For 1,337 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 11.4 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 42
Lowest review score: 0 The Watch
Score distribution:
1,337 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 40 Joe Neumaier
    Certainly, the West Memphis 3 deserve more chances to detail how the justice system went nightmarishly awry. But take this as ultimately more personal journal than investigation.
    • 57 Metascore
    • 40 Joe Neumaier
    If you're going to have a ghost in your movie, it might be a good thing to present a viable alternative to that ghost. Mama, however, presents a battle between two not very good options before crumbling like a sheet on a string.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Sadly, the film gets mired in traditionalism, something the man himself always railed against. But worth a look for seeing intellectual bravery (still) at work.
    • 61 Metascore
    • 40 Joe Neumaier
    All of that ends up making this movie — originally titled “Jeff,” in a telling bit of overpersonalization — feel like a late-night cable-news hack job.
    • 81 Metascore
    • 40 Joe Neumaier
    No
    The result was remarkable, but the story of it, while true to the moment, needed — ironically — much more dynamism.
    • 51 Metascore
    • 40 Joe Neumaier
    Snitch is like watching an elephant on ice: inelegant, but you admire the effort.
    • 57 Metascore
    • 40 Joe Neumaier
    The film works better as an uncomfortable character drama than as a murky family mystery, which Karpovsky deepens with some psychobabble. Still, a nicely sinister and shuddersome effort.
    • 58 Metascore
    • 40 Joe Neumaier
    Stoker is like the baby David Lynch and Tim Burton had, then left on the doorstep of the Addams Family. Full of heavingly gorgeous images that envelop a viewer before smothering them, its maddening elements eventually become too much to bear.
    • 35 Metascore
    • 40 Joe Neumaier
    Now Bell can break out of the genre. She's served her time.
    • 48 Metascore
    • 40 Joe Neumaier
    Director Peter Webber (“Girl With a Pearl Earring”) fills the film with conciliatory emotion and jarring vistas of post-atomic landscapes. Unfortunately, Emperor needs more good ol’-fashioned swagger.
    • 48 Metascore
    • 40 Joe Neumaier
    Lutz, who was a boy when his family fled the Long Island home, is full of belligerence in this chronicle of his family’s alleged run-in with a ghoulish home where a murder had occurred.
    • 49 Metascore
    • 40 Joe Neumaier
    A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
    • 41 Metascore
    • 40 Joe Neumaier
    The G.I. Joe team is back, and most of their sophomore movie adventure, G.I. Joe Retaliation, is as bland as their name and as subtle as an exploding tank.
    • 42 Metascore
    • 40 Joe Neumaier
    The cutesy energy is just too much in this Aussie comedy that’s overly bemused by its quirkiness.
    • 58 Metascore
    • 40 Joe Neumaier
    It feels like a high-end perfume ad.
    • 40 Metascore
    • 40 Joe Neumaier
    There’s a good chunk of info for those eager to know how the sausage gets made, as well as the facts of life and death surrounding what we consume. You just have to pluck the PR feathers and find the good parts.
    • 54 Metascore
    • 40 Joe Neumaier
    Kosinski’s ultimately underwhelming film leads nowhere. As its palpable sense of dread — well-sustained in a gently cascading first hour — gives way to dead ends, this Omega Movie shoots itself in the foot.
    • 76 Metascore
    • 40 Joe Neumaier
    Mud
    Stripped of his former pretty-boy image, the Texas-born actor is snarly and gnarled, and understands what Nichols is aiming for. That’s crucial, as Mud needs something to stick to.
    • 25 Metascore
    • 40 Joe Neumaier
    “Um” winds up as empty as its mean streets are phony.
    • 15 Metascore
    • 40 Joe Neumaier
    Cathy Moriarty and other Scorsese alums pop up, but these mean streets feel too derivative to thrill.
    • 54 Metascore
    • 40 Joe Neumaier
    Feiffer sometimes gets snagged on the look-at-me nature of her meta-performance, veering from pathological to pathetic, and not always in the best way.
    • 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.
    • 43 Metascore
    • 40 Joe Neumaier
    Gandolfini scoops up another chance to show off the gentleness he left at home during six seasons of “The Sopranos.”
    • 60 Metascore
    • 40 Joe Neumaier
    Though much of the film is overcooked and overwrought, it’s well-played, and writer-director Kieran Darcy-Smith keeps us guessing, and watching.
    • 66 Metascore
    • 40 Joe Neumaier
    Narratively static and morally banal. That may be par for the course, however, when half the movie is spent watching shallow kids try on other people’s clothes.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Perhaps afraid that watching a symbol of liberty repeatedly go boom isn’t enough, Emmerich and screenwriter James Vanderbilt add family drama, an attack on Congress, a plane crash and the possible nuking of the Middle East. What isn’t tonally jarring ends up shatteringly inept.
    • 49 Metascore
    • 40 Joe Neumaier
    All those cliched literary trappings come together in Stuck in Love, but the final product feels more like a footnote than a finished work.
    • 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.
    • 68 Metascore
    • 40 Joe Neumaier
    If The Conjuring were less of a con job, horror fans would not feel equally as trapped.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 40 Joe Neumaier
    The Canyons has more in common with Schrader’s opulent immoral tableaux “The Comfort of Strangers,” “Auto Focus” and “The Walker” than with his other work (including the script for “Taxi Driver”). It’s weaker than those, though, and less biting.
    • 44 Metascore
    • 40 Joe Neumaier
    The “Millers” script — it took four writers to cobble together something that seems so slight — hits too many obvious notes between the moments when Aniston can strut her stuff.
    • 41 Metascore
    • 40 Joe Neumaier
    The meta-satire hits you over the head until not just your Spidey sense is tingling.
    • 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.
    • 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.
    • 50 Metascore
    • 40 Joe Neumaier
    The big twist to Closed Circuit is stated in the film’s TV ads, so even the element of surprise is lost. There may have been the making of a juicy, episodes-long BBC series here, but as it is, there’s barely any juice at all.
    • 54 Metascore
    • 40 Joe Neumaier
    You’ll never buy an inexpensive T-shirt without feeling guilty again. At least not after seeing Nathaniel Thomas McGill and Vincent Vittorio’s thorough documentary, which explains something you already know — American manufacturing is dying.
    • 22 Metascore
    • 40 Joe Neumaier
    What Getaway needed most is enough juice to get to the finish line, narratively speaking. Because while jumping into the car is great, the fun dies fast if there’s nowhere to go.
    • 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.
    • 53 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.
    • 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.
    • 40 Metascore
    • 40 Joe Neumaier
    Comes upon a few quirky solutions and movie-ripoff scares before settling into a kind of coma.
    • 48 Metascore
    • 40 Joe Neumaier
    Though the film plays like late-era Woody Allen — not necessarily a good thing — and Goldberg’s rambunctiousness is more annoying than liberating, there’s a serious depth of feeling here. Bosworth, thankfully, is attuned to that, and makes the most of it.
    • 51 Metascore
    • 40 Joe Neumaier
    Some parents are mellow, and others have instilled emotional problems in their children. This less-than-illuminating work resembles the spelling-bee doc “Spellbound,” only with a promise of high-end endorsements and far more pampering.
    • 54 Metascore
    • 40 Joe Neumaier
    Sometimes, less is more. Case in point: Thanks for Sharing, a film that’s a little too eager to be ID’d as a “sex addiction dramedy.” As a result, solidly grounded performances from almost all the cast members wind up playing second fiddle to navel-gazing.
    • 48 Metascore
    • 40 Joe Neumaier
    The movie gets too claustrophobic, while its noble attempt to take on suffering remains laudable.
    • 36 Metascore
    • 40 Joe Neumaier
    This is the kind of movie that, in order to puff itself up, quotes Meyer Lansky, Napoleon and Native American sayings. But according to Hoyle — as poker players would say — the film really just does boilerplate Hollywood drama.
    • 51 Metascore
    • 40 Joe Neumaier
    Though the film’s untested cast struggles with the drama, and the sketched-out story is often banal (there are several amateurish calls-to-mom scenes), the presentation of a specific city subculture is etched from the heart.
    • 30 Metascore
    • 40 Joe Neumaier
    As a film, the result is static, like Ang Lee’s similarly muddled “Taking Woodstock.”
    • 48 Metascore
    • 40 Joe Neumaier
    Ultimately, this dull tour of a thieving, primal underworld is just a lot of high-talking hogwash.
    • 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.
    • 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.
    • 57 Metascore
    • 40 Joe Neumaier
    A frosty-eyed, imperturbable actress in “Atonement,” “Hanna” and “The Host,” Ronan is at least able to sell Daisy’s new focus while the movie loses its own.
    • 61 Metascore
    • 40 Joe Neumaier
    Empathy for the all-too-real plight of the working poor drives this heavy but bold indie. Sadly, though, it falters under the weight of too much drama.
    • 42 Metascore
    • 40 Joe Neumaier
    Writer-director Will Slocombe presents a familiar buffet, but there’s good stuff to pick over.
    • 74 Metascore
    • 40 Joe Neumaier
    The dissection and discussion, though well-intentioned, winds up lifeless.
    • 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.
    • 28 Metascore
    • 40 Joe Neumaier
    Comedy characters change and grow. Sometimes, as we see in Tyler Perry's A Madea Christmas, they become so much like old relatives that their edge is gone.
    • 61 Metascore
    • 40 Joe Neumaier
    Like the bloated channels it parodies, the movie stretches to find something to say, then settles for stupid.
    • 36 Metascore
    • 40 Joe Neumaier
    That Awkward Moment is eminently forgettable — but worth remembering as Poots’ moment.
    • 31 Metascore
    • 40 Joe Neumaier
    There’s also little point and a garish quality that goes from pulp to junk fairly quickly, despite Pegg’s presence.
    • 71 Metascore
    • 40 Joe Neumaier
    For better or worse, the blood and bone-crunching remains most prominent.
    • 68 Metascore
    • 40 Joe Neumaier
    Noah, Darren Aronofsky’s often ludicrous, occasionally thoughtful epic, puts theology front-and-center, and doubles down on its blockbuster ingredients — like adding huge rock monsters with glowing eyes.
    • 78 Metascore
    • 40 Joe Neumaier
    There’s atmosphere here, but nothing else.
    • 47 Metascore
    • 40 Joe Neumaier
    It’s all too much. Frankie & Alice has multiple problems it can’t get past.
    • 48 Metascore
    • 40 Joe Neumaier
    The great David Strathairn can make any film watchable, but even he can’t save this dry dramatic thriller.
    • 47 Metascore
    • 40 Joe Neumaier
    This heavy-handed movie is simply a sermon its makers think we all should hear.
    • 62 Metascore
    • 40 Joe Neumaier
    Despite a few fiery breaths, there’s mostly hot air from a lot of serious actors slumming it.
    • 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.
    • 49 Metascore
    • 40 Joe Neumaier
    This sometimes-taut little thriller is sullied by its unnecessary masquerade as a documentary presented by HBO’s gonzo news show “Vice.”
    • 72 Metascore
    • 40 Joe Neumaier
    Melancholy, often muddled documentary.
    • 39 Metascore
    • 40 Joe Neumaier
    The fact that it stars the extremely funny Melissa McCarthy is both its saving grace and incredibly frustrating.
    • 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.
    • 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.
    • 29 Metascore
    • 40 Joe Neumaier
    Duchovny tamps down his sardonic style to play a quiet guy, but the result is blandness. Timothy Hutton gives a solid turn as a standup businessman. In all, director Anthony Fabian isn’t sure how to build a nontreacly movie out of an inspiring true-life story.
    • 77 Metascore
    • 40 Joe Neumaier
    Calvary is like a philosophical Agatha Christie mystery. That’s certainly not the worst thing to be. But it’s also the film’s undoing, because the reliance on specific genre cliches undermines the movie’s more serious intentions.
    • 47 Metascore
    • 40 Joe Neumaier
    The Giver was ahead of its time as a book. But as a movie, it’s too late.
    • 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.
    • 57 Metascore
    • 40 Joe Neumaier
    Despite the human drama here, we’re kept at a remove by stolid direction and by-the-numbers storytelling.
    • 25 Metascore
    • 40 Joe Neumaier
    The Identical is one wacky movie, based on a bit of truth.
    • 29 Metascore
    • 40 Joe Neumaier
    Hector wants to connect to our inner child, but it feels more like a long story from a good-hearted but dull grandparent.
    • 61 Metascore
    • 40 Joe Neumaier
    Kids who get a kick out of the macabre will enjoy this exquisitely crafted but tedious film.
    • 29 Metascore
    • 40 Joe Neumaier
    Cusack and Jane look like they’re improvising much of the time, and while that doesn’t lead to a better movie, the off-the-cuff approach is the best thing in the film.
    • 54 Metascore
    • 40 Joe Neumaier
    Just another loud, boy-centric comedy aimed at ’tweens. The movie turns a slight children’s book — in this case, Judith Viorst’s 1972 fave, from which it takes mainly the title — into a charmless mishmash.
    • 52 Metascore
    • 40 Joe Neumaier
    Strong acting all ’round helps, but unfortunately this is just a slow ride to nowhere.
    • 52 Metascore
    • 40 Joe Neumaier
    William H. Macy has pitch-perfect instincts as an actor. As a movie director, he’s bound to do better than his first feature, this big-hearted, nicely paced but ho-hum character study.
    • 57 Metascore
    • 40 Joe Neumaier
    Sadly, this gorgeous-looking adult movie plays out the same theme over and over, never going anywhere surprising. At least we have Binoche to guide us to hell and back.
    • 58 Metascore
    • 40 Joe Neumaier
    Director Jeff Preiss soaks his movie in a brownish retro atmosphere, which helps smooth over the many dull spots, but only briefly. Though his cast is strong even when the movie lags, they often feel like soloists doing their own thing next to each other — always melodic but never truly meshing.
    • 41 Metascore
    • 40 Joe Neumaier
    This dull thriller wastes the potential of Nicole Kidman and Colin Firth.
    • 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.
    • 34 Metascore
    • 40 Joe Neumaier
    Franco himself is ponderous playing Williams, which tends to overwhelm everything. A cool concept, and A for effort.
    • 59 Metascore
    • 40 Joe Neumaier
    There’s far too many moments of sabre-rattling, and too much confusion about who is aligned with whom, and why. Those who know and love Tolkien’s texts will have a vested interest. Everyone else may grow restless.
    • 31 Metascore
    • 40 Joe Neumaier
    As an exercise in atmosphere, this claustrophobic creeper does a lot with a little, even if the movie winds up providing just superficial shivers.
    • 51 Metascore
    • 40 Joe Neumaier
    Unfortunately, Mann’s newest film, Blackhat, fails to connect.
    • 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.
    • 49 Metascore
    • 40 Joe Neumaier
    Aniston is fine, and sometimes good even, in director Daniel Barnz’s maudlin and overly obvious drama. She has layered moments of sympathy as a woman afflicted with chronic pain. And unlike in the bad rom-coms she does too often, Aniston absolutely shows some serious chops.
    • 30 Metascore
    • 40 Joe Neumaier
    Director Sergei Bodrov’s movie is based on a kids’ book in which Tom was a 12-year-old, and the actors wisely pitch their performances to a young crowd.
    • 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.
    • 60 Metascore
    • 40 Joe Neumaier
    The actors are in good form, but McFarland, USA can’t find its footing.
    • 31 Metascore
    • 40 Joe Neumaier
    Forget the minor, derivative scares in The Lazarus Effect. The real jolt here is seeing a well-known name playing a monstrous evil force.
    • 51 Metascore
    • 40 Joe Neumaier
    Yes, there are good moments from a team of veteran British actors, but overall, this return visit to the 2012 gray-set rom-com is deadly dull.
    • 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.
    • 36 Metascore
    • 40 Joe Neumaier
    Crisply directed but inescapably pious and, worse, narratively poky.
    • 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.
    • 50 Metascore
    • 40 Joe Neumaier
    True Story is a prisoner of its own dull storytelling.
    • 41 Metascore
    • 40 Joe Neumaier
    The mystery at the heart of the film is a riddle wrapped in an enigma covered in dullness.
    • 50 Metascore
    • 40 Joe Neumaier
    Despite the incongruous romance and abrupt action beats, Crowe gives a likable, sympathetic performance. But it all starts to dry up before our eyes. Emotions feel false or melodramatic, flashbacks are drawn out and coincidences and connections are forced.
    • 29 Metascore
    • 40 Joe Neumaier
    Screenwriters Chris Shafer and Paul Vicknair’s script feels like a first draft that was written in one night as they got pumped up on Red Bull and speed-watched Netflix. Guys: Another few polishes could only have helped.
    • 71 Metascore
    • 40 Joe Neumaier
    Director Hiromasa Yonebayashi did a wonderful job adapting “The Borrowers” into “The Secret World of Arriety.” But this slow-moving film, also from a book, tends to plod rather than float.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Joe Neumaier
    High art swings sort of low in this watchable but thematically repetitive drama.
    • 56 Metascore
    • 40 Joe Neumaier
    Director Andrea Di Stefano’s filmmaking debut has a spotty sense of urgency, but we get to know neither Nick nor Escobar, so both the innocence and the fiery threat lack impact.
    • 53 Metascore
    • 40 Joe Neumaier
    There are parts of “Escape From New York,” “Air Force One,” “Cliffhanger” and countless Luc Besson movies strewn about. Big Game doesn’t stomp on their memory, but like an overenthusiastic fan, it does smother them with amateurish zeal.
    • 52 Metascore
    • 40 Joe Neumaier
    It may not be one of his finest roles or one of his more memorable films. But in its own way, Boulevard may be one that says the most about him.
    • 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
    When boxing cliches work, they can deliver a knockout. When they don’t, as in Southpaw, we get just punch-drunk.
    • 34 Metascore
    • 40 Joe Neumaier
    After a while, Vacation starts to reek like a car when the kids have their shoes off. Really, though, that stench is a studio digging through its old titles, trying to find something fresh to remake.
    • 61 Metascore
    • 40 Joe Neumaier
    A work of words as lovely as “The Prophet” deserves a better artistic interpretation than this animated venture, which consists mostly of pedestrian, ’70s-quality visuals.
    • 54 Metascore
    • 40 Joe Neumaier
    The story here, like a lot of bar bands, goes loud to cover up mediocrity. When Streep sings, though, so does the film.
    • 50 Metascore
    • 40 Joe Neumaier
    This stoners-meet-government-assassins mashup is as meandering and paranoid as a guy toking up in front of City Hall. Sometimes that’s amusing, but most of the time it’s tiring.
    • 35 Metascore
    • 40 Joe Neumaier
    Director Juan Feldman trusts his actors to charm us, which they do — up to a point. But there’s only so much that can be wrung out of this spinster-meets-exotic stud, “Summertime”-lite affair.
    • 38 Metascore
    • 40 Joe Neumaier
    There’s no fleeing the clunkiness in No Escape.
    • 31 Metascore
    • 40 Joe Neumaier
    Unfortunately, there’s a more potent power present here: dullness.

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