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 11.7 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Radio Unnameable
Lowest review score: 0 Only God Forgives
Score distribution:
1347 movie reviews
    • 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.

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