For 1,279 reviews, this critic has graded:
  • 27% higher than the average critic
  • 2% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 11 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Wall Street: Money Never Sleeps
Lowest review score: 0 88 Minutes
Score distribution:
1,279 movie reviews
    • 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.
    • 63 Metascore
    • 20 Joe Neumaier
    The charmless but harmless A Cat in Paris hits theaters yet doesn't enchant.
    • 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.
    • 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.
    • 63 Metascore
    • 20 Joe Neumaier
    The Last Exorcism trods on previously stomped ground and has almost no good jump-outta-your-seat moments.
    • 28 Metascore
    • 20 Joe Neumaier
    Ultimately, even more than 2007’s “Live Free or Die Hard,” “Good Day” never lets McClane be McClane. Gone is his taunting snark and quick-witted preparedness; instead he seems like a jerk with a thing for guns.
    • 67 Metascore
    • 20 Joe Neumaier
    It would be easy to say that the final minutes of this mixed-up thriller make everything before it meaningless, but that would indicate the odd conclusion has meaning, too.
    • 73 Metascore
    • 20 Joe Neumaier
    The father is the only one who can leave the house to go to his factory job, and that seems like a paradise for viewers trapped watching this clinically shot claptrap.
    • 59 Metascore
    • 20 Joe Neumaier
    The drug that Ma-Ma trafficks in, Slo-Mo, slows its user's brain to 1% of its normal speed. Dredd unfortunately makes you feel as if you, too, have partaken.
    • 32 Metascore
    • 20 Joe Neumaier
    Unfinished Business squanders almost every opportunity provided by its potentially funny premise. Instead, it becomes yet another blotch on star Vince Vaughn’s résumé.

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