For 552 reviews, this critic has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4 points lower than other critics. (0-100 point scale)

Joe Leydon's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 High Fidelity
Lowest review score: 0 Movie 43
Score distribution:
  1. Negative: 75 out of 552
552 movie reviews
    • 26 Metascore
    • 30 Joe Leydon
    This tepid comic-bookish comedy should zip through its theatrical run faster than a speeding bullet. It likely won't perform much more superheroically in ancillary venues.
    • 40 Metascore
    • 30 Joe Leydon
    Far too aggressively seamy (and ferociously foul-mouthed) to please diehard fans of traditional sagebrush sagas, this misfire offers nothing in the way of wit, innovation or even marquee allure to interest auds accustomed to edgier revisionist oaters.
    • 38 Metascore
    • 30 Joe Leydon
    So insubstantial that it practically evaporates on screen.
    • 16 Metascore
    • 30 Joe Leydon
    Much like the ongoing real-world meltdown of its troubled star, Lindsay Lohan, I Know Who Killed Me is a disaster that exerts a perverse fascination.
    • 63 Metascore
    • 30 Joe Leydon
    Has the unmistakable look and feel of a micro-budget indie produced for a small circle of friends, many of whom are listed in the credits.
    • 25 Metascore
    • 30 Joe Leydon
    An exceptionally lame genre parody that plumbs depths of ineptitude heretofore charted only by the marginally less abysmal "Date Movie."
    • Variety
    • tbd Metascore
    • 30 Joe Leydon
    A '70s-style redneck romp aimed at folks who felt intellectually challenged by the complex narrative stratagems of "The Dukes of Hazzard" and "The Misadventures of Sheriff Lobo."
    • 29 Metascore
    • 30 Joe Leydon
    It doesn't help that Zellweger, in an unfortunate attempt to make the aud appreciate her character's uptightness, spends many of the early scenes moving about as stiff as a flagpole in January.
    • 32 Metascore
    • 30 Joe Leydon
    Arriving so soon after "A Knight's Tale" -- and the 25th-anniversary reissue of the classic "Monty Python and the Holy Grail," Black Knight is a textbook example of too much, too late.
    • 19 Metascore
    • 30 Joe Leydon
    Curtis and Pacula are thoroughly convincing in thinly written roles.
    • 38 Metascore
    • 30 Joe Leydon
    Be prepared to laugh less at a lot more of the same thing in this overbearing but underwhelming sequel.
    • 16 Metascore
    • 30 Joe Leydon
    A frenetically junky action adventure that will quickly dribble off to vid stores after a token fast break in theatrical release.
    • 45 Metascore
    • 30 Joe Leydon
    A stunningly unfunny farce that makes the worst of a stale concept.
    • 26 Metascore
    • 30 Joe Leydon
    Overall, though, the slapdash pic appears to be the work of folks who made things up as they went along; you might say they were, well, vamping.
    • 24 Metascore
    • 30 Joe Leydon
    Lightning fails to strike twice -- an underwhelming follow-up to one of the career-stalled action star's better efforts.
    • 20 Metascore
    • 30 Joe Leydon
    Plays like an overextended variety-show sketch.
    • 25 Metascore
    • 30 Joe Leydon
    Costner's earnest performance is a major plus for Dragonfly, keeping the picture grounded in some semblance of reality even as it becomes progressively more fantastical.
    • 42 Metascore
    • 30 Joe Leydon
    It's plotless, shapeless -- and yet, it must be admitted, not entirely humorless. Indeed, the more outrageous bits achieve a shock-you-into-laughter intensity of almost Dadaist proportions.
    • 27 Metascore
    • 30 Joe Leydon
    Only very small children still easily impressed by interaction of human actors and CGI quadrupeds will be amused by Garfield.
    • 61 Metascore
    • 30 Joe Leydon
    Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.
    • tbd Metascore
    • 30 Joe Leydon
    Painfully sincere yet hopelessly amateurish dramedy.
    • 43 Metascore
    • 30 Joe Leydon
    An unwieldy mix of self-conscious camp and heavy-handed allegory, Automatons plays like a cheesy '50s no-budget sci-fier with serious delusions of grandeur.
    • 30 Metascore
    • 30 Joe Leydon
    Begins as a morosely melancholy study of a thirtysomething couple on the verge of divorce, then devolves into an unpleasant thriller about their confrontation with psychos.
    • tbd Metascore
    • 30 Joe Leydon
    Criminally short on laughs as it tries to wring humor from dull activity by dim bulbs.
    • 19 Metascore
    • 30 Joe Leydon
    Overblown and underwhelming, Bitch Slap is a desperately unfunny attempt to satirically recycle cliches and archetypes from sexploitation actioners of the 1960s and '70s within the time-trippy, multiple-flashback framework of a Quentin Tarantino. extravaganza.
    • 28 Metascore
    • 30 Joe Leydon
    Plodding and repetitive in its efforts to maintain pressure-cooker intensity, The Divide resembles nothing so much as an extended "Twilight Zone" episode as it brings a sci-fi twist to a familiar scenario about stressed characters who bring out the worst in each other while trapped in close quarters.
    • 31 Metascore
    • 30 Joe Leydon
    A picture so thoroughly generic as to suggest a contraption assembled from spare parts with the aid of a how-to manual.
    • 30 Metascore
    • 30 Joe Leydon
    Yet another attempt to mix raunchy excess and romantic-comedy sweetness in an anything-goes raucous farce, The Babymakers offers a few big laughs between ho-hum stretches of frenetic vamping.
    • 20 Metascore
    • 30 Joe Leydon
    The hit-to-miss ratio is less than impressive throughout A Haunted House, a frenetic and freewheeling satirical comedy that only sporadically scores a bull's-eye while aiming at easy targets.
    • 58 Metascore
    • 30 Joe Leydon
    The concept is thought-provoking but the execution is flat-footed.
    • 23 Metascore
    • 30 Joe Leydon
    The road to hell is paved with well-intentioned clunkers like I’m in Love with a Church Girl, a strenuously sincere but tediously schematic and heavy-handed attempt at cinematic proselytizing for Christianity.
    • 27 Metascore
    • 30 Joe Leydon
    Even when judged by the standards of broad farce, however, Expecting repeatedly strains credibility and defies logic in ways too glaring to ignore.
    • 34 Metascore
    • 30 Joe Leydon
    Premature winds up resembling nothing so much as the coarsely smutty teen-sex comedies that abounded throughout the ’80s in the wake of “Porky’s.”
    • 15 Metascore
    • 30 Joe Leydon
    For the most part, however, D’Souza gives the impression of someone obsessed with whitewashing any and all dark chapters in U.S. history books. There are times when his defenses and rationalizations come across as almost laughably facile.
    • 24 Metascore
    • 20 Joe Leydon
    A clunky and cheesy disaster.
    • 18 Metascore
    • 20 Joe Leydon
    Anemic action-fantasy.
    • 11 Metascore
    • 20 Joe Leydon
    Arguably the lamest of all the free-wheeling genre parodies that have taken flight since "Airplane!," Date Movie is stupefyingly unfunny in its attempts to mock romantic comedies, celebrities, reality TV shows and anything else that pops into the heads of its creators.
    • 15 Metascore
    • 20 Joe Leydon
    Seldom has a pic been more appropriately titled than Disaster Movie, yet another frantically unfunny free-form farce.
    • 43 Metascore
    • 20 Joe Leydon
    A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.
    • 22 Metascore
    • 20 Joe Leydon
    Emerges as a formulaic thriller that plays more like direct-to-video fare than a megaplex-worthy feature.
    • 27 Metascore
    • 20 Joe Leydon
    Much like a botched souffle that fails to rise, Simply Irresistible is a bland confection that remains doggedly earthbound while attempting flights of romantic fantasy.
    • 14 Metascore
    • 20 Joe Leydon
    By turns laughably simplistic and confoundingly muddled as it charts the "final battle" between good and evil.
    • 17 Metascore
    • 20 Joe Leydon
    Action pics rarely come much more blandly generic than Extreme Ops, an instantly forgettable snow-and-stuntwork extravaganza.
    • 19 Metascore
    • 20 Joe Leydon
    An unsavory and unsatisfying blend of dumb plotting, leering lasciviousness and full-bore gore, pic should warp-speed to video shelves.
    • 11 Metascore
    • 20 Joe Leydon
    Exuberantly rude and crude, but generally more frantic than genuinely funny.
    • 15 Metascore
    • 20 Joe Leydon
    Loosely plotted and wildly uneven farce.
    • 16 Metascore
    • 20 Joe Leydon
    For auds unwilling or unable to grapple with the subtle nuances of "Scooby Doo," Warners now gives us Kangaroo Jack, a shrill and silly farce.
    • 53 Metascore
    • 20 Joe Leydon
    A numbingly pretentious approach to a moldy premise -- a handful of strangers interacting amid rubble in wake of WWIII.
    • 22 Metascore
    • 20 Joe Leydon
    At once annoyingly hyper and underwhelmingly dull.
    • 18 Metascore
    • 20 Joe Leydon
    The lame mediocrity of Vampires Suck undeniably reps an advance for writer-directors Jason Friedberg and Aaron Seltzer. By just about any other standard, however, this instantly forgettable trifle is fairly close to worthless.
    • 18 Metascore
    • 20 Joe Leydon
    This enervating muddle of paranormal nonsense manages the difficult feat of seeming frenzied and lethargic all at once, while building toward the sort of ludicrous cop-out climax that often incites die-hard genre fans to shout rude things at the screen.
    • 17 Metascore
    • 20 Joe Leydon
    The four leads are nothing if not game, and actually earn respect, along with a fair amount of sympathy, for their uninhibited willingness to go to extremes. But there are limits to what they can do to dispel the overall sense of mounting desperation as the gross-out tomfoolery grows ever more tedious.
    • 25 Metascore
    • 20 Joe Leydon
    There doesn’t appear to be any purpose at all to the random exchanges and interactions that pass for a plot.
    • 37 Metascore
    • 20 Joe Leydon
    Hopelessly stagebound, despite halfhearted efforts to open up what’s basically a talky two-hander, and risibly pretentious in the manner of soft-core porn that’s no sexier than glossy ads for expensive perfume.
    • 40 Metascore
    • 20 Joe Leydon
    The term “freewheeling” does not begin to describe the slapdash, anything-goes quality of the screenplay co-written by Troma mogul Kaufman.
    • 24 Metascore
    • 20 Joe Leydon
    [A] ponderously paced, needlessly convoluted and altogether unexceptional thriller.
    • 22 Metascore
    • 10 Joe Leydon
    It's debatable whether the original 1974 "Black Christmas" is, as its most rabid fans claim, the mother of all slasher movies. But there can be no argument regarding the scant merits of its slapdash, soporifically routine remake, suitable only for the least discriminating of gore hounds.
    • 15 Metascore
    • 10 Joe Leydon
    A plodding patchwork of derivative fantasy-adventure, medieval production design, risible dialogue, unimpressive CGI trickery and haphazardly edited action sequences.
    • 9 Metascore
    • 10 Joe Leydon
    Lazy, lame and painfully unfunny, Meet the Spartans is yet another scrambled-genre parody.
    • 12 Metascore
    • 10 Joe Leydon
    Obviously the product of minimal effort by all parties involved, Strange Wilderness is a slovenly, slapped-together stoner comedy.
    • 18 Metascore
    • 10 Joe Leydon
    A sloppy and shoddy piece of work, filled with just about every cliche and caricature common to low-budget, low-brow comedies with predominantly African-American casts.
    • 27 Metascore
    • 10 Joe Leydon
    Silly script, broad slapstick and overstated lead perfs by B-team cast might be acceptable to target audience.
    • 36 Metascore
    • 10 Joe Leydon
    A new standard for wretched excess is established by Inspector Gadget, a joyless and charmless disaster in which state-of-the-art special effects are squandered on pain-in-the-backside folly.
    • 7 Metascore
    • 10 Joe Leydon
    Latenight cable TV filler disguised as a feature film.
    • 10 Metascore
    • 10 Joe Leydon
    Grotesquely smutty and obnoxiously overbearing, this is a pitiful excuse for a comedy.
    • 36 Metascore
    • 10 Joe Leydon
    Scarcely seems worth the expenditure of time, money and talent.
    • 22 Metascore
    • 10 Joe Leydon
    The series' quest for different and challenging Pokemon reaches a nearly absurd endpoint this time.
    • 25 Metascore
    • 10 Joe Leydon
    It's doubtful that anyone, even executors of Greene's literary estate, will be able to discern much of the source material in this frenetic trifle.
    • 20 Metascore
    • 10 Joe Leydon
    Ranks as the most slapdash comedic star vehicle to hit screens since Harland Williams misfired with the career-stalling "RocketMan."
    • 19 Metascore
    • 10 Joe Leydon
    More uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels.
    • tbd Metascore
    • 10 Joe Leydon
    With plenty of cheap shocks but little real suspense, Hoboken Hollow is nothing more than an uninspired cavalcade of carnage, much of it shamelessly gratuitous.
    • 18 Metascore
    • 0 Joe Leydon
    An appalling misfire that tries and fails to evoke the anything-goes spirit of such '70s sketch-comedy concoctions as "The Groove Tube" and "Kentucky Fried Movie."

Top Trailers