For 1,813 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Joe Morgenstern's Scores

  • Movies
Average review score: 59
Highest review score: 100 The Lord of the Rings: The Fellowship of the Ring
Lowest review score: 0 Domino
Score distribution:
1,813 movie reviews
    • 25 Metascore
    • 30 Joe Morgenstern
    Costner has never been further from the lively, engaging actor he can be, or at least once was.
    • 39 Metascore
    • 30 Joe Morgenstern
    If you go to see this sloppy sitcom, in which Mr. Martin plays a divorced, repressed lawyer named Peter Sanderson, do expect to be surprised, seduced and entertained by Queen Latifah.
    • 45 Metascore
    • 30 Joe Morgenstern
    Its tone is unquenchably pretentious, and its scale is overblown.
    • 52 Metascore
    • 30 Joe Morgenstern
    Unforeseeably bad things can happen to good performers.
    • 69 Metascore
    • 30 Joe Morgenstern
    Quentin Tarantino's Kill Bill inflicts intolerable cruelty on its characters, and on its audience -- though I'd like to believe that there is no mainstream audience for what has already been described, quite correctly, as the most violent movie ever released by an American studio.
    • 38 Metascore
    • 30 Joe Morgenstern
    Mr. Gooding is out there in almost every scene, and the destruction of his once-promising career proceeds apace.
    • 45 Metascore
    • 30 Joe Morgenstern
    The performances, under Mike Newell's direction, range from conventional (Ms. Roberts) to dreadful, and the script is as shallow as an old Cosmo cover story.
    • 42 Metascore
    • 30 Joe Morgenstern
    Go in with lowered expectations, and expect to have them dashed.
    • 33 Metascore
    • 30 Joe Morgenstern
    No one comes out of Mooseport unscathed -- not Rip Torn, as the president's campaign manager, not Christine Baranski as his avaricious ex-wife. It's a democracy of mediocrity, or worse.
    • 49 Metascore
    • 30 Joe Morgenstern
    The crucial evidence has to do with rigor mortis. The movie's a stiff too.
    • 47 Metascore
    • 30 Joe Morgenstern
    The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.
    • 56 Metascore
    • 30 Joe Morgenstern
    In Troy, and in overreaching, underachieving productions like it, digital imagery is fast becoming both a Trojan horse and Achilles' heel.
    • 38 Metascore
    • 30 Joe Morgenstern
    Ms. Hudson makes the most of her role, even though that's not saying so very much -- the writing is terribly thin -- while John Corbett gives an unaccountably clumsy performance as a romantic pastor. Joan Cusack gets the funniest lines as Helen's sister, a model of boring mommyhood, but she also stops the movie dead in its tracks every time she plays a scene.
    • 45 Metascore
    • 30 Joe Morgenstern
    Mr. Samuell's stylistic revelries are meant as comments on the conventions and excesses of movie romance, but his approach is glib and self-congratulatory. No feelings dwell beneath the layers upon layers of faux-naïve artifice. I dare you to sit through this movie and not wish you were somewhere else.
    • 55 Metascore
    • 30 Joe Morgenstern
    The Terminal is a terminally fraudulent and all-but-interminable comedy.
    • 46 Metascore
    • 30 Joe Morgenstern
    Bleak, remarkably turgid, tediously violent, devoid of drama, deprived of magic, stripped of romance and, except for one of the oddest boy-meets-girl scenes in movie history, a befuddled and befuddling excuse for entertainment.
    • 47 Metascore
    • 30 Joe Morgenstern
    A remarkably ill-advised remake.
    • 49 Metascore
    • 30 Joe Morgenstern
    This new Alfie is earnest -- irony is so last century -- and not angry at all, since working-class anger would mean nothing here, because class means nothing here. Nothing means anything here.
    • 61 Metascore
    • 30 Joe Morgenstern
    A train wreck of mind-numbing proportions.
    • 39 Metascore
    • 30 Joe Morgenstern
    There's no zest to the general depravity, no coherence to the script or the spectacle -- clarity is missing in some of the camera work -- and, most important, no character to give a Greek fig about.
    • 65 Metascore
    • 30 Joe Morgenstern
    Bring Zoloft and a tank of oxygen to Closer, an airless, ultimately joyless drama of sexual politics.
    • 40 Metascore
    • 30 Joe Morgenstern
    An experience best likened to being battered by hurricane-force winds generated by an organ with all stops pulled permanently out.
    • 35 Metascore
    • 30 Joe Morgenstern
    Ms. Wynter's performance is only one of many failings in a heavily accented costume drama that Bruce Beresford has directed turgidly from Marilyn Levy's amateurish script.
    • 49 Metascore
    • 30 Joe Morgenstern
    Ever so slightly defective in the area of coherence; it plays as if it should have been written by a committee but they didn't bother to convene one.
    • 21 Metascore
    • 30 Joe Morgenstern
    A few clumps of very funny stuff (including a quick tonsorial reference to "Mary") can't hide all the spots that are bald instead of bold.
    • 34 Metascore
    • 30 Joe Morgenstern
    Long on cutlery and d├ęcor (including, of course, the marvelously decorative Ms. Garner, of the TV series "Alias") and woefully short on narrative.
    • 50 Metascore
    • 30 Joe Morgenstern
    Constantine is yet another studio extravaganza that's all aswirl with atmospherics, though empty at its center. The invasion of the soul snatchers proceeds apace.
    • 44 Metascore
    • 30 Joe Morgenstern
    If claustrophobia's your style, The Jacket is a perfect fit.
    • 44 Metascore
    • 30 Joe Morgenstern
    The movie as a whole is nonsensical. And long. And slow. And head-poundingly loud as it culminates in slavering horror.
    • 64 Metascore
    • 30 Joe Morgenstern
    The video-game sequences are impressive, but you know that a 'toon is in big trouble when its most powerful theme is planned obsolescence.