For 608 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 4.5 points lower than other critics. (0-100 point scale)

Joe Leydon's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Knocked Up
Lowest review score: 0 Movie 43
Score distribution:
  1. Negative: 82 out of 608
608 movie reviews
    • 66 Metascore
    • 70 Joe Leydon
    Skillfully entwines stories of three young women drifting in and out of a Jersey City juvenile detention center.
    • 66 Metascore
    • 80 Joe Leydon
    Slight but lively sequel. Aimed squarely at moppets with piddling attention spans.
    • 66 Metascore
    • 80 Joe Leydon
    Exceptional performances by two femme leads and sensitive but unsentimental storytelling throughout.
    • 66 Metascore
    • 40 Joe Leydon
    This stunningly shameless follow-up to the 2002 theatrical sleeper (and homdevid mega-seller) offers more of the same -- a lot more -- while repeatedly upping the ante in terms of offensiveness. Which, of course, should greatly -- and profitably -- please is target aud.
    • 66 Metascore
    • 90 Joe Leydon
    Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure.
    • 65 Metascore
    • 50 Joe Leydon
    Strong performances, a few dramatically potent scenes and a vividly specific evocation of locale barely offset hackneyed and muddled elements in a script that plays like a first draft.
    • 65 Metascore
    • 70 Joe Leydon
    Sascha Paladino's overlong but engaging doc about banjo virtuoso Bela Fleck's harmonious journey through four African countries.
    • 65 Metascore
    • 80 Joe Leydon
    Intelligent, informative and unusually entertaining documentary errs only when it yanks too insistently on heartstrings while focusing on worst-case scenarios involving desperate debtors driven to suicide.
    • 65 Metascore
    • 70 Joe Leydon
    Deftly maneuvering through audacious mood swings and tonal shifts, The Matador emerges as a quirky yet commercial commingling of black comedy, seriocomic psychodrama, heart-tugging sudser and buddy-movie farce.
    • 65 Metascore
    • 80 Joe Leydon
    Deftly interlaces heart and humor in a witty, warm and well-observed comedy about the unexpected and inconvenient blooming of romance at the weekend gathering of an extended family.
    • 65 Metascore
    • 60 Joe Leydon
    Small children who will accept it as rock-'em, sock-'em excitement with a touch of gender-specific empowerment, and hipper teens and grown-ups who can appreciate the whole thing as a semisatirical hoot.
    • 65 Metascore
    • 70 Joe Leydon
    Matthews’ background as a documentarian is obvious and beneficial. But Matthews also demonstrates expertise as a director of actors, getting creditable performances across the board.
    • 64 Metascore
    • 80 Joe Leydon
    A sensationally entertaining mash-up of historical drama, “Dirty Dozen” style shoot-‘em-up, spaghetti Western-flavored flamboyance, and extended action setpieces that suggest a dream-team collaboration of Sergio Leone, John Woo and Steven Spielberg.
    • 64 Metascore
    • 50 Joe Leydon
    So insubstantial that it practically evaporates on screen, Pooh's Heffalump Movie likely will play best with toddlers and pre-schoolers easily amused by bright colors, merry songs and lovable, huggable toon animals.
    • 64 Metascore
    • 70 Joe Leydon
    Slow-burning buildup, lack of explicit mayhem and overall low-tech approach may strike cineastes as amusingly quaint.
    • 64 Metascore
    • 70 Joe Leydon
    Riveting portrait of a straight-talking, tough-loving Benedictine nun in charge of a South Bronx home for recovering substance abusers.
    • 64 Metascore
    • 70 Joe Leydon
    Has some genuinely amusing moments of dumb and dumber silliness.
    • 64 Metascore
    • 80 Joe Leydon
    Intelligent, involving and intricately plotted thriller.
    • 64 Metascore
    • 70 Joe Leydon
    Filmmakers Andrew Cohn and Davy Rothbart uncover and illuminate a strain of stoic resilience that could be the last best defense against bottomless despair. Unfortunately, as Medora repeatedly suggests, that invaluable resource may not be inexhaustible.
    • 64 Metascore
    • 70 Joe Leydon
    Richardson, who gracefully sways through a memorable drunk scene, and Quaid, whose megawatt smile has never been more dazzling, are disarmingly charming as the parents. And that's important; if the actors were any less engaging, the audience might not be so forgiving of their characters.
    • 64 Metascore
    • 70 Joe Leydon
    The biggest laughs and most intriguing revelations are provided offstage in this slickly produced documentary, as O'Brien -- often pushing himself to the point of exhaustion before, during and after performances -- plays for keeps while playing for laughs.
    • 64 Metascore
    • 60 Joe Leydon
    Even though Frakes is back, Star Trek: Insurrection plays less like a stand-alone sci-fi adventure than like an expanded episode of "Star Trek: The Next Generation."
    • 64 Metascore
    • 80 Joe Leydon
    It's meant as high praise to say that, very early in Robots, the extraordinary starts to seem perfectly ordinary.
    • 64 Metascore
    • 70 Joe Leydon
    Ultimately, Steve McQueen: The Man & Le Mans comes across as a portrait of the artist as a spoiled jerk, albeit a jerk whose charisma cannot be denied, and whose artistic ambitions elicit grudging admiration.
    • 64 Metascore
    • 50 Joe Leydon
    The picture's dialogue-heavy stretches and ambiguous finale could leave ticketbuyers impatient for less chatter and more chomping.
    • 63 Metascore
    • 70 Joe Leydon
    Brimming with heart and humor -- Drumline is a formulaic crowdpleaser set in the competitive world of university marching bands at predominantly black universities.
    • 63 Metascore
    • 60 Joe Leydon
    The tone of Reel Injun is respectfully serious, though well short of angry, while focusing on how the stereotypical depictions of marauding redskins affected the self-images of Native Americans.
    • 63 Metascore
    • 50 Joe Leydon
    Sarah Silverman: Jesus Is Magic showcases the comic-actress in her familiar on-stage persona as a blithely self-involved Jewish American Princess whose penchant for perky vulgarity can be explosively funny or unnervingly shocking.
    • 63 Metascore
    • 80 Joe Leydon
    The performances are perfectly attuned to the material, with Koechner dominating his every scene as a kind of demented ringmaster, and Healy adroitly demonstrating the potential for both humor and horror in a character with nothing left to lose.
    • 63 Metascore
    • 70 Joe Leydon
    Despite some bumpy tonal shifts and inconsistencies of characterization, Hello, My Name Is Doris impresses as a humanely amusing and occasionally poignant dramedy.

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