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 Knocked Up
Lowest review score: 0 Movie 43
Score distribution:
  1. Negative: 75 out of 552
552 movie reviews
    • 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.
    • 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.
    • 58 Metascore
    • 30 Joe Leydon
    The concept is thought-provoking but the execution is flat-footed.
    • 53 Metascore
    • 20 Joe Leydon
    A numbingly pretentious approach to a moldy premise -- a handful of strangers interacting amid rubble in wake of WWIII.
    • 45 Metascore
    • 30 Joe Leydon
    A stunningly unfunny farce that makes the worst of a stale concept.
    • tbd Metascore
    • 30 Joe Leydon
    Criminally short on laughs as it tries to wring humor from dull activity by dim bulbs.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 30 Joe Leydon
    Be prepared to laugh less at a lot more of the same thing in this overbearing but underwhelming sequel.
    • 38 Metascore
    • 30 Joe Leydon
    So insubstantial that it practically evaporates on screen.
    • 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.
    • 36 Metascore
    • 10 Joe Leydon
    Scarcely seems worth the expenditure of time, money and talent.
    • 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.
    • 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.”
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 10 Joe Leydon
    Silly script, broad slapstick and overstated lead perfs by B-team cast might be acceptable to target audience.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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

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