For 1,347 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 Boyhood
Lowest review score: 0 Teenage Mutant Ninja Turtles
Score distribution:
1347 movie reviews
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 40 Joe Neumaier
    Dennis Quaid lends some needed saltiness as Hamilton's supportive dad.
    • 40 Metascore
    • 40 Joe Neumaier
    Aloha isn’t horrible, but it does have a pitiable odor about it, like a dog that’s sat too long on the beach. Crowe aspires to Golden Age of Hollywood repartee, but something feels off, just as it did in “Elizabethtown” (2005) and “We Bought a Zoo” (2011). Everyone just seems to be trying too hard.
    • 57 Metascore
    • 40 Joe Neumaier
    Amiable but ambling.
    • 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?"
    • 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."
    • 66 Metascore
    • 40 Joe Neumaier
    Combining the dysfunctional family reunion and the home invasion thriller, You’re Next tries, somewhat valiantly, to add new twists to the usual bloody horror-flick shenanigans. But aside from a few fresh chords, it’s same-old, same-old.
    • 67 Metascore
    • 40 Joe Neumaier
    Flow makes you thirsty for more information.
    • 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.
    • 47 Metascore
    • 40 Joe Neumaier
    Informative and flavorful, though lacking in surprise.
    • 47 Metascore
    • 40 Joe Neumaier
    This heavy-handed movie is simply a sermon its makers think we all should hear.
    • 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.
    • 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.
    • 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.
    • 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
    • 33 Metascore
    • 40 Joe Neumaier
    Sam Worthington and Jim Sturgess are solid as two of the four kidnappers, but Swedish director Daniel Alfredson pushes the caper button too many times. More sly wit would have helped things come to a head.
    • 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.
    • 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."
    • 49 Metascore
    • 40 Joe Neumaier
    Words and Pictures doesn’t get the dunce-cap award, but it does lose points for feeling phony and contrived — especially during the moments when it appears overly proud of what it is.
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 40 Joe Neumaier
    What remains rote is how easily the fiend’s victims fall for his tricks. It’s almost as if they’ve seen too many movies like The Barber, and shaved away all common sense.
    • 49 Metascore
    • 40 Joe Neumaier
    This sequel to last year’s surprise buzz-maker takes the same appreciative approach to scare-flick tradition: Take hipsters, mix into classic genre riff, goose until ludicrous; repeat. Not every try is successful, but as with any anthology, if you don’t like one, sit back and wait for the next.
    • 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.
    • 36 Metascore
    • 40 Joe Neumaier
    Crisply directed but inescapably pious and, worse, narratively poky.
    • 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
    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.
    • 57 Metascore
    • 40 Joe Neumaier
    It's a big fat missed opportunity.
    • 71 Metascore
    • 40 Joe Neumaier
    This contemplative drama draws strength from day-to-day ordinariness and a terrific lead performance from Paul Eenhoorn, yet sadly falls short.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Joe Neumaier
    Though coming off at times like Adam Sandler’s “Grown-ups,” only with Oscar winners, Last Vegas is a genial little comedy for the crowd it’s intended for.
    • 65 Metascore
    • 40 Joe Neumaier
    Mood is more important to Not Fade Away than anything, but writer-director David Chase, who turned mood into masterpiece with every season of "The Sopranos," allows nostalgic feeling to be the sole reason for this, his first feature film.
    • 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.
    • 58 Metascore
    • 40 Joe Neumaier
    The emotions are florid and the entanglements heated. But the film become preoccupied with, as Flaubert would say, the pettiness and mediocrity of daily life. Arterton, though, is plushly magnetic. She draws us in despite the overly lyrical atmosphere.
    • 59 Metascore
    • 40 Joe Neumaier
    There's a funny movie scratching at the edges of This is 40. Unfortunately, writer-director Judd Apatow sees himself as the John Cassavetes of Comedy, so every time that funny movie starts to emerge, Apatow tramples it with scenes of domestic irritation.
    • 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
    Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.
    • 37 Metascore
    • 40 Joe Neumaier
    Any urgency the movie has comes from co-star Terrence Howard, a firebrand of an actor who can’t be contained by a paint-by-numbers script.
    • 60 Metascore
    • 40 Joe Neumaier
    So now we have a full-length Machete movie, and it turns out that, as usual, less is more.
    • 65 Metascore
    • 40 Joe Neumaier
    Unfortunately, despite the sweaty, tense atmosphere, Viva Riva becomes derivative of the duller scenes in other gangster flicks.
    • 55 Metascore
    • 40 Joe Neumaier
    Only DeWitt looks at home, but Shelton allows “Touchy Feely” to be so wishy-washy that we can never get a hold of the star, or the movie.
    • 45 Metascore
    • 40 Joe Neumaier
    All the low-hum, behavioral buffoonery gets a bit tedious. Still, cheers to Cross for the satirical road he covers, even with all the potholes.
    • 25 Metascore
    • 40 Joe Neumaier
    Regardless of where its stars want to take it, all roads here lead to blandness and inanity.
    • 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.
    • 33 Metascore
    • 40 Joe Neumaier
    Sandler's shambling Yogi Bear-ness will be the big appeal to holiday-vacation audiences.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Joe Neumaier
    Like Stallone, director Walter Hill is also far from his heyday ("The Warriors," "48 HRS.," "Streets of Fire"), but the old-guy camaraderie behind the scenes is evident. Despite the movie being based on a graphic novel, no one adds extra flash here just to appease the kids.
    • 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.
    • 71 Metascore
    • 40 Joe Neumaier
    The story's Hitchcockian plot loses steam quickly, though Pinon's salty presence keeps things from getting totally bloodless.
    • 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."
    • 46 Metascore
    • 40 Joe Neumaier
    The sequel to one of the most visually striking movies of the last 10 years continues the graphic novel-inspired landscape of its predecessor. But the characters don’t click, and the action feels dull.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Joe Neumaier
    Full of unenlightening snippets and blithe but banal asides, what the movie is missing is edge.
    • 52 Metascore
    • 40 Joe Neumaier
    The oldsters are feisty — a gun-totin’ granny is played by Pussy Galore herself, “Goldfinger’s” Honor Blackman — but the shtick’s as flat as old ale. It is bookended, though, by two seriously great songs.
    • 72 Metascore
    • 40 Joe Neumaier
    Melancholy, often muddled documentary.
    • 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.
    • 67 Metascore
    • 40 Joe Neumaier
    Stories about mythic figures at the end of their days are compelling — but they still need some zing. That’s what Mr. Holmes is missing.
    • 57 Metascore
    • 40 Joe Neumaier
    Despite the human drama here, we’re kept at a remove by stolid direction and by-the-numbers storytelling.
    • 47 Metascore
    • 40 Joe Neumaier
    The same boring routine gets played out again.
    • 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.
    • 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).
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Joe Neumaier
    It feels like a high-end perfume ad.
    • 49 Metascore
    • 40 Joe Neumaier
    High art swings sort of low in this watchable but thematically repetitive drama.
    • 82 Metascore
    • 40 Joe Neumaier
    Aiming for lightness but landing with a thud, Frances Ha is a well-meaning blunder. Director Noah Baumbach’s ode to Brooklyn twentysomething life is a flibbertigibbet fable that, like a self-absorbed flirt you meet at a party, grates on the nerves despite being easy on the eyes.
    • 61 Metascore
    • 40 Joe Neumaier
    Kids who get a kick out of the macabre will enjoy this exquisitely crafted but tedious film.
    • 60 Metascore
    • 40 Joe Neumaier
    Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly.
    • 47 Metascore
    • 40 Joe Neumaier
    Engrossing, sad and heartbreaking.
    • 57 Metascore
    • 40 Joe Neumaier
    Despite the presence of Jet Li, only the last half-hour of this chatty epic truly flies.
    • 63 Metascore
    • 40 Joe Neumaier
    Plays out like a clunky, not-so-incredible "Incredibles," or a more-despicable "Despicable Me."
    • 40 Metascore
    • 40 Joe Neumaier
    All banality, though it delivers some goodwill even as it pulls a muscle trying to get its premise going.
    • 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.
    • 41 Metascore
    • 40 Joe Neumaier
    This somber but unexceptional drama is luxurious to look at but never gripping.
    • 51 Metascore
    • 40 Joe Neumaier
    Unfortunately, Mann’s newest film, Blackhat, fails to connect.
    • 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.
    • 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.
    • 71 Metascore
    • 40 Joe Neumaier
    The film, unfortunately, hasn't the depth Malkovich brings to his performance.
    • 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.
    • 48 Metascore
    • 40 Joe Neumaier
    Ultimately, this dull tour of a thieving, primal underworld is just a lot of high-talking hogwash.
    • 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.
    • 60 Metascore
    • 40 Joe Neumaier
    Good thing the Aussie star has the role down to a science, since the rest of The Wolverine is a howler.
    • 80 Metascore
    • 40 Joe Neumaier
    Fans of Dario Argento and Mario Bava will appreciate the references. Even for newcomers, there are minor chords to enjoy. If only there were less screaming.
    • 33 Metascore
    • 40 Joe Neumaier
    Solid performances and a literary feel help turn a standard family-rift drama into a dry but saucy narrative.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Joe Neumaier
    One problem with “Wish” is that Braff tries to cram so much into it, no scene ever exists for its own sake, to establish rhythm or help us know these characters outside of the ongoing family crises.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Joe Neumaier
    There is a serious lack of action here, which might be overlooked if the script were as smart as in the previous films. What passes for parable here is merely overplotting.
    • 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.
    • 61 Metascore
    • 40 Joe Neumaier
    Everyone thinks sex is easy to do, but that doesn’t mean they’re good at it. The To Do List is exactly that type of movie, one that thinks a sex-obsessed version of a John Hughes comedy by its very nature is hilarious. It’s not, but there are still some things to like here.
    • 35 Metascore
    • 40 Joe Neumaier
    This comedy is empty.
    • 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.
    • 67 Metascore
    • 40 Joe Neumaier
    Luna and Bernal have amiability, but not enough to earn a recommendation for this clichéd movie.
    • 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.
    • 35 Metascore
    • 40 Joe Neumaier
    The manic energy of Kevin Hart is, surprisingly, toned down in The Wedding Ringer. Which may account for almost the entire first half of this wannabe-raucous buddy movie being laugh-free.
    • 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.
    • 37 Metascore
    • 40 Joe Neumaier
    Overly analytical, cutesy comedy-drama.
    • 37 Metascore
    • 40 Joe Neumaier
    The biggest fault is that comparatively little attention is given to the monsters.
    • 78 Metascore
    • 40 Joe Neumaier
    There’s atmosphere here, but nothing else.
    • 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
    If characters talking to dogs and dog reaction shots are some of your favorite things, add some stars to this review.
    • 61 Metascore
    • 40 Joe Neumaier
    African Cats, while often adorable and at times gripping, is more of a TV-ready experience.
    • 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.
    • 69 Metascore
    • 40 Joe Neumaier
    An oblique, by-design and frustrating drama, Claire Denis’ film about a man’s mysterious suicide and its repercussions is creepy, but finally too vague.
    • 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.
    • 57 Metascore
    • 40 Joe Neumaier
    It's like torture, though Body of Lies has nothing to spill.
    • 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
    It’s all too much. Frankie & Alice has multiple problems it can’t get past.
    • 38 Metascore
    • 40 Joe Neumaier
    If director Rob Reiner’s AARP-aimed comedy stumbles on several fronts, at least it provides a stage for some seasoned pros to strut their stuff.
    • 47 Metascore
    • 40 Joe Neumaier
    The Giver was ahead of its time as a book. But as a movie, it’s too late.
    • 40 Metascore
    • 40 Joe Neumaier
    Comes upon a few quirky solutions and movie-ripoff scares before settling into a kind of coma.
    • 47 Metascore
    • 40 Joe Neumaier
    An earnest but undeniably eye-rolling documentary about the denizens of this odd pocket of show business.
    • 50 Metascore
    • 40 Joe Neumaier
    While Messina and Ireland are fine company, writer-director Matt Ross' conceit tires you out.
    • 60 Metascore
    • 40 Joe Neumaier
    The actors are in good form, but McFarland, USA can’t find its footing.
    • 30 Metascore
    • 40 Joe Neumaier
    The movie devolves into a series of clichéd bits, none of which are that funny.
    • 41 Metascore
    • 40 Joe Neumaier
    This dull thriller wastes the potential of Nicole Kidman and Colin Firth.
    • 54 Metascore
    • 40 Joe Neumaier
    As an acting symposium, this is 83 minutes of Tucci exercises; never a bad thing. The wooden Eve does her best, but director/writer Neil LaBute unfortunately underwrote her character — by design, it would seem, given all that transpires.
    • 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.
    • 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.
    • 66 Metascore
    • 40 Joe Neumaier
    Only the extremely naive will be shocked, shocked by director Morgan Spurlock's dissection of product placement in movies.
    • 45 Metascore
    • 40 Joe Neumaier
    The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.
    • 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.
    • 43 Metascore
    • 40 Joe Neumaier
    The result is far too high-and-mighty to truly be moving.
    • 35 Metascore
    • 40 Joe Neumaier
    This sweet if limited film has an agreeable attitude.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Joe Neumaier
    Writer-director Hannah Fidell’s somber drama of an illicit romance earns credit for being a serious discussion of a tabloid-rich topic, but the movie runs out of places to go.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Strong acting all ’round helps, but unfortunately this is just a slow ride to nowhere.
    • 40 Metascore
    • 30 Joe Neumaier
    There's an art to making a good spoof, but good luck finding it in Dance Flick, not only because the movie goes for easy toilet humor, but because it often relies on it to stay afloat.
    • 60 Metascore
    • 30 Joe Neumaier
    Gets old fast.
    • 51 Metascore
    • 30 Joe Neumaier
    This empty, immature romantic comedy ultimately feels as if it's filled with all the hot air that separates New York and San Francisco, yet still manages to be a suffocating bore.
    • 43 Metascore
    • 30 Joe Neumaier
    Less the opulent retelling she (Taymor) intended and more like a high-minded midnight movie, filled with Ricky's-style costumes, black swans, sprites that flit across the screen and a cave filled with boiling beakers.
    • 30 Metascore
    • 30 Joe Neumaier
    If Marmaduke achieves anything, it's that it makes this past spring's "Furry Vengeance" look like a masterpiece by comparison.
    • 17 Metascore
    • 30 Joe Neumaier
    This pseudo-punkster hybrid of "Heathers" and "Thelma & Louise" loses its way almost immediately, veering from wannabe-shocking social indictment to stultifyingly obvious yawner.
    • 58 Metascore
    • 30 Joe Neumaier
    Brothers tries to delve into how war can tear families apart, but only succeeds in showing how miscasting and melodrama obscure good intentions.
    • 34 Metascore
    • 30 Joe Neumaier
    Such a lazy action-drama underachiever, it seems unfair to target stars Jamie Foxx and Gerard Butler for bringing their C game.
    • 47 Metascore
    • 20 Joe Neumaier
    Director Jake Paltrow’s stark sense of place fades as familiar genre elements are introduced. It winds up like “There Will Be Blood,” but with H2O, not oil. It’s food for thought, nothing more.
    • 24 Metascore
    • 20 Joe Neumaier
    Half-assed, halfhearted attempt to copy the Farrellys' out-there style is missing both their jackassical riffs and their heart.
    • 34 Metascore
    • 20 Joe Neumaier
    During all of the film’s oh-so-long 97 minutes, Year One, barely earns a snicker.
    • 39 Metascore
    • 20 Joe Neumaier
    One of 2015’s dullest.
    • 42 Metascore
    • 20 Joe Neumaier
    It’s too bad we can’t take a hit out on The Family. This unexciting, unfunny would-be action satire is filled with Italian-American stereotypes, decades-old TV-style Mafia cliches, bits of business that never amount to anything and actors so much better than the hoary, one-joke material.
    • 24 Metascore
    • 20 Joe Neumaier
    Adds to the sad realization that this once-vibrant and witty actor (Cage) is completely controlled now by his inner teenager.
    • 40 Metascore
    • 20 Joe Neumaier
    Talk about lost in space. The whacked-out outer-space melodrama Jupiter Ascending has embedded in its genes the DNA of “Barbarella” and “Flash Gordon,” some dust from “Dune” and even a bit of Michael Jackson’s Disneyland short “Captain Eo.”
    • 17 Metascore
    • 20 Joe Neumaier
    Since Bullock coproduced this masochistic venture, it seems she buys into the idea that fluffer-nut ditziness is what she does best. Except it isn't.
    • 25 Metascore
    • 20 Joe Neumaier
    It's nothing special. Which sort of makes it a loser all the way 'round. Expect a sad afterlife for it on cable.
    • 35 Metascore
    • 20 Joe Neumaier
    Ridiculous and mannered, Loosies is light-fingered but heavy-handed.
    • 22 Metascore
    • 20 Joe Neumaier
    A dumb thriller starring Dennis Quaid as a weirdo mortician taunted by high school kids into revealing what he did with his wife and her lover years before - and look at the movies it rips off...
    • 29 Metascore
    • 20 Joe Neumaier
    The acting and general schlockiness make "Friday the 13th" look like "Macbeth," but it's clear D'Onofrio just wants to hang out. And actually, a lot of the music is really good. Let's hope next time, he decides to make something like "The Commitments" instead.
    • 67 Metascore
    • 20 Joe Neumaier
    Johnson is convincing as a swaggering, jokey Lennon, but the photos of young John, Paul and George that end the movie ultimately have more punch than this bubblegummy montage.
    • 65 Metascore
    • 20 Joe Neumaier
    I Love You Phillip Morris not only blasts gay stereotypes back decades, it could actually make people wish for a third "Ace Ventura" movie. Both of those are an accomplishment, though neither is a compliment.
    • 56 Metascore
    • 20 Joe Neumaier
    If there are Nazis fighting other Nazis in a movie and it's still boring, something's gone wrong. Valkyrie has a coterie of problems, and represents a whole new front in Tom Cruise's public relations war, but first and foremost there's the tedium.
    • 28 Metascore
    • 20 Joe Neumaier
    The Big Wedding lets them all down with bottom-rung sitcom shtick and an undercurrent of squareness masquerading as absurdity.
    • 36 Metascore
    • 20 Joe Neumaier
    I Am Number Four, with its gangly title, seems like a dimwitted cousin to those hipper properties - a Superman-come-lately tale of puppy love, extraordinary powers and puberty that's duller than a chalkboard and less powerful than an extraneous Jonas brother.
    • 20 Metascore
    • 20 Joe Neumaier
    Everything that goes around comes around, but the roundelay in 30 Beats comes off, well, a little square.
    • 33 Metascore
    • 20 Joe Neumaier
    Though this family film is slick and well-intentioned, it comes off as shallow as a prom committee meeting.
    • 43 Metascore
    • 20 Joe Neumaier
    Writer-director Sebastian Gutierrez seems to think his characters are oh-so-edgy, and maybe they would be -- if it were 1982.
    • 17 Metascore
    • 20 Joe Neumaier
    Atrocious dreck that feels sitcomish, only without the polish or panache.
    • 39 Metascore
    • 20 Joe Neumaier
    Can't overcome mythic stupidity.
    • 52 Metascore
    • 20 Joe Neumaier
    Only viewers wondering if James Van Der Beek has finally outgrown "Dawson's Creek" will be at all satisfied by this dreadful police procedural that contains good history lessons and bad TV-cop-show drama.
    • 37 Metascore
    • 20 Joe Neumaier
    Muddled and inert despite the best intentions, this inescapably dull thriller plays like a Middle Eastern take on Liam Neeson’s “Taken.”
    • 63 Metascore
    • 20 Joe Neumaier
    It is no summer thriller. It’s an anemic actioner that fosters excitement like dead limbs as it lumbers toward a conclusion.
    • 47 Metascore
    • 20 Joe Neumaier
    Max
    Dullness, as well as hoary preachiness, neuters the family-and-their-war-dog drama Max.
    • 70 Metascore
    • 20 Joe Neumaier
    A documentary with too much dead time between the arduous tasks at hand, never grabs a viewer because -- sad to say -- it's too dull.
    • 42 Metascore
    • 20 Joe Neumaier
    Every scene is entwined in clunkiness.
    • 20 Metascore
    • 20 Joe Neumaier
    Unfortunately, its positive attributes are thrown out of balance by its abundant negatives - including chintzy effects, lumbering storytelling and an overstylized, earnest incompetence that evokes "Speed Racer."
    • 28 Metascore
    • 20 Joe Neumaier
    Hardworking Oscar winner Harden and beguiling Spanish star Watling do nothing for this haphazard film, which belatedly decides it wants to be a stage satire as the women lark into a ridiculous avant-garde production of “MacBeth.” Bloody awful.
    • 64 Metascore
    • 20 Joe Neumaier
    Corey Stoll is the only reason to sit through this muddled Jersey-set drama.
    • 36 Metascore
    • 20 Joe Neumaier
    With the most growling and grunting of any movie this summer - and that includes those apes perched atop the box office - Conan the Barbarian seems at times to have actually been made by barbarians.
    • 32 Metascore
    • 20 Joe Neumaier
    This lumbering, ha-ha-look-what-we-remade action-comedy is a high-concept disaster.
    • 20 Metascore
    • 20 Joe Neumaier
    With a bit less grisliness, it could have been a mystery dinner-theater performance.
    • 19 Metascore
    • 20 Joe Neumaier
    Unpleasantly icy film based on a true story.
    • 21 Metascore
    • 20 Joe Neumaier
    Points for niche audaciousness, but that’s all.
    • 56 Metascore
    • 20 Joe Neumaier
    Will Smith may have run through every trick in his bag. In Focus, the one-time fresh prince and former box-office champ looks tired, bored and, even worse, uninspired.
    • 45 Metascore
    • 20 Joe Neumaier
    It is likely to become an unintended camp classic, something we haven't had since "Showgirls."
    • 67 Metascore
    • 20 Joe Neumaier
    Director Kyle Patrick Alvarez’s film underserves its cast of up-and-comers (Thomas Mann, Ezra Miller, Tye Sheridan), allows the usually solid actor Michael Angarano to go astray with a scenery-chewing role and buries Crudup in fretting and sanctity. Worse, the experiment’s inherent drama is exacted with a tin ear and a cheesy style.
    • 38 Metascore
    • 20 Joe Neumaier
    Terminally silly, even more so for being "inspired by actual events."
    • 29 Metascore
    • 20 Joe Neumaier
    The amazingly awful dramatic thriller Red Riding Hood could, with tweaks, be enjoyably bad in a "Plan 9 From Outer Space" kind of way. Instead, it's M. Night Shyamalan-style bad, which means despite all the unintentional snickers, you feel trapped.
    • 51 Metascore
    • 20 Joe Neumaier
    So that's three snickers, not counting the Bush quote, 'cause including that one ain't fair, man.
    • 53 Metascore
    • 20 Joe Neumaier
    This is perhaps for Shakespeare completists only.
    • 66 Metascore
    • 20 Joe Neumaier
    Alas, this learned woman of letters - her expertise became the work of Dostoyevsky, whose major novels Geier nicknames "the five elephants" - is ill served by a trudging approach and dry-as-dust, procedural style.
    • 55 Metascore
    • 20 Joe Neumaier
    Has warmed-over chills and a muddled, zombie-like execution.
    • 40 Metascore
    • 20 Joe Neumaier
    The problem with this hyper-verbal comedy is in the title.
    • 54 Metascore
    • 20 Joe Neumaier
    Well-intentioned but as earnest as a college freshman discovering campus politics.
    • 40 Metascore
    • 20 Joe Neumaier
    PA 4's best idea, besides reintroducing the slow-walking, statuesque Katie, is a strange video trick involving lots of little lights filling a darkened room. It's tough to describe, but the cameras, of course, capture a figure the characters can't.
    • 49 Metascore
    • 20 Joe Neumaier
    Rote, dull and point-blank obvious.
    • 61 Metascore
    • 20 Joe Neumaier
    Where on the evolutionary scale of wacky-dudes-learn-to-grow-up movies does Role Models fall? Certainly less evolved than "Meatballs," but head and hairy knuckles above "Daddy Day Care" or "The Benchwarmers."
    • 37 Metascore
    • 20 Joe Neumaier
    This smart-looking but empty adventure — with a hero that looks more Tom Ford than John Ford — suffers from a shambling script, shifting tones and a surplus of villains. Clunky and drawn out, “Ranger” shoots blanks, even with the star power of Johnny Depp behind it.
    • 33 Metascore
    • 20 Joe Neumaier
    This odd Dickens-meets-Sunday-school movie is as artless as the setup is muddled.
    • 51 Metascore
    • 20 Joe Neumaier
    The overlapping stories, the emotional disconnect, the heavy-handed symbolism -- no, it's not a movie from the makers of "Babel," its a mumbling, stammering copycat drama from Swedish director Lukas Moodysson.
    • 33 Metascore
    • 20 Joe Neumaier
    If this is your particular poison, it won’t kill you. But anyone averse to Sparks’ sappy touch may get sick from all the bull.
    • 20 Metascore
    • 20 Joe Neumaier
    Stein's schlumpy presence is disarming, though his know-it-all nature is at odds with his free-speech posing.
    • 30 Metascore
    • 20 Joe Neumaier
    This Australian movie reminds you what can happen when directors pretend to be Quentin Tarantino, complete with snark masquerading as style, slippery timelines, blood and guts and guns everywhere.
    • 69 Metascore
    • 20 Joe Neumaier
    The film is an exasperating bore.
    • 43 Metascore
    • 20 Joe Neumaier
    To call MacGruber"a total bomb is a bit much, but this comedy-action flick sure feels like it was put together with gum, shoelaces and a couple of sticky Twizzlers.
    • 60 Metascore
    • 20 Joe Neumaier
    Trust - a drama about the dangers of teen sexting and online predators - plays as prurient, ham-handed and amateurish.
    • 36 Metascore
    • 20 Joe Neumaier
    This comic drama tries too hard to serve up a slice of manic life, but Eisenberg, along with Tracy Morgan and Isiah Whitlock Jr. as the affable druggies, provides some spark.
    • 26 Metascore
    • 20 Joe Neumaier
    It's finally here: The most boring alien-invasion movie ever.
    • 11 Metascore
    • 20 Joe Neumaier
    Luckily, folks like Snoop and good sports like Sheen and, yes, Lohan, break up the monotony. Until, like an undead beastie, the boredom and dumb jokes come roaring back.
    • 24 Metascore
    • 20 Joe Neumaier
    The former “Friends” star clearly wanted something special, but sadly the result is ... this.
    • 49 Metascore
    • 20 Joe Neumaier
    Add two more stars here if zoning out to weirdo-dreamy, '80s public-access TV with a synthesizer soundtrack is your idea of midnight fun. Because this ambitious, but not uninteresting, failure has that in its DNA.
    • 52 Metascore
    • 20 Joe Neumaier
    This dour, hyperactive family film is joyless, overly busy and starchy.
    • 41 Metascore
    • 20 Joe Neumaier
    What you don't expect is how bad almost all of it is.
    • 7 Metascore
    • 20 Joe Neumaier
    It takes a really bad stupid comedy to make you appreciate well-done stupid comedies. And boy is Miss March a stupid comedy.
    • 57 Metascore
    • 20 Joe Neumaier
    Though Julia Leigh's surprisingly dull debut is meant to present the mysteries of a troubled young woman, you're more likely to wonder why its star, Emily Browning, is drawn to such demeaning roles.
    • 28 Metascore
    • 20 Joe Neumaier
    Hemsworth has presence, but he also represents this film’s biggest problem: It feels like a bunch of good-looking kids putting on a show.
    • 34 Metascore
    • 20 Joe Neumaier
    Get Hard isn’t edgy enough to be offensive or witty enough to be challenging. It’s just dumb.
    • 42 Metascore
    • 20 Joe Neumaier
    This sock-it-to-'em souffle falls very quickly, unless watching Travolta trying on another faux-hip look is considered fun.
    • 53 Metascore
    • 20 Joe Neumaier
    Irrational Man plays, like so much of Woody Allen’s work over the past 20 years, like a bad Woody Allen parody.
    • 30 Metascore
    • 20 Joe Neumaier
    One we wish we hadn't seen
    • 32 Metascore
    • 20 Joe Neumaier
    Travolta’s face looks immobile, while Plummer and Jennifer Ehle, as Cutter’s estranged, strung-out wife, look out of place. Sheridan (“The Tree of Life”), though, does seems comfortable in a movie where the colors blur sloppily.
    • 44 Metascore
    • 20 Joe Neumaier
    This mashup of a teenage assassin lark and high school misfit comedy misses the chance to add a supercool heroine to pop culture.
    • 43 Metascore
    • 20 Joe Neumaier
    There's something sadly poetic about a movie dealing with disappearing memories that vanishes from your mind while you watch it.
    • 40 Metascore
    • 20 Joe Neumaier
    A disappointing mess of a genre flick.
    • 43 Metascore
    • 20 Joe Neumaier
    See, everyone complains about humans in movies but no one does anything about it, so it fell to Eagle Eye to make everything laughably, ridiculously fake.
    • 48 Metascore
    • 20 Joe Neumaier
    The bad news about Admission is that this thin envelope of a comedy checks all the boxes for being a phoned-in, phony, padded rom-com.
    • 52 Metascore
    • 20 Joe Neumaier
    At 67, maestro Argento's taste still runs toward bloody entrails and eye-gougings, but Asia's sexy sour-lemon smile is underused in his movies.
    • 30 Metascore
    • 20 Joe Neumaier
    It’s Fatal Attraction 101.
    • 35 Metascore
    • 20 Joe Neumaier
    Director Khalil Sullins’ movie has its heart and brain in the right place, but its guts are a mess.
    • 20 Metascore
    • 20 Joe Neumaier
    Irritating and clichéd.
    • 32 Metascore
    • 20 Joe Neumaier
    Paranoia’s twitchiness is like an actual twitch: it’s contrived and clunky, and you forget it in an instant.
    • 43 Metascore
    • 20 Joe Neumaier
    Faith-based audiences may find comfort here, but the film's heavy-handedness is a burden it can't overcome.
    • 52 Metascore
    • 20 Joe Neumaier
    This nothing-new-here documentary presents basketball’s onetime celebrity point guard in unguarded moments. But the result is banal and fawning, with Lin coming off as a pious, charmless subject.
    • 39 Metascore
    • 20 Joe Neumaier
    Thuddingly awful.
    • 25 Metascore
    • 20 Joe Neumaier
    Unfortunately, the whole movie seems constructed just to get the singer/actress into a knock-down catfight, shoehorning one of show business's sexiest entertainers into a scorned-woman role. And even then, the pay-off feels cheap.
    • 40 Metascore
    • 20 Joe Neumaier
    The film is put together too choppily to appreciate the bounce-off-walls athleticism of parkour. That’s a shame, since “District 13” star Belle is known as a founder of the sport.
    • 56 Metascore
    • 20 Joe Neumaier
    It’s slow, lethargic, utterly lacking in charm and undeserving of the Cold War setting that is its best trait.
    • 82 Metascore
    • 20 Joe Neumaier
    The result is a dull, high-minded soap opera.
    • 42 Metascore
    • 20 Joe Neumaier
    Peter Jackson siphoned out all the soulfulness that made the author's combination thriller/afterlife fantasy a best-seller. In its place is a gumball-colored potboiler that's more squalid than truly mournful.
    • 52 Metascore
    • 20 Joe Neumaier
    Its creepy atmosphere aside, Maggie is a slog of the living dead.
    • 68 Metascore
    • 20 Joe Neumaier
    Neighbors stakes its claim in suburban-property cliches. Given the dull, stale results, maybe the end of the world was a better fit.
    • 36 Metascore
    • 20 Joe Neumaier
    Willing as Campbell is to Shatner-ize himself, his movie will appeal only to true believers.
    • 31 Metascore
    • 20 Joe Neumaier
    This slovenly, self-indulgent riff on Charles Bukowski-like fringe-livers has all of the naked harshness of Bukowski with none of the poetry. At least Haas gives it a good shot.
    • 62 Metascore
    • 20 Joe Neumaier
    Jamie Bell gives a watchable performance in this self-conscious, coming-of-age drama, though the film's overall effect is best described as David Lynch lite.
    • 61 Metascore
    • 20 Joe Neumaier
    The result: a dangerously cracked creep flick.
    • 21 Metascore
    • 20 Joe Neumaier
    The movie’s gimmick is having the actors visually superimposed over sets created from actual Civil War photographs. But this collage effect, while striving for truthfulness, comes off like a View-Master version of a tale already told.
    • 22 Metascore
    • 20 Joe Neumaier
    Another preachy, overacted message film that owes its out-of-time structure to "21 Grams" and "Babel," except writer-director Charles Oliver uses the idea of restorative justice.
    • 44 Metascore
    • 20 Joe Neumaier
    This kind of thing requires a velvet touch, though director Stanley M. Brooks hits only hammer-heavy notes.
    • 53 Metascore
    • 20 Joe Neumaier
    Sadly, for 99% of its running time, this muddled sci-fi drama is filled with enough overplotting, bad acting and riddle-speak dialogue to stop a clock.
    • 44 Metascore
    • 20 Joe Neumaier
    The Losers is simply a lot of low blows, telegraphed each and every time.
    • 43 Metascore
    • 20 Joe Neumaier
    Frozen is good for five minutes of "What would you do if?" games. Then it's just stiff as a board.
    • 41 Metascore
    • 20 Joe Neumaier
    The movie even makes night-vision-goggle scares more irksome, a rare feat.
    • tbd Metascore
    • 20 Joe Neumaier
    Director John Polson's elliptical storytelling style quickly becomes an irritant.
    • 27 Metascore
    • 20 Joe Neumaier
    Someone forgot to put anything fantastic into Fantastic Four.
    • 33 Metascore
    • 20 Joe Neumaier
    This would-be satire earns an E for Effort for wanting to be to the advertising world what “Being There” was to television.
    • 42 Metascore
    • 20 Joe Neumaier
    The concept is the same, and just as tired as it was when the second, third and fourth sequels to “Paranormal Activity’s” 2009 first installment.
    • 32 Metascore
    • 20 Joe Neumaier
    If you're not an 11-year-old boy, or a grown-up in the mood to feel like one, the endless "wow!-that-car-is-now-a-deep-voiced-robot" scenes lack thrill. In fact, the action scenes, as in the previous films, are downright headache-inducing.
    • 29 Metascore
    • 20 Joe Neumaier
    Only natural spitfire Spacek, as the pickup-driving mom of the land, feels fresh. There's even a mouthy kid Garity is "taking care of" - guess whose son he is?
    • 39 Metascore
    • 20 Joe Neumaier
    A lot of Aftershock predictably involves screaming or shock cuts, and the movie features a blink-and-you-miss-it cameo from Selena Gomez.
    • 22 Metascore
    • 20 Joe Neumaier
    Filled with enough clichés to be broken up and sold in pieces as junk material.
    • 37 Metascore
    • 20 Joe Neumaier
    Yes, the film’s CG dinos look great tromping in the Alaskan wilderness, but children deserve better than such unchallenging fare.
    • 54 Metascore
    • 20 Joe Neumaier
    The title of The Misfortunates ­really applies to any audiences unlucky enough to sit through it.
    • 40 Metascore
    • 20 Joe Neumaier
    Appearances from Jeff Goldblum, Zach Galifianakis and John C. Reilly help some, but all the mincing from Heidecker and Wareheim, the wanna-be, gross-out humor and THE CONSTANT SCREAMING get tiring.
    • 17 Metascore
    • 20 Joe Neumaier
    Finding a fresh setting for a comedy is difficult, but a Renaissance fair is too broad a target.
    • 45 Metascore
    • 20 Joe Neumaier
    Fine actors are let down by a comatose script and wayward direction in this retro crime drama.
    • 60 Metascore
    • 20 Joe Neumaier
    Madagascar 3 can't upgrade its own shtick, becoming a craven example of a fast-buck, no-fun family film.
    • 40 Metascore
    • 20 Joe Neumaier
    Even in shabbily put together dramedies, such as this one, there can be a glimmer of light. Here it’s Christine Lahti’s anguished, nuanced turn as a wife and mother excited to begin a new phase with her husband.
    • 54 Metascore
    • 20 Joe Neumaier
    The Tracey Fragments is a grating stunt that plays like a film-school project, cutting a bland story into a million tiny irritating pieces.
    • 27 Metascore
    • 20 Joe Neumaier
    Preposterous things are everywhere in this lethargic thriller.
    • 36 Metascore
    • 20 Joe Neumaier
    Well-meaning but dreadfully executed movie.
    • 31 Metascore
    • 20 Joe Neumaier
    Texas Chainsaw 3D sees itself as over-the-top and knowing, but what we ultimately get is simply eyes without a face.
    • 46 Metascore
    • 20 Joe Neumaier
    Black Rock is as dingy and dirty as the genre thrillers it appears to want to one-up. All it does, though, is bring everyone down.
    • 20 Metascore
    • 20 Joe Neumaier
    What starts as a creepy, original conceit — mysterious Caesarean-section abductions during hospital stays — devolves quickly into standard talk-to-the-camera, jump-at-the-sounds, found-footage banality.
    • 49 Metascore
    • 20 Joe Neumaier
    The connection they share is clear; the reason we're invited to sit in is foggy at best.
    • 36 Metascore
    • 20 Joe Neumaier
    It's also suffocatingly stagy, especially when the husband's new love (Kristen Bell) and a violent thief (Justin Long) show up.
    • 54 Metascore
    • 20 Joe Neumaier
    “Holiday” is more palatable than similar, American-bred films like “The Family Stone” or This is Where I Leave You. Still, once Connolly’s sad-eyed, hippie-ish cancer sufferer is gone, there’s little reason to keep going.
    • 63 Metascore
    • 20 Joe Neumaier
    The charmless but harmless A Cat in Paris hits theaters yet doesn't enchant.
    • 42 Metascore
    • 20 Joe Neumaier
    The brooding and emotional prickliness gets overwhelming. Kidman tries her best to flesh out her character, but writer-director Kim Farrant gives this still-undervalued actress little to do.
    • 46 Metascore
    • 20 Joe Neumaier
    Director Benni Diez tries for schlock shocks in this giant-bug flick. Sadly, what’s left out here is the fun.
    • 49 Metascore
    • 20 Joe Neumaier
    Unfortunately, the rest of writer-director Eran Creevy’s film just shows that the Brits, too, make good-looking but empty thrillers, just like in Hollywood.
    • 48 Metascore
    • 20 Joe Neumaier
    Directors James Mather and Stephen St. Leger stage a few good action set pieces, but unlike the 1981 midnight movie classic it imitates, the blandly titled Lockout never busts out of its cheesy concept.
    • 34 Metascore
    • 20 Joe Neumaier
    Laughable/Bad
    • 31 Metascore
    • 20 Joe Neumaier
    This is a perfect example of the kind of indie movie J.K. Simmons will hopefully never have to do again if he wins an Oscar for “Whiplash.”
    • 36 Metascore
    • 20 Joe Neumaier
    This Arthur is missing a soul.
    • 49 Metascore
    • 20 Joe Neumaier
    Von Trier ("Breaking the Waves," "Dogville") has no barriers, which absolutely can be a good thing. Here, though, his uninhibited nature is an omen of the pretentious butchery to come.
    • 62 Metascore
    • 20 Joe Neumaier
    Early scenes set up the tragedy, but the majority of Oliver Hirschbiegel's movie is set in a TV studio where the two eventually face each other, and the tension, unfortunately, quickly becomes stagey.
    • tbd Metascore
    • 20 Joe Neumaier
    This dark lark is like walking around Times Square looking at the flashy logos and lights and thinking you see the message behind the medium.
    • 37 Metascore
    • 20 Joe Neumaier
    What’s more depressing: that John Cusack chose the junky, un-exciting serial killer drama The Frozen Ground as his latest step away from John Cusack-y roles, or that Nicolas Cage chose to, at long last, be as un-Cage-like as possible?
    • 49 Metascore
    • 20 Joe Neumaier
    As clichés trot through their sessions - it's like "In Treatment" as bedroom farce - we check out. Huppert, though, is as fearless as ever.
    • 20 Metascore
    • 20 Joe Neumaier
    The movie is played fast but lacks wit. The script, written by Kristin Gore — daughter of Al, and author of the book on which it’s based — mistakes frantic for funny.
    • 62 Metascore
    • 20 Joe Neumaier
    The end result is like Quentin Tarantino reworking a Charles Bukowski story.
    • 35 Metascore
    • 20 Joe Neumaier
    Problem is, this movie is all surface - to quote one character, it has hidden shallows.
    • 31 Metascore
    • 20 Joe Neumaier
    This is one of those films in which almost every element is done in such an embarrassingly amateurish way, you want to put it out of its misery.
    • 52 Metascore
    • 20 Joe Neumaier
    It's an unfunny Spanish movie that worked best as a two-minute trailer.
    • 41 Metascore
    • 20 Joe Neumaier
    The folksy shenanigans are well-intentioned but frankly interminable, with Kline's wry efficiency the best relief from all the yowling and whining.
    • 40 Metascore
    • 20 Joe Neumaier
    Act of Valor is like watching the wrestlers in dramas produced by the WWE: They're great at what they do, but being in front of the camera isn't part of that.

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