For 1,333 reviews, this critic has graded:
  • 27% higher than the average critic
  • 3% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 11.3 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Fruitvale Station
Lowest review score: 0 The Victim
Score distribution:
1,333 movie reviews
    • 74 Metascore
    • 60 Joe Neumaier
    Filled with horrific but colorful anecdotes, director Joe Berlinger’s incisive look at the mobster life of Boston career criminal and FBI informant “Whitey” Bulger is essential viewing for fans of lurid, true underworld tales.
    • 84 Metascore
    • 60 Joe Neumaier
    The film features plenty of elements that seem familiar from previous cinematic dystopian visions — class warfare, decrepit living, a feeling of terminal velocity — yet you can’t help but admire director Bong Joon-ho’s high-wire act.
    • 44 Metascore
    • 60 Joe Neumaier
    Monument Valley makes an appearance, and there are soulful moments of slow motion. There’s enough heart here to make up for whatever first-timer miscalculations ride along too.
    • 40 Metascore
    • 60 Joe Neumaier
    The modern stuff is undeniably fawning. But given the eye-popping visuals, you understand the enthusiasm. Especially if you left your heart, and thousands of dollars in quarters, in an arcade.
    • 57 Metascore
    • 60 Joe Neumaier
    Cahill, who did the equally heady, intriguing drama “Another Earth” (2011), keeps the tone consistent. He makes certain his cast walks a savvy tightrope, keeping things taut.
    • 54 Metascore
    • 60 Joe Neumaier
    Stone, last seen in “The Amazing Spider-Man 2,” is served best. Gliding through the film in sailor-girl outfits that evoke film stars of the 1920s, Stone’s big kewpie eyes and long-limbed gamine appeal fit in this era of silent films.
    • 53 Metascore
    • 60 Joe Neumaier
    Affleck is playing someone split down the middle, but we're stuck seeing only one side of him.
    • 55 Metascore
    • 60 Joe Neumaier
    Any movie with food as a motif runs the risk of pouring on the metaphor, and that happens here, too.
    • 76 Metascore
    • 60 Joe Neumaier
    And always there’s Wojtowicz himself, who died in 2006. His patter and persona must be seen to be believed. This guy was a piece of work, and so is The Dog.
    • 66 Metascore
    • 60 Joe Neumaier
    Quiet moments after big decisions are where the power lies in this absorbing French drama.
    • 46 Metascore
    • 60 Joe Neumaier
    Kline sinks his old smoothie teeth into the part of Flynn, but is careful not to draw blood too easily. The man’s pathetic nature, after all, doesn’t spring from his movies. (Flynn worked right up to his death, in 1959.) It’s deeper than that, but also more shallow. Walking that knife’s edge is a trick. Kline finds exactly the right path.
    • 58 Metascore
    • 60 Joe Neumaier
    The modern, gritty Western Frontera takes a lot of the clichés and delicately upends them to tell a tale about undocumented immigrants.
    • 50 Metascore
    • 60 Joe Neumaier
    This all feels like an homage to Gilliam’s “Brazil,” though Zero Theorem also has shadows of “12 Monkeys” and other films in the onetime Monty Python animator’s cinematic carnival.
    • 57 Metascore
    • 60 Joe Neumaier
    With the combo of Neeson’s natural solemnity and his action chops, “Tombstones” treads compellingly amongst lesser thrillers.
    • 57 Metascore
    • 60 Joe Neumaier
    The movie is tense and coiled for its first hour, then becomes routine in its second half.
    • 66 Metascore
    • 60 Joe Neumaier
    Ridley and Benjamin have done more than capture Hendrix’s moves and sounds. They’ve captured his spirit.
    • 65 Metascore
    • 60 Joe Neumaier
    It’s hard to fault a movie like The Good Lie for its intentions. But it can be faulted for pandering, both to its subject and to audiences.
    • 77 Metascore
    • 60 Joe Neumaier
    The movie hits a beautiful, celebratory note.
    • 68 Metascore
    • 60 Joe Neumaier
    Plot is not the movie’s strong suit. But stylish set pieces are, including one epic blast-a-thon alongside a pool.
    • 51 Metascore
    • 60 Joe Neumaier
    Fans of PBS, history and a certain kind of old-fashioned moviemaking may fall in.
    • 74 Metascore
    • 60 Joe Neumaier
    The movie could have gone several ways, too — and it is heartbreaking to watch this ambitious story choose the wrong one and get lost in space.
    • 72 Metascore
    • 60 Joe Neumaier
    Rather than go for big ideas, the movie cozies up to small wonders. Instead of an ah-ha moment, we get a sigh of familiarity. Still, in this biopic about Hawking, there’s one explosion that blows your mind: Eddie Redmayne’s performance. Redmayne as Hawking, if the stars align, should be an Oscar lock.
    • 53 Metascore
    • 60 Joe Neumaier
    If you succumb to The Better Angels, the effect is like falling into a gorgeous photograph, but that also means the narrative in this arthouse film is oblique and sketchy.
    • 40 Metascore
    • 60 Joe Neumaier
    So the big surprise of Horrible Bosses 2 is how far it gets on the hopped-up jabberjaw alliance of Jason Bateman, Jason Sudeikis and Charlie Day. In the 2011 “Bosses,” they were swamped by the conceit: White-collar pals try to kill awful employers. Now, freed up to free-associate, they’re totally winning.
    • 56 Metascore
    • 60 Joe Neumaier
    Liv Ullmann’s screen version of August Strindberg’s 19th-century drama is an austere, pared-down take that does one thing extremely well: It allows actors Jessica Chastain, Samantha Morton and especially Colin Farrell to shine. But this emotionally brutal work is anything but cinematically engaging.
    • 52 Metascore
    • 60 Joe Neumaier
    Real-life geopolitical blunders aside, The Interview generally hits its marks. And every time it does skid into juvenile idiocy — with too much scatological humor, for instance, and an overuse of “you-go-bro!” attitude — it follows it with a stride or two toward uproarious meta-satire.
    • 47 Metascore
    • 60 Joe Neumaier
    There are big special effects, of course, but refreshingly, this third (and final?) movie in the franchise is like a pleasant stroll through familiar halls.
    • 69 Metascore
    • 60 Joe Neumaier
    Predestination may have the trippiest, weirdest take yet on the time-travel concept.
    • 56 Metascore
    • 60 Joe Neumaier
    Colangelo shows a mature levelheadedness in depicting how close-knit communities fall and rise together.
    • 47 Metascore
    • 60 Joe Neumaier
    Every generation gets the time travel it deserves. Project Almanac isn’t “Time After Time” (1979) or “Back to the Future” (1985) or “12 Monkeys” (1996), but the new release does turn out to be a surprisingly jaunty trip for jaded Gen-Y kids.
    • 45 Metascore
    • 60 Joe Neumaier
    A racial melodrama that, until it stumbles into obvious and maudlin territory, is a thoughtful work thanks to Octavia Spencer, Anthony Mackie and especially Kevin Costner.
    • 73 Metascore
    • 60 Joe Neumaier
    This is a terrific time capsule with a resonant message.
    • 59 Metascore
    • 60 Joe Neumaier
    Often it’s the fighters themselves who best sum up the appeal of “the sweet science.”
    • 83 Metascore
    • 60 Joe Neumaier
    Intimate and intellectual, the film — with a title taken from J.D. Salinger — focuses on the type of person you pass on the street, see in a coffee shop or sit next to on the subway who makes you wonder what life he’s led. One full of melody and muse, it turns out.
    • 67 Metascore
    • 60 Joe Neumaier
    Branagh, working from a script by Chris Weitz, gives the film emotional heft. James’ performance — never saccharine, often staunchly independent — makes the story’s more regressive elements float away.
    • 39 Metascore
    • 60 Joe Neumaier
    Sean Penn’s bad side makes for good action-drama in The Gunman. There’s a grubby, redemptive quality that makes this tough-minded flick feel like the son of “Serpico” and “Salvador.”
    • 59 Metascore
    • 60 Joe Neumaier
    There’s a lot left unsaid in director Anja Marquardt’s chilly yet intimate and thought-provoking indie drama. But what should be said loud and clear is that actress Brooke Bloom is riveting. Emanating everyday grace and real depth, she plays a sex surrogate handling several needy and emotionally wounded clients.
    • 58 Metascore
    • 60 Joe Neumaier
    Leave it to Al Pacino to find the good in the mediocre.
    • 62 Metascore
    • 60 Joe Neumaier
    Just when you thought it was safe to stand up to a bear in the woods, this jarring indie horror drama will make you scurry back indoors.
    • 67 Metascore
    • 60 Joe Neumaier
    Just when it seemed Hal Hartley was going to be forgotten, along comes the Long Island-based auteur’s terrific new feature. It’s a follow-up to his opus “Henry Fool.”
    • 78 Metascore
    • 60 Joe Neumaier
    This exquisitely acted, genuinely creepy minimalist drama does spin its wheels a bit before a cool conclusion. But the movie has a spark of creativity not seen in “Chappie” or “Eva,” two of the recent robots-among-us flicks.
    • 67 Metascore
    • 60 Joe Neumaier
    Kristen Wiig is scary. That’s a good thing. It’s part of her appeal as a comedian, and crucial in the funny-weird comedy-drama Welcome to Me, which uses the working-without-a-net aspect of Wiig’s humor to unsettling effect.
    • 68 Metascore
    • 60 Joe Neumaier
    Director Tiller Russell sometimes get sidetracked — a dangerous thing in a story that already has a lot of twists, turns and off-ramps. But it’s a story you have to hear, from the guys who lived it and may never live it down.
    • 63 Metascore
    • 60 Joe Neumaier
    Because it's so rooted in real life, the drama Good Kill is even more terrifying than “The Purge,” Ethan Hawke’s horror film from two years ago.
    • 60 Metascore
    • 60 Joe Neumaier
    This fantasy adventure lacks focus when it should be laser-sharp, and stumbles when it could soar.
    • 38 Metascore
    • 60 Joe Neumaier
    Entourage plays like a solid, if slightly too long, episode. But even given the bloat, the cast’s easy camaraderie and a “play it as it lays” atmosphere wins you over.
    • 72 Metascore
    • 60 Joe Neumaier
    Mostly, though, there’s hopefulness here, and determination to win a fight worth fighting.
    • 75 Metascore
    • 60 Joe Neumaier
    Spy
    The moments when Spy falls apart are when the film fancies itself the real thing. The times when it works are due to its leading lady.
    • 66 Metascore
    • 60 Joe Neumaier
    Most of the young men interviewed by Berg will be seen, and heard, by many audiences for the first time. Their voices are hard to forget.
    • 64 Metascore
    • 60 Joe Neumaier
    Saldana has a harder lift, as Maggie is striving for something better yet has to often be reactive. In scenes with the adorable Wolodarsky and Aufderheide, she listens and acts intently. But there are too many times when she’s forced to just look worried. Still, Saldana, like so many things in Forbes’ likable but tricky film, does her best in a tough situation.
    • 77 Metascore
    • 60 Joe Neumaier
    There’s politics involved, along with personal stories, extraordinary tense standoffs and down-and-dirty drug business.
    • 64 Metascore
    • 60 Joe Neumaier
    Because of his easygoing comedy persona, Rudd is a perfect choice — and another example of Marvel’s savvy casting. He never takes anything too seriously, but he seems invested in the emotional side of the story.
    • 74 Metascore
    • 60 Joe Neumaier
    Some segments are too long, but Famous Nathan contains a unique flavor that history-loving New Yorkers should relish.
    • 56 Metascore
    • 60 Joe Neumaier
    If you’re searching for smart, soulful teen entertainment, you can start looking inside Paper Towns.
    • 77 Metascore
    • 60 Joe Neumaier
    This terrific, full-meal chronicle of the men and their mouths lets us hear from them not only during debates, but also in subsequent interviews, memoirs and articles.
    • 74 Metascore
    • 60 Joe Neumaier
    A terrific, quirky New York-set character piece.
    • 72 Metascore
    • 60 Joe Neumaier
    Those who came of age during Knievel’s rise, rise and fall will enjoy the fun moments. But this family-sanctioned film comes up short in terms of objectivity.
    • 69 Metascore
    • 60 Joe Neumaier
    The cool cast includes casual drop-ins from Sam Rockwell, Melanie Lynskey and Sam Elliott. The actors give off the feeling that we’ve wandered into the middle of a conversation among friends. This being a Swanberg movie, that’s kind of what is happening, complete with tiny epiphanies and people you want to hear keep talking.
    • 58 Metascore
    • 60 Joe Neumaier
    Jason Schwartzman does the full Bill Murray in 7 Chinese Brothers.
    • 80 Metascore
    • 60 Joe Neumaier
    It’s rare when a psychological drama gets us into a character’s head without tricks or a voiceover. This drama from Alex Ross Perry burrows so deep that it’s scary.
    • 55 Metascore
    • 50 Joe Neumaier
    Noise ultimately becomes a slice of city life instead of a great satire.
    • 43 Metascore
    • 50 Joe Neumaier
    The "Star Trek" gibes feel especially lazy, since the movie ought to be "Men in Black" kicky, not sketch-comedy dusty.
    • 55 Metascore
    • 50 Joe Neumaier
    Plays like a throwback to gritty-but-softhearted English dramas of the 1980s like "Mona Lisa" and "Sammy and Rosie Get Laid."
    • 47 Metascore
    • 50 Joe Neumaier
    A good-ol'-boy civics lesson that's too scattered to achieve its predictable goals.
    • 40 Metascore
    • 50 Joe Neumaier
    Sparky voice performances and heart make up for this family film's theft of Tim Burton's sensibility.
    • 73 Metascore
    • 50 Joe Neumaier
    Amusing as it is, it never feels real.
    • 56 Metascore
    • 50 Joe Neumaier
    This action-comedy will seem fresh only to 8-year-olds -- though it may give parents an excuse to introduce some of the '50s horror movies it parodies.
    • 57 Metascore
    • 50 Joe Neumaier
    Despite the Spierig brothers' punchy visual style and satiric tone, Daybreakers eventually devolves, though Dafoe and his Southern drawl goose things up and Hawke has a greasy romanticism.
    • 62 Metascore
    • 50 Joe Neumaier
    Low-budget, grubby and gleeful, but with a nice sense of style and apparently an endless supply of dry ice. Points deducted, though, for a too-easy alien-corpse joke.
    • 69 Metascore
    • 50 Joe Neumaier
    Sadly, once the movie shifts gears, it becomes a timid "Donnie Darko."
    • 53 Metascore
    • 50 Joe Neumaier
    Yet it all comes down to one simplistic idea, and the result feels like a one-film evangelical movement.
    • 54 Metascore
    • 50 Joe Neumaier
    When the haze wears off and the movie grounds itself in reality, it's a bummer. Until then, though, what's weird here is gloriously weird.
    • 62 Metascore
    • 50 Joe Neumaier
    If it were just Hurt's show, it'd be a helluva trip.
    • 56 Metascore
    • 50 Joe Neumaier
    This year-in-the-life comedy will appeal mostly to its target audience -- the boys of middle school, USA -- and frankly, that's all it needs. Who else would appreciate the idiocy of social pressure,
    • 46 Metascore
    • 50 Joe Neumaier
    In a certain kind of indie movie, the only thing sweeter than a bad boy transformed is slow, sad tragedy. Mercy has both, which isn't good.
    • 68 Metascore
    • 50 Joe Neumaier
    Director John Scheinfeld's film, utilizing interviews with friends and collaborators, hits a high note on Nilsson's friendship with Ringo Starr and his fear of stage performance.
    • 48 Metascore
    • 40 Joe Neumaier
    Don't expect to taste anything surprising.
    • 66 Metascore
    • 40 Joe Neumaier
    Roth's works are particularly hard to do justice to onscreen, perhaps because the celebrated author's personality is really in his words
    • 57 Metascore
    • 40 Joe Neumaier
    In what world does Smart People exist? Clearly not the real one, though this dramedy wants to think it's filled with ironic insights about love and family.
    • 43 Metascore
    • 40 Joe Neumaier
    The long shadow of David Fincher's "Seven" falls on Anamorph, a moody, ultimately unexciting thriller.
    • 57 Metascore
    • 40 Joe Neumaier
    It's a big fat missed opportunity.
    • 71 Metascore
    • 40 Joe Neumaier
    The story's Hitchcockian plot loses steam quickly, though Pinon's salty presence keeps things from getting totally bloodless.
    • 60 Metascore
    • 40 Joe Neumaier
    Though much of the film's power is tamped down by the passive storytelling style, Dillane's performance as the adult Jakob is compelling, and Ayelet Zurer is beguiling as Jakob's late-in-life soul mate.
    • 35 Metascore
    • 40 Joe Neumaier
    It reads like a Cinemax special event, and as good as Leguizamo and Waterston are, the skeevy, fantasy-fulfillment plot that drives David Ross' movie is uncomfortably risky business.
    • 56 Metascore
    • 40 Joe Neumaier
    The movie shows the city as both an intimidating and enticing place for new arrivals, but ultimately gets bogged down in the cliched split destinies and intentions of its main characters.
    • 49 Metascore
    • 40 Joe Neumaier
    Never achieves the David Lean style of epic it aims for - exterior vistas and interior dramas - but it has two charismatic performances, beautiful Chinese locations and an admirable lack of sentimentality.
    • 37 Metascore
    • 40 Joe Neumaier
    Has TOO much happening, which befits a comedy with a lot of targets but ultimately makes the whole operation scattershot.
    • 54 Metascore
    • 40 Joe Neumaier
    His humor works best when it's throw-away, but "Zohan" throws everything up to get a yuck. It's a shock to see how many "yuck!" moments Sandler settles for.
    • 61 Metascore
    • 40 Joe Neumaier
    Roth and Hurt glower semi-engagingly, and while Norton's scrawniness works, he seems intellectually disengaged, despite his helping to craft Zak Penn's script.
    • 64 Metascore
    • 40 Joe Neumaier
    When "Pineapple" goes from ganja to genre, it sours.
    • 33 Metascore
    • 40 Joe Neumaier
    Solid performances and a literary feel help turn a standard family-rift drama into a dry but saucy narrative.
    • 58 Metascore
    • 40 Joe Neumaier
    There are times when a Kilmer performance is like watching a clock move: well-timed and oddly compelling, even though it's totally predictable. That's the case with Felon, which doesn't belong to Kilmer but which he steals anyhow.
    • 64 Metascore
    • 40 Joe Neumaier
    May feel especially like a statue covered in drapery. Unfortunately, the movie's attempts to steam things up feel about as exciting as an after-dinner mint.
    • 61 Metascore
    • 40 Joe Neumaier
    Some of the talk gets a little bombastic, but it's hard to deny the thrill involved.
    • 82 Metascore
    • 40 Joe Neumaier
    Has moments of honesty, but more often the barren landscape - both outside and inside - drains the emotions out of the film.
    • 55 Metascore
    • 40 Joe Neumaier
    not a good comedy. But there's no airbrushing out the funny surrounding its star.
    • 73 Metascore
    • 40 Joe Neumaier
    Velvety storytelling still feels more thawed-out than heated.
    • 57 Metascore
    • 40 Joe Neumaier
    It's like torture, though Body of Lies has nothing to spill.
    • 63 Metascore
    • 40 Joe Neumaier
    Hopped up like a Bugs Bunny cartoon on mescaline and as chatty and uppity as a 5-year-old, Burn After Reading could be seen as the Coen brothers' need to let loose after the tightly wound "No Country for Old Men."
    • 47 Metascore
    • 40 Joe Neumaier
    The same boring routine gets played out again.
    • 45 Metascore
    • 40 Joe Neumaier
    Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
    • 36 Metascore
    • 40 Joe Neumaier
    Of the supporting performances, Gugino, Leguizamo and Wahlberg offer solid turns, but are let down by dialogue.
    • 83 Metascore
    • 40 Joe Neumaier
    Filmmakers Tia Lessin and Carl Deal utilize the footage Kim and Scott Roberts had taken throughout the disaster, showing how residents suffered, survived and came together to help when official assistance let them down.
    • 77 Metascore
    • 40 Joe Neumaier
    Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.
    • 67 Metascore
    • 40 Joe Neumaier
    Flow makes you thirsty for more information.
    • 56 Metascore
    • 40 Joe Neumaier
    So much of this irritating film from first-time writer-director Daniel Barnz feels like a writing exercise it's amazing Elle Fanning, in the title role, comes off as well as she does.
    • 40 Metascore
    • 40 Joe Neumaier
    A clunky, dead-on-arrival scary drama that proves that even people with good taste need a good script or direction.
    • 46 Metascore
    • 40 Joe Neumaier
    About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.
    • 41 Metascore
    • 40 Joe Neumaier
    Like the last gift buried under singing Billy Bass fish, dancing Coke cans, joke books and mounds of wrapping paper, there's a glimmer of fun in Four Christmases that almost gets vacuumed up with the tinsel.
    • 38 Metascore
    • 40 Joe Neumaier
    Writer-director Wayne Kramer adds what could be called mainstream threads to his messy script, but the result is simplistic across the board.
    • 40 Metascore
    • 40 Joe Neumaier
    The film's major action sequences are never exciting, and even the now-requisite destruction of New York feels lazy.
    • 33 Metascore
    • 40 Joe Neumaier
    Sandler's shambling Yogi Bear-ness will be the big appeal to holiday-vacation audiences.
    • 53 Metascore
    • 40 Joe Neumaier
    If characters talking to dogs and dog reaction shots are some of your favorite things, add some stars to this review.
    • 63 Metascore
    • 40 Joe Neumaier
    Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
    • 50 Metascore
    • 40 Joe Neumaier
    Neeson's better than this. You can't watch him here without thinking, Geez, every fight-choreography session could have funded "Love, Actually." This bash-the-door-down action scene likely took as long to film as "Kinsey." That gunfight required more stunts than all of "Schindler's List."
    • 36 Metascore
    • 40 Joe Neumaier
    Fanning's watcher is watchable, yet the kid-actress extraordinaire is so polished it kind of makes your head explode.
    • 52 Metascore
    • 40 Joe Neumaier
    The International almost seems like a Monty Python spoof on spy-game thrillers in which the phrase "secret agent" is constantly replaced by "banker," resulting in lines like, "...If I die, 100 other bankers take my place."
    • 39 Metascore
    • 40 Joe Neumaier
    Movie references abound, but there's not enough humor to fuel even 90 minutes.
    • 50 Metascore
    • 40 Joe Neumaier
    Another nicely understated performance from Jesse Eisenberg anchors this shambling drama.
    • 56 Metascore
    • 40 Joe Neumaier
    The splintered viewpoints help with the monotony, but from the taunting of new inmates to the cell-block sadist, we've gone through all this before, right down to the final twists.
    • 38 Metascore
    • 40 Joe Neumaier
    Marries an unengaging love triangle to a flat visual style, nearly squashing the one good thing in it -- a scruffy, slouching performance from Peter Sarsgaard.
    • 59 Metascore
    • 40 Joe Neumaier
    Haunting ideas and efficient storytelling, but director-cowriter Alex Rivera needed to fine-tune a bit more.
    • 61 Metascore
    • 40 Joe Neumaier
    It's hard to talk about The Soloist without falling into cliches, because this well-meaning but ham-handed drama is full them.
    • 41 Metascore
    • 40 Joe Neumaier
    The story and performances (save for Matthew McNulty’s angry Luis Buñuel) are paint-by-numbers, with social upheaval and sexual adventurism as dramatic as an after-dinner mint.
    • 67 Metascore
    • 40 Joe Neumaier
    Luna and Bernal have amiability, but not enough to earn a recommendation for this clichéd movie.
    • 62 Metascore
    • 40 Joe Neumaier
    When a movie is this strange, it's gotta count for something.
    • 28 Metascore
    • 40 Joe Neumaier
    Too many threads are woven together here, but occasionally, it just connects.
    • 51 Metascore
    • 40 Joe Neumaier
    Patric and Baldwin react to all the morbidity with restraint, and Vassilieva keeps her bald head high. But they won't be able to help this barefaced vulgarity earn any terms of endearment.
    • 66 Metascore
    • 40 Joe Neumaier
    Nowhere near as kinky or thinky as Soderbergh’s "sex, lies and videotape," Girlfriend pretends it has more on its mind than it really does.
    • 42 Metascore
    • 40 Joe Neumaier
    Orphan doesn't add much to the genre except, disturbingly, a fetishistic bent that's creepy in the wrong way.
    • 68 Metascore
    • 40 Joe Neumaier
    This often haunting stop-motion Claymation movie ultimately suffers from what bedevils many live-action movies culled from short stories: a herky-jerky plot.
    • 45 Metascore
    • 40 Joe Neumaier
    While the film is slightly better than similar efforts Allen made between the ’90s and his recent time in Europe, it’s both too broad and too shallow.
    • 63 Metascore
    • 40 Joe Neumaier
    For all the trickiness and bluster, Shutter Island is dead inside.
    • 39 Metascore
    • 40 Joe Neumaier
    The oh-so-out-there mentality earns some chuckles, but that, along with Piven's preening, gets very trying. A hard sell is still a hard sell.
    • 46 Metascore
    • 40 Joe Neumaier
    While Montias' actors do their best, even good intentions have limits. Still, it never feels false. And remember, even Martin Scorsese (born in Queens) had to start somewhere.
    • 44 Metascore
    • 40 Joe Neumaier
    This two-bit echo of "The Accidental Tourist" is a preachy pill that wastes the genial, funny Jeff Daniels and the criminally underused Lauren Graham.
    • 63 Metascore
    • 40 Joe Neumaier
    The result isn't deadly dull, but it does turn what should have been a most dangerous game into a basic scenery-chewing contest.
    • 47 Metascore
    • 40 Joe Neumaier
    Words and story are still the lifeblood of a movie, and Jennifer's Body is filled like a Twinkie with half-fleshed-out ideas.
    • 70 Metascore
    • 40 Joe Neumaier
    The movie gets repetitive, and when it calls an audible and goes somewhere unexpected, it pulls back quickly. Too bad.
    • 60 Metascore
    • 40 Joe Neumaier
    The movie's lack of Michael Moore-style dynamism has a dulling effect. What saves it is the human face it puts on the crisis, and its indictment of corporate greed.
    • 73 Metascore
    • 40 Joe Neumaier
    Faour and Muallen give solid performances, but there are a few too many by-the-numbers moments.
    • 45 Metascore
    • 40 Joe Neumaier
    The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.
    • 34 Metascore
    • 40 Joe Neumaier
    A movie needs to announce if it's playing games. Pulling the rug out from under a viewer is fine for whodunnits and psychological thrillers and the usual suspects. But a supposedly grown-up drama like The Other Man ought to have scruples about where it plans to take you.
    • 45 Metascore
    • 40 Joe Neumaier
    All the actresses, especially Theron, are appropriately haunted, but let's hope Arriaga's love of echoes, fate and coincidence has run its mopey course.
    • 71 Metascore
    • 40 Joe Neumaier
    The film, unfortunately, hasn't the depth Malkovich brings to his performance.
    • 79 Metascore
    • 40 Joe Neumaier
    Though diligently paced and sharp to look at, the mysteries inside Mother are, finally, bloodless.
    • 57 Metascore
    • 40 Joe Neumaier
    Ferrera's shaggy tone, which fits the iconic building, gets irritating. Still, if you come for the stories, you'll stay for the company.
    • 19 Metascore
    • 40 Joe Neumaier
    Heartening, and yet, a year after being filmed, unintentionally aggravating.
    • 75 Metascore
    • 40 Joe Neumaier
    Director Scott Teems' film is as quiet as untilled soil -- not always a good thing -- but Holbrook has a handle on where to dig.
    • 62 Metascore
    • 40 Joe Neumaier
    This doc, made by Kunstler's daughters Emily and Sarah, doesn't pretend to be unbiased, but it nonetheless has an unblinking view of its subject. They must have learned a thing or two from dad.
    • 65 Metascore
    • 40 Joe Neumaier
    "Parnassus," while not unwatchable, is also an elephantine mess.
    • 64 Metascore
    • 40 Joe Neumaier
    Though it takes time to find its courage and heart, Gigante, like its oversized hero, merely has a slow, shy way of doing things.
    • 53 Metascore
    • 40 Joe Neumaier
    Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.
    • 41 Metascore
    • 40 Joe Neumaier
    The 6- to 10-year-old audience this movie is aimed at deserved better.
    • 45 Metascore
    • 40 Joe Neumaier
    Most of the movie unfolds in such a dull manner.
    • 25 Metascore
    • 40 Joe Neumaier
    Regardless of where its stars want to take it, all roads here lead to blandness and inanity.
    • 41 Metascore
    • 40 Joe Neumaier
    Wang tracks his guys like the documentarian he is, and if the movie feels a bit canned thanks to Adam Forgash's unoriginal script, classic NYC spots and a big heart make it feel like home.
    • 47 Metascore
    • 40 Joe Neumaier
    Engrossing, sad and heartbreaking.
    • 32 Metascore
    • 40 Joe Neumaier
    The big problem here is that dark sci-fi satire works best when it aims for several targets. Repo Men aims at corporate greed, which is good, but doesn’t fill in the details.
    • 47 Metascore
    • 40 Joe Neumaier
    Informative and flavorful, though lacking in surprise.
    • 45 Metascore
    • 40 Joe Neumaier
    Dignity dies a million deaths despite the best intentions.
    • 47 Metascore
    • 40 Joe Neumaier
    The earnest attempt at family drama doesn't benefit from the abundance of movie-of-the-week cliches.
    • 75 Metascore
    • 40 Joe Neumaier
    Digs up familiar ground without adding any fresh dirt.
    • 42 Metascore
    • 40 Joe Neumaier
    A lot of heart, a jaunty mariachi score and a lush Eisenhower-era look help as the family-friendly story follows the usual sports-drama plays.
    • 37 Metascore
    • 40 Joe Neumaier
    Overly analytical, cutesy comedy-drama.
    • 23 Metascore
    • 40 Joe Neumaier
    This is just one nutso, painfully unfunny family flick.
    • 24 Metascore
    • 40 Joe Neumaier
    The kids' story gets out of control, but Andie MacDowell is a pleasantly earthy mess as Victor's out-of-it mother, and familiar New York faces (Ann Magnuson, Mark Boone Jr., Richard Edson) lend quirky support as the out-of-it elders.
    • 41 Metascore
    • 40 Joe Neumaier
    This somber but unexceptional drama is luxurious to look at but never gripping.
    • 57 Metascore
    • 40 Joe Neumaier
    Proudly matter-of-fact but, sadly, far from gripping.
    • 30 Metascore
    • 40 Joe Neumaier
    The movie devolves into a series of clichéd bits, none of which are that funny.
    • 45 Metascore
    • 40 Joe Neumaier
    Unabashedly one-sided, this biography of Chávez - and several other Latin American politicians - does raise some valid concerns about what Stone calls the "manipulative power of the media." So it's too bad he's as guilty of partisanship as the right-wing outlets he reviles.
    • 51 Metascore
    • 40 Joe Neumaier
    Predators tries to spice up the hunt-or-be-hunted thesis, but from the get-go, director Nimrod Antal's movie has nowhere to run.
    • 56 Metascore
    • 40 Joe Neumaier
    The self-conscious poetry and Cruz's diagnosis of bipolar disorder threaten to add too many notes to this quiet drama.
    • 35 Metascore
    • 40 Joe Neumaier
    The eyewitness testimony of dozens of punk-era survivors and hotel denizens has a disorienting effect, and everyone gets sidetracked, though the colorful anecdotes are priceless.
    • 57 Metascore
    • 40 Joe Neumaier
    This National Geographic production mixes two amazing adventures, neither of them quite what you expect.
    • 52 Metascore
    • 40 Joe Neumaier
    His (Bateman) performance is fun. Too bad The Switch is not.
    • 55 Metascore
    • 40 Joe Neumaier
    Noble but dull.
    • 62 Metascore
    • 40 Joe Neumaier
    Marshall shows off the breathtaking landscape, but with interiors, he populates the ale houses and encampments with cliches - like dueling female warriors, one a mute and the other a white-haired vixen.
    • 60 Metascore
    • 40 Joe Neumaier
    So now we have a full-length Machete movie, and it turns out that, as usual, less is more.
    • 56 Metascore
    • 40 Joe Neumaier
    The class issues make them pariahs, the love scenes belong on Cinemax After Dark, and the emotions writer-director Catherine Corsini believes are so adult are clichéd. Still, Scott Thomas is beguiling as usual, the one expected thing that's welcome here
    • 34 Metascore
    • 40 Joe Neumaier
    This taut but cliched little thriller is like "Wait Until Dark" with neo-Nazis.
    • 37 Metascore
    • 40 Joe Neumaier
    Goes about its game so bloodlessly, the result is some of the most unexciting action and seduction sequences in recent memory.
    • 35 Metascore
    • 40 Joe Neumaier
    The final fate of Adolf ­Eichmann is certainly a compelling subject. But its dramatic impact is severely diminished here by stilted filmmaking and wooden performances.
    • 49 Metascore
    • 40 Joe Neumaier
    Every generation gets a "Big Chill," and this tired but well-meaning indie contains many clichés of the "pals-pondering-life" movies that came before.
    • 59 Metascore
    • 40 Joe Neumaier
    Director Jaak Kilmi's remembrance of growing up under Soviet rule never tries to be anything more than a curiosity.
    • 52 Metascore
    • 40 Joe Neumaier
    It's laughably, eye-rollingly absurd.
    • 50 Metascore
    • 40 Joe Neumaier
    If Welcome to the Rileys were a thicker-skinned movie -- if it were the movie it thinks it is -- so much of the outcome wouldn't be telegraphed the minute you read the premise.
    • 44 Metascore
    • 40 Joe Neumaier
    Dwayne 'The Rock' Johnson is overhyped as Billy Bob Thornton is slow and steady.
    • 63 Metascore
    • 40 Joe Neumaier
    Plays out like a clunky, not-so-incredible "Incredibles," or a more-despicable "Despicable Me."
    • 76 Metascore
    • 40 Joe Neumaier
    Kidman is able to draw you in even as the movie's solemn, morbid obviousness wears you out.
    • 66 Metascore
    • 40 Joe Neumaier
    Our time spent with Nenette feel as stifling and airless as hers.
    • 64 Metascore
    • 40 Joe Neumaier
    A steady thrum of anger pervades this Romanian film even in its quietest moments, but the ending and captured-lost-boys setting ultimately fail to surprise.
    • 68 Metascore
    • 40 Joe Neumaier
    Steen, her face full of remorse, does a great job of portraying someone unclear of where to go or what to say without a script.
    • 49 Metascore
    • 40 Joe Neumaier
    The only bit of machinery that makes the film move is Jason Statham, who's provided the steely saving grace in so many modern action movies.
    • 64 Metascore
    • 40 Joe Neumaier
    Unfortunately, the movie doesn't have enough going on to keep us engaged, but writer-director Aaron Katz has a confident style and a way with small moments.
    • 55 Metascore
    • 40 Joe Neumaier
    This old-fashioned sword-and-sandal drama has all the bread and circuses we've come to know from the movies. It flirts with interesting story choices, but ultimately, all roads lead to boredom.
    • 35 Metascore
    • 40 Joe Neumaier
    This rambling, unfocused, shuffling documentary paints the famous standup in broad strokes, only occasionally providing worthy examples of how Winters inspired generations.
    • 65 Metascore
    • 40 Joe Neumaier
    This gruesome, allegorical drama is dark and unsettling, but not so original that it begs to be let in.
    • 70 Metascore
    • 40 Joe Neumaier
    The emotions veer from bawdy to sweet and then to obvious, though the film is stylish, and Dolan's artfulness helps when the movie loses focus.
    • 40 Metascore
    • 40 Joe Neumaier
    There's less to Beastly than meets the eye - and what meets the eye is no great shakes, either.
    • 50 Metascore
    • 40 Joe Neumaier
    Gugino is having a ball, but every scene feels like an oh-so-arch one-act.
    • 44 Metascore
    • 40 Joe Neumaier
    Shares a spiritual link to the Japanese works of Hayao Miyazaki but lacks his films' narrative drive and magical overlay.
    • 52 Metascore
    • 40 Joe Neumaier
    Insidious doesn't feature the lazy, home-video-style terror of "Paranormal Activity," thankfully. But it's also pretty normal activity for a ghost story.
    • 65 Metascore
    • 40 Joe Neumaier
    The forced coming-of-age parable that filmmaker Joe Wright laces with fairy-tale symbolism is heavy-handed from the get-go.
    • 53 Metascore
    • 40 Joe Neumaier
    Dennis Quaid lends some needed saltiness as Hamilton's supportive dad.
    • 51 Metascore
    • 40 Joe Neumaier
    The deepest chord is hit by Cattrall, who almost manages to wipe away the memory of "Sex and the City 2."
    • 61 Metascore
    • 40 Joe Neumaier
    African Cats, while often adorable and at times gripping, is more of a TV-ready experience.
    • 47 Metascore
    • 40 Joe Neumaier
    An earnest but undeniably eye-rolling documentary about the denizens of this odd pocket of show business.
    • 66 Metascore
    • 40 Joe Neumaier
    Only the extremely naive will be shocked, shocked by director Morgan Spurlock's dissection of product placement in movies.
    • 35 Metascore
    • 40 Joe Neumaier
    This sweet if limited film has an agreeable attitude.
    • 50 Metascore
    • 40 Joe Neumaier
    A movie that's so anachronistically mushy and awkward, it earns extra credit simply for being so innocent.
    • 57 Metascore
    • 40 Joe Neumaier
    No matter how the filmmakers move Heaven and Earth, this comic-book adaptation looks cool but contains very little thunder. The fault is a script by a five-headed beast which contains fateful missteps.
    • 33 Metascore
    • 40 Joe Neumaier
    History can be an equalizer, so director Roland Joffe ("The Killing Fields," "The Mission") makes sure saints and sinners all get painted with the same uninteresting brush in this fact-based drama.
    • 62 Metascore
    • 40 Joe Neumaier
    Actors are left with too much time to play emotional symphonies, while inevitably having to hit too many required notes.
    • 65 Metascore
    • 40 Joe Neumaier
    Unfortunately, despite the sweaty, tense atmosphere, Viva Riva becomes derivative of the duller scenes in other gangster flicks.
    • 39 Metascore
    • 40 Joe Neumaier
    The effects are so omnipresent it's like Reynolds' perfect hair is floating in CGI limbo. Yet when they need punch, as in a "Superman"-ish display-of-powers scene involving a helicopter, there's no flair.
    • 53 Metascore
    • 40 Joe Neumaier
    Jig
    Director Sue Bourne belabors the judges' final decision to such an excruciating length, it makes the whole movie feel a bit more cloddish than it should.
    • 64 Metascore
    • 40 Joe Neumaier
    Full of unenlightening snippets and blithe but banal asides, what the movie is missing is edge.
    • 26 Metascore
    • 40 Joe Neumaier
    Riding in to save almost every scene, though, are recent Tony Awards host Harris and the wild and woolly Sedaris, who goes too far, but in a good way. Shelov could learn from them.
    • 41 Metascore
    • 40 Joe Neumaier
    It put-puts along like a moped in busy traffic, content to amble around but not go anywhere.
    • 63 Metascore
    • 40 Joe Neumaier
    Maddeningly mundane, this Romanian drama aims for an antiseptic look at random violence and, unfortunately, achieves it.
    • 42 Metascore
    • 40 Joe Neumaier
    Unfortunately, its present-day tale, involving a career woman seeking to mend her 20-year bond with a girlfriend injured in an accident, is lax and clunky, and its story-within-a-story - a tale of two laotong, or soul sisters, in oppressive mid-1800s China - is gorgeous but simplistic.
    • 59 Metascore
    • 40 Joe Neumaier
    A dramatic tale of survival and horrific memories struggles against distracting melodrama in Sarah's Key, and unfortunately, melodrama wins.
    • 50 Metascore
    • 40 Joe Neumaier
    The sole treasure of Cowboys & Aliens is that director Jon Favreau ("Iron Man") has fashioned an actual rawhide ride from a graphic novel (that took six writers to wrangle to the screen).
    • 30 Metascore
    • 40 Joe Neumaier
    Azaria channels his inner Charles Nelson Reilly, which helps, as does an evil emoting cat. Kids under 7 will likely giggle at some too-harsh pratfalls, not care about a grown man's fear of procreation, not get all the tiny innuendos and possibly miss how the movie is a fairly successful tourism ad for New York.
    • 52 Metascore
    • 40 Joe Neumaier
    Dominic Cooper gives a riveting dual performance in The Devil's Double, but the movie is a relentless one-note drama that loses its momentum halfway through.
    • 59 Metascore
    • 40 Joe Neumaier
    Director Larysa Kondracki's fictionalized account of a true story is underserved by a melodramatic script; the result is like a film of a "60 Minutes" segment. Still, Weisz is strong and smart. And David Strathairn shows up in is-he-good-or-evil? mode.
    • 48 Metascore
    • 40 Joe Neumaier
    A lot of gleeful audience members are interviewed in Glee: The 3-D Concert Experience, though the source of their happiness could be a lot of things.
    • 48 Metascore
    • 40 Joe Neumaier
    Now CDL aficionados have One Day, though it is a tedious addition to this subspecies of rom-com, despite Anne Hathaway's efforts to make us fall for her regardless of the setting.
    • 37 Metascore
    • 40 Joe Neumaier
    There's a climactic putt, of course, but by then you wish Duvall would get one more "Tender Mercies" under his belt so you can forget about this tin cup of a family flick.
    • 70 Metascore
    • 40 Joe Neumaier
    There's a sense of dread in Contagion, but it never spreads to us. When Day 1 is finally shown, it makes you want to eat better, which isn't the same as saying this is a great movie.
    • 47 Metascore
    • 40 Joe Neumaier
    This overly twee, morbidly cute romance initially digs up the ageless "Harold and Maude" as a touchstone before it slips the coils of watchability.
    • 59 Metascore
    • 40 Joe Neumaier
    Kurt Cobain, TicketMaster and the tragic concert in Roskilde, Denmark, are addressed through plentiful backstage footage. If only it was about something other than rockers almost irked they got famous.
    • 43 Metascore
    • 40 Joe Neumaier
    The result is far too high-and-mighty to truly be moving.
    • 35 Metascore
    • 40 Joe Neumaier
    Dream House is the full magilla, with imaginary images, sanity questions, peek-a-boo startles and the usual are-they-real-or-not? characters.
    • 35 Metascore
    • 40 Joe Neumaier
    This comedy is empty.
    • 56 Metascore
    • 40 Joe Neumaier
    In either a stunningly brave or misguided act of meta-absurdity, Real Steel, which is about a boy, his dad and the robot that changes their lives, actually feels as if it were made inside the mind of a kid obsessed with robots.
    • 37 Metascore
    • 40 Joe Neumaier
    This drama, as traditional as its subject was epochal, is earnest and studious to a fault. Rarely has a film about upheaval felt more like a textbook.
    • 59 Metascore
    • 40 Joe Neumaier
    A few really weird things happen during Paranormal Activity 3, though unfortunately, they have nothing to do with being frightened.
    • 60 Metascore
    • 40 Joe Neumaier
    The movie lumbers, and Loach and screenwriter Rona Munro's affectless approach winds up tamping down the movie's good intentions.
    • 52 Metascore
    • 40 Joe Neumaier
    Writer-director David M. Rosenthal fills this dewy road-trip movie with too many cliches. From the glimpses we get of Shue's character, that may have been a more rockin' story.
    • 64 Metascore
    • 40 Joe Neumaier
    Unfortunately, director Joe Maggio's film, despite showing real promise and an ear for threats delivered with a smile, runs out of gas.
    • 52 Metascore
    • 40 Joe Neumaier
    Had the film stood still more often, its stylish gambit would have worked better.
    • 74 Metascore
    • 40 Joe Neumaier
    Its young heroine is proud to be herself; there's just not much for her to do beyond that.
    • 53 Metascore
    • 40 Joe Neumaier
    Westby's nervy story is like "Desperately Seeking Susan" played straight. Let's hope O'Grady's next film meets this one's potential.
    • 29 Metascore
    • 40 Joe Neumaier
    Apparently, it takes a village - or the collection of villages known as Los Angeles - to go nowhere slowly.
    • 57 Metascore
    • 40 Joe Neumaier
    Close and McTeer, an evenly matched odd-couple pairing, keep it real. They do the heavy lifting, and are utterly enchanting, whether in bonnets or boots.
    • 58 Metascore
    • 40 Joe Neumaier
    "Field of Dreams" this ain't, and Crowe, whose "Jerry Maguire" and "Almost Famous" are justly held in high esteem, can't build the right frame here. It's neither fish nor fowl; a "guy-gets-his-life-right" rom-com runs smack into a "kids-with-animals" lark.
    • 46 Metascore
    • 40 Joe Neumaier
    The result is that, as with Hanks' performance, what's missing - subtlety, truth, an earned sense of rebirth – is stronger than what's here. Despite all the connections in Extremely Loud and Incredibly Close, it never connects to us the way we need it to.
    • 38 Metascore
    • 40 Joe Neumaier
    It's the same movie town we've seen many times before, with dingy mechanic's shops, barren parking lots and a greasy-spoon diner where all the clichés come together.
    • 51 Metascore
    • 40 Joe Neumaier
    Only Wahlberg rises above the muck; everything else here feels buried in concrete.
    • 46 Metascore
    • 40 Joe Neumaier
    George Lucas produced this candy-coated, fictionalized drama, and while its cast is first-rate and its flying sequences sharp, the movie is as glazed and wide-eyed as a 70-year-old comic book.
    • 59 Metascore
    • 40 Joe Neumaier
    While its tone and humanity offset the futility of each side's need for one crucial hill, much of this intense, honorable film is too drawn-out.
    • 55 Metascore
    • 40 Joe Neumaier
    Though it eventually gets down to more serious business, this Glasgow-set apocalyptic romance-drama seems, at first, to be most concerned about whether restaurants will survive the end of the world.
    • 52 Metascore
    • 40 Joe Neumaier
    Safe House devolves into unexciting action scenes that feel left over from the "Bourne" flicks and are peopled with cloak-and-dagger stereotypes.
    • 53 Metascore
    • 40 Joe Neumaier
    Unfortunately, "modern" additions (like the soldiers' YouTube videos and some social media moments) feel clunky, and a necessarily shortened approach trips the movie up, though leads Matt Doyle and Seth Numrich - accomplished Broadway actors - are intense, engaged and appropriately tragic.
    • 57 Metascore
    • 40 Joe Neumaier
    Director Danis Tanovic never undersells the anger and tension in the family, yet while the emotional underpinnings feel raw, much of "Cirkus" also winds up spinning 'round to obvious, if uncomfortable, places.
    • 59 Metascore
    • 40 Joe Neumaier
    If "Ice" never really solidifies, it's nonetheless the work of a filmmaker whose seriousness is worth watching out for.
    • 53 Metascore
    • 40 Joe Neumaier
    Weitz – who did a great job adapting Nick Hornby's "About a Boy" into an affecting 2002 movie – can't bring the pieces together here.
    • 26 Metascore
    • 40 Joe Neumaier
    If only this Eddie Murphy flick had taken its own advice and spent a little more time being reflective instead of hyperactive, it might have overcome a trite script and awful, obvious excuses for comedy.
    • 49 Metascore
    • 40 Joe Neumaier
    The tricky camera moves that fill up Silent House make for one-half of a nerveracking horror film – before the movie's obviousness just gets on your nerves.
    • 58 Metascore
    • 40 Joe Neumaier
    The cast gives it all a good go, and pip-pip and all that for noticeable intelligence and a bit of the old British satire. Yet Salmon Fishing takes patience and rewards with no bite.
    • 52 Metascore
    • 40 Joe Neumaier
    It's nice to see righteous anger in a movie. If only the education drama Detachment knew what to do with it.
    • 38 Metascore
    • 40 Joe Neumaier
    While we're meant to feel claustrophobic, we're not supposed to fight boredom, which kicks in quickly.
    • 47 Metascore
    • 40 Joe Neumaier
    All In lays down some interesting hands but sometimes can't raise the stakes, though "Rounders" star Matt Damon lends a bit of celeb flash.
    • 54 Metascore
    • 40 Joe Neumaier
    Feels stagy and anti-visceral.
    • 37 Metascore
    • 40 Joe Neumaier
    The biggest fault is that comparatively little attention is given to the monsters.
    • 63 Metascore
    • 40 Joe Neumaier
    The idea of Willem Dafoe, one of our most watchable actors, playing a man stalking a thought-to-be-extinct animal in the wild is gripping in theory. In execution, however, The Hunter loses its way.
    • 49 Metascore
    • 40 Joe Neumaier
    What keeps the movie afloat, though, is Seann William Scott as Steve Stifler.
    • 33 Metascore
    • 40 Joe Neumaier
    The movie as a whole falls victim to a dewy kind of Tennessee Williams-itis, as Black plops too many wanna-be, colorful twists - imminent illness, botched robberies, fake pregnancies - into what is at heart a gently heartbreaking rendering.
    • 42 Metascore
    • 40 Joe Neumaier
    Boasting perhaps the most bored-sounding voice-over ever, this unexceptional drama imagines itself - much as its young heroine does - to be far more noteworthy than it actually is.
    • 34 Metascore
    • 40 Joe Neumaier
    The film doesn't play games; it's basically just Lucas going through a short story-like period of reflection and redemption almost entirely without dialogue. It's not enough, but it is what this underappreciated actor does best.
    • 50 Metascore
    • 40 Joe Neumaier
    Scenes of the director as a school-age boy in a Varda film are haunting, but end up simply sparking a desire to see Varda's work.
    • 54 Metascore
    • 40 Joe Neumaier
    Much of the young cast - especially a miscast Page - make the oft-repeated mistake of saying Allen's dialogue as he might say them; the result is a lot of hyperarticulation, stammering and gesturing.
    • 86 Metascore
    • 40 Joe Neumaier
    Winds up feeling like a form of emotional tourism. The images recall Terrence Malick, but the film fills "atmosphere" into dry narrative holes where a story should reside.
    • 68 Metascore
    • 40 Joe Neumaier
    Becomes too melodramatic and bleakly obvious. Weaving, though, as always, is never less than magnetic.
    • 54 Metascore
    • 40 Joe Neumaier
    Unlike last year's superior "Judy Moody and the Not Bummer Summer" - which put its grade-school heroine through similarly seasonal woes - "Dog Days" squanders several chances to find something magical in the mundane.
    • 37 Metascore
    • 40 Joe Neumaier
    This earnest, at times touching, reach-for-your-dreams doc about musical hopefuls in middle age gets sidetracked quickly. When it should focus on a reunited R&B group, it wallows in the self-aggrandizement of an L.A. producer and, most awkwardly, a New York cabaret singer.
    • 72 Metascore
    • 40 Joe Neumaier
    The 12-year-old boys who go to see ParaNorman - and who are the only ones who might enjoy it - should double up on the sugary treats to stay awake during this gorgeous-looking but zombi-fied stop-motion animated creep show. It's as slow as a corpse, and half as interesting.
    • 53 Metascore
    • 40 Joe Neumaier
    This stately chiller owes a lot to 1960s British flicks like "The Innocents" and "The Haunting," but unfortunately heads towards cliches with every step.
    • 50 Metascore
    • 40 Joe Neumaier
    Sadly, Hit & Run, for as much sporadic fun and genuine heart it has, runs out of gas. But it's not for lack of trying, and that counts for something.
    • 52 Metascore
    • 40 Joe Neumaier
    Bloom's watchfulness and brittle seriousness anchors The Good Doctor, even as it wanders away from reality and into its own bizarre world.
    • 57 Metascore
    • 40 Joe Neumaier
    Despite the presence of Jet Li, only the last half-hour of this chatty epic truly flies.
    • 55 Metascore
    • 40 Joe Neumaier
    Liberal Arts is at its most nauseating when we hear Jesse and Zibby read their oh-so-self-aware love letters.
    • 34 Metascore
    • 40 Joe Neumaier
    Janssen's affectionate, almost-1970s-style view of innocents-at-large may not be polished, but earns points for being from the heart.
    • 45 Metascore
    • 40 Joe Neumaier
    Taken 2 has a plot that could have been written by a GPS program, and contains all the technical charm that conjures up.
    • 54 Metascore
    • 40 Joe Neumaier
    This is an odd little directorial debut from Matthew Lillard - the onetime Shaggy from "Scooby-Doo," now a solid character actor thanks to "The Descendants" and "Trouble with the Curve" - but it has its rewards.
    • 40 Metascore
    • 40 Joe Neumaier
    All banality, though it delivers some goodwill even as it pulls a muscle trying to get its premise going.
    • 51 Metascore
    • 40 Joe Neumaier
    It's a naive example of the transformative powers of a 23-year-old let loose amongst the dullards. Whoa.
    • 57 Metascore
    • 40 Joe Neumaier
    Amiable but ambling.
    • 55 Metascore
    • 40 Joe Neumaier
    For all its strengths, the film is cursed by an ADD-style structure and a flashy but inevitably ineffective casting stunt.
    • 45 Metascore
    • 40 Joe Neumaier
    John Cleese, Michael Palin and Chapman himself (courtesy of interviews, skits and various recordings he made before his death from cancer in 1989) chime in. It's an odd little trip, but if it weren't, one would have to ask, "Well what's all this, then?"
    • 61 Metascore
    • 40 Joe Neumaier
    Barrymore is a delicious opportunity to watch the great Christopher Plummer perform the role that won him a second Tony Award. But it's also a lesson in the pitfalls of personality-based minimalism. While Plummer acts his heart out, the script becomes one punchline after another.
    • 50 Metascore
    • 40 Joe Neumaier
    While Messina and Ireland are fine company, writer-director Matt Ross' conceit tires you out.
    • 57 Metascore
    • 40 Joe Neumaier
    Dour animated adventure that aspires to holiday joy, but is as enjoyable as a sock full of coal.
    • 73 Metascore
    • 40 Joe Neumaier
    Though Rust and Bone aims for a blasé attitude toward disabled drama - in a far more artificial way than another French film, "The Intouchables," did earlier this year - it's underwritten characters and hoary approach plunk it into mediocrity. As wheelchair-bound Stephanie practices her whale-training motions to Katy Perry's "Firework," it's eye-rollingly obvious.
    • 62 Metascore
    • 40 Joe Neumaier
    Yen, who also choreographed the fights, is a natural hero, and the large canvas and pseudo-superhero tactics work for a bit, but then the action gets sidetracked in place of myth-building.
    • 51 Metascore
    • 40 Joe Neumaier
    This well-intentioned but clumsy attempt to get into the head of one of the 20th century's most famous women remains full of hot air.
    • 52 Metascore
    • 40 Joe Neumaier
    If Deadfall had more life, it might have been about more than just its wannabe edge. Ruzowitzky, whose 2007 film "The Counterfeiters" won a Best Foreign Film Oscar, understands the movie's simple plan. But it nonetheless puts us into a big sleep.
    • 51 Metascore
    • 40 Joe Neumaier
    A mopey indie family drama like In Our Nature can't quash "Mad Men" star John Slattery's charm no matter how badly it tries.

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