ever to grace a third-tier television network, Speed-Dating tries to coax laughs from characters so dated even Eddie Murphy would balk.
    • 31 Metascore
    • 30 Jeannette Catsoulis
    Jolene's skin may smell like warm milk to Brad, but to the rest of us it has curdled long before she leaves his bed.
    • 28 Metascore
    • 30 Jeannette Catsoulis
    The entire film seems to be happening on the other side of a dirty window - good news for the dreadful computer-generated effects, if not for our eyes.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    This bizarre sort-of satire featuring insane characters doing incomprehensible things might be forgivable if it were even mildly amusing. It's not.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    Teeming with smart American humorists - and a passel of Arquettes - all unconditionally admiring. What's astonishing, then, is that not one of them stepped in to dissuade their friend from participating in such an embarrassingly awful project.
    • 32 Metascore
    • 30 Jeannette Catsoulis
    From its "once upon a time" beginning to the anticlimactic end, Footprints remains fatally lodged in La-La Land.
    • 50 Metascore
    • 30 Jeannette Catsoulis
    A lackadaisical dive into backwoods barminess and masculine neuroses, this low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
    • 61 Metascore
    • 30 Jeannette Catsoulis
    Anyone looking for the lowdown on haute cuisine will be sorely disappointed: devoid of emotion, context or narrative, the baffling avant-garde techniques and extreme politesse of the lab become oppressively dull.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    As the uniformly annoying characters stumble around, screaming and cursing, we don't give a hoot for their survival. Quite the reverse: we're counting the minutes until the asylum's ghostly inhabitants silence them for good.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    As she learns the value of public schools and pickup trucks, her erstwhile friends in Philadelphia seem happy to be rid of her. By movie's end, you'll feel exactly the same.
    • 49 Metascore
    • 30 Jeannette Catsoulis
    This emotionally manipulative, heavily partial look at the purported link between autism and childhood immunization would much rather wallow in the distress of specific families than engage with the needs of the population at large.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Seriously depleting the skanky-villain bin at central casting, the moronic thriller Gone stars Amanda Seyfried as Jill.
    • 32 Metascore
    • 30 Jeannette Catsoulis
    Not even a dewy heroine and a youth-friendly vibe can disguise the essential ugliness at its core: like the bloodied placards brandished by demonstrators outside women's health clinics, the film communicates in the language of guilt and fear.
    • 25 Metascore
    • 30 Jeannette Catsoulis
    Without Mr. Roberts and his grinning insouciance, this well-meaning mess would have no heartbeat at all.
    • 22 Metascore
    • 30 Jeannette Catsoulis
    Dry as new bank notes and doggedly uncinematic, Simon Yin's $upercapitalist approaches the seamy side of international finance with a story as stale as the subprime meltdown.
    • 37 Metascore
    • 30 Jeannette Catsoulis
    Newlyweds are slaughtered, a child kidnapped and a suicide bombing foiled, all of it advanced by chunks of clumsy dialogue and embarrassingly labored acting.
    • 37 Metascore
    • 30 Jeannette Catsoulis
    Plagued by clunky action sequences and a porous plot the cast visibly wilts.
    • 53 Metascore
    • 30 Jeannette Catsoulis
    This one-note documentary from Ramona S. Diaz is as hostile to conflict as the group’s songs themselves.
    • 21 Metascore
    • 30 Jeannette Catsoulis
    To borrow RuPaul’s delightful catchphrase, the only possible response to a project like this is to advise it to “sashay away.”
    • 35 Metascore
    • 30 Jeannette Catsoulis
    An unappealing jumble of sex, regret and hero worship, “Bert Stern” is an odd tribute to brilliance muffled by lust.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Were it not for the charming Patrick Bruel as a no-nonsense security expert and Alice’s unlikely suitor, this spun-sugar concoction would be well nigh unwatchable.
    • 48 Metascore
    • 30 Jeannette Catsoulis
    More focused on philosophy then feeding, “Kiss” marries a mash-up of undead clichés (I know, let’s have another lingering shot of the moon!) to hilariously stilted conversations.
    • 26 Metascore
    • 30 Jeannette Catsoulis
    Mr. Kitamura, an action enthusiast who prefers to show rather than tell, seems unaware that the film’s dialogue is laughable, its characters unfathomable and the acting often less than optimal.
    • 34 Metascore
    • 30 Jeannette Catsoulis
    Viewed solely as a string of action sequences, Erased delivers the kind of dryly efficient, wearyingly familiar entertainment that already clogs too many of our movie screens.
    • 27 Metascore
    • 30 Jeannette Catsoulis
    Pointing at everything and elucidating nothing, Hello Herman arrives freighted with the anti-bullying agenda of its director, Michelle Danner.
    • 44 Metascore
    • 30 Jeannette Catsoulis
    Dark, airless and packed with psychological hurt that seems to spring from nowhere, this angry morality play, tucked inside a police procedural, suffers from a crippling lack of back story and characters whose relationships are fraught with unexplained complexity.
    • 50 Metascore
    • 30 Jeannette Catsoulis
    This painfully awkward product fails on almost every level.
    • 42 Metascore
    • 30 Jeannette Catsoulis
    Advancing without a single original idea or surprising moment, Austenland seems torn between poking fun at the British and lampooning Austen’s many American fanatics — a riskier enterprise, considering that they’ll be needed to fill theater seats.
    • 39 Metascore
    • 30 Jeannette Catsoulis
    In grabbing for the heart this one-size-fits-all fable sadly ignores the mind.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    Like much of Ms. Cody’s work, Paradise plays out in quippy sound bites, only this time they feel entirely unsuited to Lamb’s sheltered background.
    • 54 Metascore
    • 30 Jeannette Catsoulis
    The battle scenes are as lacking in heat and coherence as the central love story.
    • 27 Metascore
    • 30 Jeannette Catsoulis
    A painfully gauche, galumphing attack on factory farming, meat eating, animal experimentation and human supremacy.
    • 44 Metascore
    • 30 Jeannette Catsoulis
    As artificial as the inseminations it celebrates, Delivery Man is a soggy comedy more focused on stimulating your tear ducts than your funny bone.
    • 40 Metascore
    • 30 Jeannette Catsoulis
    The film never finds its dramatic footing. Nor, sadly, its common sense.
    • 19 Metascore
    • 30 Jeannette Catsoulis
    In lieu of tension, the film is stuffed with crazed musical crescendos, amateurish structural feints and pregnant pauses that cry out for the familiar “chu-CHUNG” of a “Law & Order” scene change.
    • 34 Metascore
    • 30 Jeannette Catsoulis
    Matt Bettinelli-Olpin and Tyler Gillett direct with competence but a dispiriting lack of originality.
    • 34 Metascore
    • 30 Jeannette Catsoulis
    It’s all just so much empty eye candy.
    • 36 Metascore
    • 30 Jeannette Catsoulis
    Robert Nathan’s Lucky Bastard is a sorry-looking found-footage thriller as unconvincing as its characters’ thrashing orgasms.
    • 33 Metascore
    • 30 Jeannette Catsoulis
    Jay Alaimo’s sour tale of suburban greed and marital disappointment, can’t even deliver a temporary high; mired in the blahs, the blues and the midlife crazies, this poor man’s “American Beauty” slowly sucks your will to live.
    • 47 Metascore
    • 30 Jeannette Catsoulis
    Maddeningly muddled and frustratingly counterintuitive... the story shuttles between Hong Kong and mainland China without a noticeable gain in logic or reduction in decibels.
    • 32 Metascore
    • 30 Jeannette Catsoulis
    Smooth and folksy, it traffics in broad, unchallenged claims that serve a single purpose: to persuade us that the only thing wrong with today’s farming methods is our misinformed perception of them.
    • 35 Metascore
    • 30 Jeannette Catsoulis
    This lifeless adaptation only proves that making entertaining movies out of hard-to-swallow ideas is as challenging as you might think.
    • 50 Metascore
    • 30 Jeannette Catsoulis
    Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
    • 58 Metascore
    • 30 Jeannette Catsoulis
    James Cameron upstages the ocean in Deepsea Challenge 3D, a shallow vanity project that invites us to join him in marveling at his own daring.
    • 38 Metascore
    • 30 Jeannette Catsoulis
    This quivering effort from the director John Erick Dowdle only increases in impenetrability whenever anything mildly curious occurs.
    • 26 Metascore
    • 30 Jeannette Catsoulis
    Hilary Brougher’s Innocence (based on Jane Mendelsohn’s 2000 novel) moves to the formulaic beats of the second-rate TV movie, albeit one cloaked in an ultra-glossy sheen.
    • 50 Metascore
    • 30 Jeannette Catsoulis
    This shockingly flabby effort from Mr. Anderson — who, in features like “The Machinist” (2004) and “Session 9” (2001), showed a much surer hand with oppressive atmospheres and troubled psyches — feels as nutty as its characters.
    • 51 Metascore
    • 30 Jeannette Catsoulis
    With its fusty air and glumly earnest performances, this unnecessary reminder of Steven Spielberg’s soppy 2011 staging of another of Mr. Morpurgo’s novels, “War Horse,” is about as entertaining as trench mouth.
    • 34 Metascore
    • 30 Jeannette Catsoulis
    Unevenly directed by Isaac Feder, Sex Ed droops.
    • 26 Metascore
    • 30 Jeannette Catsoulis
    Saving most of its special-effects pennies until the final five minutes, Hangar 10 struggles to build a science-fiction movie from little more than a ghost of an idea and an infamous location.
    • 47 Metascore
    • 30 Jeannette Catsoulis
    Smothered by a storm of visual tics — and the tiniest of nods to “Rear Window” (1954) — any social commentary takes second place to multitasking gimmickry.
    • 22 Metascore
    • 20 Jeannette Catsoulis
    With a peephole-riddled set and a flashback-heavy screenplay, Black Christmas smothers terror beneath a blanket of unnecessary information, revealing too much and teasing too little.
    • 23 Metascore
    • 20 Jeannette Catsoulis
    Tailor-made for those who like their violence multifaceted and their women monosyllabic.
    • 33 Metascore
    • 20 Jeannette Catsoulis
    Yawningly directed by Jim Isaac, Skinwalkers is a slavering mess that buries its clunky addiction metaphor beneath a welter of genre clichés, all delivered in extra-slow motion.
    • 9 Metascore
    • 20 Jeannette Catsoulis
    Overkill is what Jason Friedberg and Aaron Seltzer do best: as the uncontested titans of the parody genre (with fingers in everything from the “Scary Movie” franchise to the more recent “Epic Movie”) they continue to prove that ridiculing other movies is much easier than making your own.
    • 17 Metascore
    • 20 Jeannette Catsoulis
    The movie offers less gore than the average Band-Aid commercial and fewer scares than the elimination episodes of "Dancing With the Stars."
    • 37 Metascore
    • 20 Jeannette Catsoulis
    A mawkish drama hobbled by a thoroughly unpleasant and uncharismatic lead performance.
    • 17 Metascore
    • 20 Jeannette Catsoulis
    Prostitutes are not the only things butchered in The Lodger, a spooky story ruined by lumpen dialogue, cloddish performances and a director and writer (David Ondaatje) oblivious to both.
    • 41 Metascore
    • 20 Jeannette Catsoulis
    Boorish, bigoted and borderline pornographic.
    • 29 Metascore
    • 20 Jeannette Catsoulis
    Offers agony in a vacuum, a villain without a motive and a hero with more personal problems than lines of dialogue.
    • 39 Metascore
    • 20 Jeannette Catsoulis
    A stunningly witless revival of the infamous British film series about a girls’ boarding school.
    • tbd Metascore
    • 20 Jeannette Catsoulis
    Trafficking in irresponsible inferences and unsupported conclusions, the filmmaker Brent Leung offers himself as suave docent through a globe-trotting pseudo-investigation that should raise the hackles of anyone with even a glancing knowledge of the basic rules of reasoning.
    • 24 Metascore
    • 20 Jeannette Catsoulis
    After a particularly brutal, attention-grabbing start, Breaking Point quickly devolves into a flavorless stew of murder, corruption, blackmail and baby tossing.
    • 20 Metascore
    • 20 Jeannette Catsoulis
    Missing no stops on the road from cloying to annoying, Harlem Aria has waited more than 10 years for domestic release. Maybe its destiny has been written.
    • 23 Metascore
    • 20 Jeannette Catsoulis
    Substituting sex for suspense and pop music for ideas, the director Christian E. Christiansen drags The Roommate from limp beginning to lame conclusion.
    • 23 Metascore
    • 20 Jeannette Catsoulis
    Cuter than a basket of puppies licking a litter of kittens, An Invisible Sign is an excruciatingly whimsical collision of adult themes and kid-friendly aesthetic.
    • 30 Metascore
    • 20 Jeannette Catsoulis
    As one bloody encounter treads on the heels of the next, all that remains is a tiny indie undone by its own vicious ambitions.
    • 11 Metascore
    • 20 Jeannette Catsoulis
    "How are we going to get out of here?" Sarah squawks at one point, a question that Mr. Dourif ought to have asked his agent long before the cameras began to roll.
    • 33 Metascore
    • 20 Jeannette Catsoulis
    Fusty research, aging interviewees and decades-old advertising campaigns offer background to the uninitiated, but Mr. Warrick's muddled, undisciplined approach destroys even the possibility of a cogent overview.
    • 59 Metascore
    • 20 Jeannette Catsoulis
    Silver Bullets neither pleases the eye nor stimulates the mind.
    • 16 Metascore
    • 20 Jeannette Catsoulis
    Really, how slovenly is it to use invisible aliens? If you're going to tease us with nothing but pinwheels of light for three-quarters of the film, you'd better have one heck of a reveal up your sleeve.
    • 11 Metascore
    • 20 Jeannette Catsoulis
    Told with multiple flashbacks and minimal taste, this exuberantly scuzzy thriller - shot in less than two weeks with a budget as micro as the women's skirts - pits sleazy cops against fun-loving disrobers in the middle of scraggly foliage.
    • 25 Metascore
    • 20 Jeannette Catsoulis
    Failing to expand on the intriguing notion that evil can find physical form online, Smiley, like its sutured monster, is sadly more to be pitied than feared.
    • 24 Metascore
    • 20 Jeannette Catsoulis
    He might as well be describing the act of watching this grating round robin of connubial dysfunction and romantic disappointment.
    • 32 Metascore
    • 20 Jeannette Catsoulis
    A toothless examination of marketing and morality, Álex de la Iglesia’s As Luck Would Have It combines lecture, farce and soapy sentiment in a single misshapen package.
    • 39 Metascore
    • 20 Jeannette Catsoulis
    This dreary spy drama is as flat and airless as the concrete bunker in which it unfolds.
    • 29 Metascore
    • 20 Jeannette Catsoulis
    An exhaustingly pretentious heave of artistic self-involvement, The Time Being takes an exceptionally handsome journey to nowhere at all.
    • 24 Metascore
    • 20 Jeannette Catsoulis
    [A] regrettably hokey first feature from Bryan Anthony Ramirez.
    • 40 Metascore
    • 20 Jeannette Catsoulis
    A mess from start to finish — though, judging by the ending, this story won’t be over any time soon — Insidious: Chapter 2 is the kind of lazy, halfhearted product that gives scary movies a bad name.
    • 31 Metascore
    • 20 Jeannette Catsoulis
    One of those projects whose very existence should baffle anyone hardy enough to endure all 94 minutes.
    • 36 Metascore
    • 20 Jeannette Catsoulis
    For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
    • 32 Metascore
    • 20 Jeannette Catsoulis
    Too slight to persuade, The Unbelievers is also too poorly made to entertain. The rational roots of atheism deserve a much better movie than this.
    • 23 Metascore
    • 20 Jeannette Catsoulis
    Filled with sappy dialogue and screeching strings, Truth is a puerile excavation of secrets and sickness.
    • 24 Metascore
    • 20 Jeannette Catsoulis
    This sickly sweet concoction sets your teeth on edge.
    • 34 Metascore
    • 20 Jeannette Catsoulis
    Dim in wits and lighting, The Possession of Michael King strains our eyes, spits on our intelligence and saps our generosity of spirit. Relatively untaxed, however, is the part of the brain that processes new experiences: There’s scarcely a shot or an idea in this first feature from David Jung that we haven’t seen many times before.
    • 12 Metascore
    • 20 Jeannette Catsoulis
    The director, Vic Armstrong — whose lengthy résumé hews primarily toward stunt work — displays no facility with actors and even less with pacing.
    • 29 Metascore
    • 20 Jeannette Catsoulis
    Airless, senseless — and seemingly endless — this clumsy heist movie, directed by the prolific schlockmaster Brian Trenchard-Smith, manages to make even the magnificent coastline of Queensland, Australia, feel dreary.
    • 37 Metascore
    • 20 Jeannette Catsoulis
    Silly beyond words, Wolves is indifferently acted and unconvincingly realized.
    • 35 Metascore
    • 10 Jeannette Catsoulis
    Silly, slack and unforgivably tedious, Thomas Harris's screenplay is padded with interminable flashbacks and a bombastic score that telegraphs every emotion Hannibal represses. And there are a lot of them.
    • 26 Metascore
    • 10 Jeannette Catsoulis
    Memory is an inane, sluggish mess.
    • 16 Metascore
    • 10 Jeannette Catsoulis
    Pretentious and inane.
    • 21 Metascore
    • 10 Jeannette Catsoulis
    Not even the august presence of Maximilian Schell can dispel the odor of fusty smut that clings to House of the Sleeping Beauties, a clammy meditation on sex, death and the endless fascination of unclothed innocence.
    • 11 Metascore
    • 10 Jeannette Catsoulis
    Unlike Michael Knowles's similarly plotted and vastly superior "Room 314," The Trouble With Romance is visually stagnant and tonally bewildered.
    • 13 Metascore
    • 10 Jeannette Catsoulis
    This laughably clichéd dive into sexual masochism and hardscrabble survival replaces story with outline and characters with place holders.
    • 21 Metascore
    • 10 Jeannette Catsoulis
    Unless you’re trapped on an airplane or enjoying movie night at the penitentiary, you have no excuse for watching Killers. A brain-deadening collision of high concept and low standards.
    • 13 Metascore
    • 10 Jeannette Catsoulis
    A movie that feels like punishment for a crime you can't remember committing.
    • 9 Metascore
    • 10 Jeannette Catsoulis
    Veering from ridiculous to revolting, The Tortured would like to be about more than singed nipples and seared skin. And it is: It's also about cracked toes and lanced eardrums.
    • 17 Metascore
    • 10 Jeannette Catsoulis
    Men are pigs, and women are sick of it, says Girls Against Boys, a dumb, dreary, let's-get-back-at-them slasher in which pulverized genitals pass for feminist critique.
    • 14 Metascore
    • 10 Jeannette Catsoulis
    Neither suspenseful nor even comprehensible, John Swetnam’s dashed-off script (carelessly directed by Olatunde Osunsanmi) throws up plenty of red herrings — and a stupendously idiotic ending — but not a single character worth caring about.
    • 22 Metascore
    • 10 Jeannette Catsoulis
    Sadly, the only thing audiences are likely to find horrific is the acting. Or the possibility that any of these people might make another movie.
    • 22 Metascore
    • 0 Jeannette Catsoulis
    A scorching affront to Italians, Iraqis and the intelligence of movie audiences everywhere.
    • 7 Metascore
    • 0 Jeannette Catsoulis
    Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue.
    • 40 Metascore
    • 0 Jeannette Catsoulis
    Clueless, directionless and altogether pointless.
    • 27 Metascore
    • 0 Jeannette Catsoulis
    A futuristic vomitorium of bosoms and bullets.
    • 21 Metascore
    • 0 Jeannette Catsoulis
    Soulless, joyless and depressingly graceless, Alien Girl plays like an early Guy Ritchie knockoff without the jokes or Cockney accents.
    • 6 Metascore
    • 0 Jeannette Catsoulis
    A cringingly awkward tale of sexual predation and female lunacy.
    • 3 Metascore
    • 0 Jeannette Catsoulis
    Insulting several nationalities and most of the filmgoing public, Tied to a Chair lurches through acting atrocities, continuity glitches and narrative gaps with grating insouciance.
    • 26 Metascore
    • 0 Jeannette Catsoulis
    If you are going to be this mean-spirited, you had better deliver the jokes, but the film's attacks on pretentious parents - not to mention put-downs of hardworking immigrants - consistently come off as more hateful than humorous.
    • 6 Metascore
    • 0 Jeannette Catsoulis
    A film with nothing to please the eye and even less to excite the mind.
    • 20 Metascore
    • 0 Jeannette Catsoulis
    By the midway point, viewers will be questioning whether they would rather remain in their seats or put their eyes out with a fork.
    • 40 Metascore
    • 0 Jeannette Catsoulis
    The dialogue is dreadful (though we are at least spared the usual hokey Russian accents) and the wrap-up ridiculous, the only mystery being why this peculiarity was ever greenlighted at all.
    • 12 Metascore
    • 0 Jeannette Catsoulis
    Oconomowoc has one thing going for it: a running time of just 79 minutes, even if every one of them feels like an eternity.
    • 15 Metascore
    • 0 Jeannette Catsoulis
    Pathetically inept.
    • 12 Metascore
    • 0 Jeannette Catsoulis
    This fiasco from the writer and director Mark Edwin Robinson will persuade you that the title refers not to a place without light (though there’s precious little) but to a story without reason.
    • 3 Metascore
    • 0 Jeannette Catsoulis
    It’s a poorly acted grab bag of shopworn ideas and hyperbolic behaviors that not even Ryan Murphy could translate into entertainment.

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