For 1,209 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 10.5 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Star Trek
Lowest review score: 0 The Victim
Score distribution:
1,209 movie reviews
    • 57 Metascore
    • 20 Joe Neumaier
    By the middle of the second hour, you'll be wishing a zombie would just chomp off your head to end the pain.
    • 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.
    • 57 Metascore
    • 40 Joe Neumaier
    This National Geographic production mixes two amazing adventures, neither of them quite what you expect.
    • 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.
    • 57 Metascore
    • 60 Joe Neumaier
    Though he has a true appreciation for detail, Joffe has the scar-faced Pinkie so scurvy that Rose ought to run the minute she sees him.
    • 57 Metascore
    • 60 Joe Neumaier
    With the combo of Neeson’s natural solemnity and his action chops, “Tombstones” treads compellingly amongst lesser thrillers.
    • 57 Metascore
    • 70 Joe Neumaier
    This often-witty baby-of-"Broadcast News" tries hard to be liked, like the TV fluff it's built around. The news is that, often, it succeeds.
    • 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.
    • 57 Metascore
    • 60 Joe Neumaier
    Hey, isn't summer a good time for a salad?
    • 57 Metascore
    • 60 Joe Neumaier
    It's not a lightning show, but "Flash" still shines.
    • 57 Metascore
    • 60 Joe Neumaier
    Cahill, who did the equally heady, intriguing drama “Another Earth” (2011), keeps the tone consistent. He makes certain his cast walks a savvy tightrope, keeping things taut.
    • 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.
    • 57 Metascore
    • 60 Joe Neumaier
    The movie is tense and coiled for its first hour, then becomes routine in its second half.
    • 57 Metascore
    • 60 Joe Neumaier
    Branagh, taking advantage of his experience helming 2011’s “Thor,” shows an allegiance to the genre he’s working in; both as director as co-star, he pours on the menace.
    • 57 Metascore
    • 80 Joe Neumaier
    Downey has a winning take on Holmes: He's always on.
    • 56 Metascore
    • 60 Joe Neumaier
    Director Justin Chadwick ("The Other Boleyn Girl") shows admirable restraint bringing this true story to the screen, and Litando does much with glimmers of emotion and wells of dignity.
    • 56 Metascore
    • 60 Joe Neumaier
    Liv Ullmann’s screen version of August Strindberg’s 19th-century drama is an austere, pared-down take that does one thing extremely well: It allows actors Jessica Chastain, Samantha Morton and especially Colin Farrell to shine. But this emotionally brutal work is anything but cinematically engaging.
    • 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.
    • 56 Metascore
    • 40 Joe Neumaier
    The class issues make them pariahs, the love scenes belong on Cinemax After Dark, and the emotions writer-director Catherine Corsini believes are so adult are clichéd. Still, Scott Thomas is beguiling as usual, the one expected thing that's welcome here
    • 56 Metascore
    • 80 Joe Neumaier
    It is how the film never loses sight of the closeness of the combatants, turning national intimacy into a tragic casualty.
    • 56 Metascore
    • 80 Joe Neumaier
    What he does do finally in this funny, refreshing movie is assert how unrestrained religiosity could guarantee the "end days" many of his subjects admit to looking forward to.
    • 56 Metascore
    • 60 Joe Neumaier
    The most pleasant surprise in the movie adaptation of "Watchmen" is the pop-art fusion set off by placing superheroes in a "real" world. The film's biggest challenge – and accomplishment – was making that plausible.
    • 56 Metascore
    • 50 Joe Neumaier
    This year-in-the-life comedy will appeal mostly to its target audience -- the boys of middle school, USA -- and frankly, that's all it needs. Who else would appreciate the idiocy of social pressure,
    • 56 Metascore
    • 60 Joe Neumaier
    Where the film fails, ironically, is in the central love affair. Danish actor Mads Mikkelsen is undeniably gifted, but his Stravinsky is a blank, stoic presence only comfortable at a piano.
    • 56 Metascore
    • 60 Joe Neumaier
    The best twist is how Neeson’s growly presence makes a bumpy ride enjoyable.
    • 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.
    • 56 Metascore
    • 60 Joe Neumaier
    The rhythms of this comedy-drama may be familiar, but besides its fratty title, it's surprisingly sophisticated.
    • 56 Metascore
    • 60 Joe Neumaier
    The trouble is, too much of director Shawn Levy's '80s-ish lark is filled with noise, when it really needed more quietly silly stuff.
    • 56 Metascore
    • 40 Joe Neumaier
    In either a stunningly brave or misguided act of meta-absurdity, Real Steel, which is about a boy, his dad and the robot that changes their lives, actually feels as if it were made inside the mind of a kid obsessed with robots.
    • 56 Metascore
    • 40 Joe Neumaier
    The self-conscious poetry and Cruz's diagnosis of bipolar disorder threaten to add too many notes to this quiet drama.
    • 56 Metascore
    • 60 Joe Neumaier
    Twisty, engaging thriller.
    • 56 Metascore
    • 60 Joe Neumaier
    Luckily, the cast is comfortable going with the flow. Ribisi is amusingly corrosive, while Jenkins and Rispoli are sweaty, cigar-chomping movie-journalist archetypes.
    • 56 Metascore
    • 60 Joe Neumaier
    Director Jon S. Baird lets Welsh’s language fill up the room, even when it’s a wee bit hard to fathom.
    • 56 Metascore
    • 20 Joe Neumaier
    It doesn't help that Eastwood's laconic style is as torpid as it was in such misfires as "Midnight in the Garden of Good and Evil" and "Changeling."
    • 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.
    • 56 Metascore
    • 80 Joe Neumaier
    Angelina Jolie is so wickedly enchanting in the magical, magnificent Maleficent, you may not notice how transporting this female-driven blockbuster really is.
    • 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.
    • 56 Metascore
    • 70 Joe Neumaier
    While the climactic dinner is a bit too much like a circus audition, Roach -- who helmed the "Austin Powers" movies as well as "Meet the Parents" and "Meet the Fockers" -- knows how to enjoy each sideshow.
    • 56 Metascore
    • 60 Joe Neumaier
    A fascinating, alternate-universe look at the dawn of the music-sharing phenom — once a cause of concern in the industry, yet now a footnote to our all-digital music marketplace.
    • 56 Metascore
    • 60 Joe Neumaier
    There's just some great imitations of what remains an acquired taste.
    • 56 Metascore
    • 60 Joe Neumaier
    The movie covers all the bases, but doesn’t advance the story.
    • 56 Metascore
    • 50 Joe Neumaier
    This action-comedy will seem fresh only to 8-year-olds -- though it may give parents an excuse to introduce some of the '50s horror movies it parodies.
    • 56 Metascore
    • 80 Joe Neumaier
    W.
    A measured and thoughtful meditation on a leader who, this terrific movie believes, inadvertently made the world as roiling as his soul.
    • 56 Metascore
    • 60 Joe Neumaier
    Some may still be surprised at this fun, well-informed chronicle of what was happening in the U.S. as lighted floors, boogie shoes and Saturday night fevers were the rage.
    • 55 Metascore
    • 60 Joe Neumaier
    Quirky, but infinitely more interesting than big-budget Hollywood cousins.
    • 55 Metascore
    • 60 Joe Neumaier
    The serious-minded result has many super-cool moments. But when it gets clunky, it’s super-meh.
    • 55 Metascore
    • 60 Joe Neumaier
    Like a dime-store holiday card, this Christmas Carol is well-crafted but artless, detailed but lacking soul.
    • 55 Metascore
    • 60 Joe Neumaier
    Something of a traffic jam--even with his usual restraint, Lee couldn't recount a key moment of the '60s without a blurry parade of personalities--and also lullingly dull.
    • 55 Metascore
    • 40 Joe Neumaier
    This old-fashioned sword-and-sandal drama has all the bread and circuses we've come to know from the movies. It flirts with interesting story choices, but ultimately, all roads lead to boredom.
    • 55 Metascore
    • 60 Joe Neumaier
    Fred Schepisi's sly, stately comedy-drama that will please fans of BBC melodramas. But even on its own merits, its mild manner has sneaky stings.
    • 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.
    • 55 Metascore
    • 60 Joe Neumaier
    Some of Hyde Park on Hudson feels like lost scenes from "The King's Speech," the 2010 Oscar-winner about King George. It doesn't help that "Hyde's" own rhythms, appealing as they are, are often soporific.
    • 55 Metascore
    • 60 Joe Neumaier
    Whether it works is a matter of taste, but the fact that Burton's revisit unearths enough fun while feeling like four films in one is testament to the source's seductive bloodline.
    • 55 Metascore
    • 80 Joe Neumaier
    A fast and relentless hostage thriller that never stops.
    • 55 Metascore
    • 60 Joe Neumaier
    Hellion is a glimpse into rural American childhood that’s both tense and melancholy.
    • 55 Metascore
    • 80 Joe Neumaier
    Pure charisma is sometimes the best special effect. That’s what Denzel Washington and Mark Wahlberg bring to 2 Guns, and after a season full of superhero duds, they deliver a crucial dose of cool.
    • 55 Metascore
    • 40 Joe Neumaier
    Noble but dull.
    • 55 Metascore
    • 20 Joe Neumaier
    Safe arrives filled with bombast and sneers but barely any thrills.
    • 55 Metascore
    • 60 Joe Neumaier
    Any movie with food as a motif runs the risk of pouring on the metaphor, and that happens here, too.
    • 55 Metascore
    • 60 Joe Neumaier
    Sex is plentiful, but the lust is for paydays. This is territory covered far more vibrantly in “Margin Call,” yet director Costa-Gavras (“Z,” “Missing”) still has good, old-fashioned indignation to count on.
    • 55 Metascore
    • 50 Joe Neumaier
    Plays like a throwback to gritty-but-softhearted English dramas of the 1980s like "Mona Lisa" and "Sammy and Rosie Get Laid."
    • 55 Metascore
    • 20 Joe Neumaier
    3
    Rois has moments of desperate urgency and depth, but Twyker's love of parallels is finally done in by artsy shots of the threesome au naturel against stark white backdrops.
    • 55 Metascore
    • 80 Joe Neumaier
    This engrossing documentary winds up being about nothing less than making one of Shakespeare’s greatest works come alive through hard work — and the spark that happens within an acting company.
    • 55 Metascore
    • 80 Joe Neumaier
    Krasinki's soft-sell script, lets the movie's ideas get absorbed without grandstanding or pretension. Its issues go down with a smile and common sense, which turns out to be exactly the right formula.
    • 55 Metascore
    • 40 Joe Neumaier
    not a good comedy. But there's no airbrushing out the funny surrounding its star.
    • 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.
    • 55 Metascore
    • 20 Joe Neumaier
    Has warmed-over chills and a muddled, zombie-like execution.
    • 55 Metascore
    • 60 Joe Neumaier
    Here's a rough-and-tumble British drama that, despite a strong spine, ought to be more like its title character: quiet and deadly -- and less showy.
    • 55 Metascore
    • 60 Joe Neumaier
    This gorgeous-looking documentary is crying out to be remade as a family film feature.
    • 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.
    • 55 Metascore
    • 60 Joe Neumaier
    Filmed — patiently, beautifully — over that same length of time, the film’s day-to-day aches are quiet and lovingly rendered.
    • 55 Metascore
    • 60 Joe Neumaier
    In a pleasing contrast to Fey's sharpness, Poehler keeps her performance unpredictable and fuzzy. In this just-add-water comedy, a very funny movie star is born.
    • 55 Metascore
    • 50 Joe Neumaier
    Noise ultimately becomes a slice of city life instead of a great satire.
    • 55 Metascore
    • 60 Joe Neumaier
    Without pushing too heavily, Green makes the parallels between Enrique and Michael's situations genuine.
    • 55 Metascore
    • 60 Joe Neumaier
    Nonetheless, if you're a Force completist, this is as crucial as a bootleg of 1978's "Star Wars Holiday Special." Which, by the way, was awesome.
    • 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.
    • 54 Metascore
    • 50 Joe Neumaier
    When the haze wears off and the movie grounds itself in reality, it's a bummer. Until then, though, what's weird here is gloriously weird.
    • 54 Metascore
    • 60 Joe Neumaier
    Stone, last seen in “The Amazing Spider-Man 2,” is served best. Gliding through the film in sailor-girl outfits that evoke film stars of the 1920s, Stone’s big kewpie eyes and long-limbed gamine appeal fit in this era of silent films.
    • 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.
    • 54 Metascore
    • 60 Joe Neumaier
    More deft than it first appears, director John Crowley's gentle-but-not-sappy drama features another late-day masterpiece-in-miniature from Michael Caine.
    • 54 Metascore
    • 60 Joe Neumaier
    For the first time since "The Nutty Professor," Eddie Murphy successfully mixes his adult and kid-film personas -- imagine that.
    • 54 Metascore
    • 100 Joe Neumaier
    The story Stiller tells manages to float in a most peculiar, satisfying way.
    • 54 Metascore
    • 40 Joe Neumaier
    His humor works best when it's throw-away, but "Zohan" throws everything up to get a yuck. It's a shock to see how many "yuck!" moments Sandler settles for.
    • 54 Metascore
    • 60 Joe Neumaier
    Thor: The Dark World may not be thunder from the movie gods, but it is — shock! — an entertaining journey into mystery, action and fun.
    • 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.
    • 54 Metascore
    • 20 Joe Neumaier
    Well-intentioned but as earnest as a college freshman discovering campus politics.
    • 54 Metascore
    • 40 Joe Neumaier
    Feels stagy and anti-visceral.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 20 Joe Neumaier
    The title of The Misfortunates ­really applies to any audiences unlucky enough to sit through it.
    • 54 Metascore
    • 60 Joe Neumaier
    Movies like this, from "Diner" to "Beautiful Girls" to "Garden State," have a standard trajectory, and this film's no different. But it has a nuance and a rumpled comfort with itself, which turns Fairhaven into an inviting place to visit.
    • 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.
    • 54 Metascore
    • 60 Joe Neumaier
    Writer-director David Riker's film is tough going, but worth it.
    • 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.
    • 54 Metascore
    • 60 Joe Neumaier
    Weithorn, a sitcom vet whose credits include "Ned and Stacey" and "The King of Queens," makes sure even the quiet moments in the unassuming "A Little Help" move things forward. And that every one of Laura's missteps is in the right direction.
    • 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.
    • 54 Metascore
    • 70 Joe Neumaier
    While it stops before sliding too far into the darkness,Observe and Report hits a lot of bull's-eyes by aiming for the gut, not easy belly laugh.
    • 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.
    • 53 Metascore
    • 60 Joe Neumaier
    Without giving anything away, much of the excruciatingly teased-out tension here echoes the first movie without upping the ante.
    • 53 Metascore
    • 20 Joe Neumaier
    Has raw action and urgent performances, but loses power due to an amateur approach.
    • 53 Metascore
    • 60 Joe Neumaier
    This one could have flown over the cuckoo's nest, or smacked into a glass pane, but instead lands in the middle of the road where quirky and popular meet.
    • 53 Metascore
    • 40 Joe Neumaier
    Dennis Quaid lends some needed saltiness as Hamilton's supportive dad.
    • 53 Metascore
    • 60 Joe Neumaier
    Best of all, we take a trip back to Depression-era New York and grasp its resonance more than 80 years later. Delicious.
    • 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.
    • 53 Metascore
    • 60 Joe Neumaier
    The problem with Russell Crowe's new take on the legend is that it has one muddy boot in history and the other in fantasy. The middling result is far from a bull's-eye.
    • 53 Metascore
    • 20 Joe Neumaier
    With no heat at all and a woefully disjointed cast, De Palma’s danse macabre never catches fire.
    • 53 Metascore
    • 40 Joe Neumaier
    Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.
    • 53 Metascore
    • 80 Joe Neumaier
    There are two types of superhero movies: the ones that brood and the ones that swing. The Amazing Spider-Man 2 is proudly the latter, filled with high-energy action.
    • 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.
    • 53 Metascore
    • 60 Joe Neumaier
    Weixler is a delight, and director Tom Gammill captures the right level of deadpan to pull this off.
    • 53 Metascore
    • 60 Joe Neumaier
    Affleck is playing someone split down the middle, but we're stuck seeing only one side of him.
    • 53 Metascore
    • 20 Joe Neumaier
    This is perhaps for Shakespeare completists only.
    • 53 Metascore
    • 60 Joe Neumaier
    This eerily unsettling indie takes a few pleasantly unexpected turns before winding up in a traditional place. But if you think it isn’t worth the time, you have another think coming.
    • 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.
    • 53 Metascore
    • 50 Joe Neumaier
    Yet it all comes down to one simplistic idea, and the result feels like a one-film evangelical movement.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 60 Joe Neumaier
    Where Sissy Spacek seemed otherworldly and haunted in De Palma’s film, Moretz (“Hugo,” “Kick-Ass”) is sadder. She’s a terrific young actress.
    • 53 Metascore
    • 60 Joe Neumaier
    Much like “La Belle Noiseuse,” the 1991 Jacques Rivette film it resembles, this contemplative drama washes over you.
    • 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.
    • 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.
    • 52 Metascore
    • 60 Joe Neumaier
    The fights are strong (though the 49-year-old director’s are slo-mo), and the surface is calm. Say “Whoa!” if you like, but it’s cool.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    His (Bateman) performance is fun. Too bad The Switch is not.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Had the film stood still more often, its stylish gambit would have worked better.
    • 52 Metascore
    • 20 Joe Neumaier
    This dour, hyperactive family film is joyless, overly busy and starchy.
    • 52 Metascore
    • 40 Joe Neumaier
    It's laughably, eye-rollingly absurd.
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Insidious doesn't feature the lazy, home-video-style terror of "Paranormal Activity," thankfully. But it's also pretty normal activity for a ghost story.
    • 52 Metascore
    • 60 Joe Neumaier
    It also has another watchable turn from Ice Cube, and, as with his previous films, the rap artist-actor leads by example.
    • 52 Metascore
    • 60 Joe Neumaier
    If you succumb to The Better Angels, the effect is like falling into a gorgeous photograph, but that also means the narrative in this arthouse film is oblique and sketchy.
    • 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.
    • 52 Metascore
    • 60 Joe Neumaier
    This sweet, offhanded but lovingly observed remembrance is a real kick. It takes us back to the way things used to be, especially for 13-year-old guys, and specifically in the arcade rooms of 1985, filled with upright video games with glowing screens and big-haired girls in neon.
    • 52 Metascore
    • 20 Joe Neumaier
    This eye-rollingly bad movie is silly, sluggish and miscast.
    • 52 Metascore
    • 20 Joe Neumaier
    It's an unfunny Spanish movie that worked best as a two-minute trailer.
    • 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.
    • 52 Metascore
    • 80 Joe Neumaier
    A fast-moving, rock 'em-sock 'em movie that continues the man-vs.-machines series begun 25 years ago.
    • 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.
    • 52 Metascore
    • 60 Joe Neumaier
    There’s great repartee between its cast of this “based on a true [but forgotten] story” of World War II. Yet the film overall isn’t colorful enough.
    • 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."
    • 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.
    • 52 Metascore
    • 40 Joe Neumaier
    Strong acting all ’round helps, but unfortunately this is just a slow ride to nowhere.
    • 52 Metascore
    • 20 Joe Neumaier
    Even young would-be botanists will find this charmless animated adventure as exciting as watching grass grow.
    • 52 Metascore
    • 40 Joe Neumaier
    Writer-director David M. Rosenthal fills this dewy road-trip movie with too many cliches. From the glimpses we get of Shue's character, that may have been a more rockin' story.
    • 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.
    • 52 Metascore
    • 20 Joe Neumaier
    The remake of the 1987 cult actioner Robocop is a misguided failure — not only because its retooled half-man/half-machine hero now has emotions, but also because its “fear the machines” message winds up feeling creaky.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Joe Neumaier
    Only Wahlberg rises above the muck; everything else here feels buried in concrete.
    • 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.
    • 51 Metascore
    • 80 Joe Neumaier
    There are great clips and good insight, and it’s all as loose and cool as an Austin night out.
    • 51 Metascore
    • 60 Joe Neumaier
    What director Andrew Stanton has brought forth from Burroughs' limited, hoary source material is actually kind of fun.
    • 51 Metascore
    • 40 Joe Neumaier
    Snitch is like watching an elephant on ice: inelegant, but you admire the effort.
    • 51 Metascore
    • 80 Joe Neumaier
    Gritty, funny, rich adaptation of a Pete Dexter novel.
    • 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.
    • 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.
    • 51 Metascore
    • 60 Joe Neumaier
    It's about watching two always-fine actors do a lot with very little.
    • 51 Metascore
    • 60 Joe Neumaier
    Fans of PBS, history and a certain kind of old-fashioned moviemaking may fall in.
    • 51 Metascore
    • 40 Joe Neumaier
    Predators tries to spice up the hunt-or-be-hunted thesis, but from the get-go, director Nimrod Antal's movie has nowhere to run.
    • 51 Metascore
    • 60 Joe Neumaier
    Even the youngest viewers, not to mention their parents, will appreciate the buffoonish villainy of the dogcatchers (still useful villains more than half a century after "Lady and the Tramp"), and the movie's nice anti-kill shelter message is as it should be.
    • 51 Metascore
    • 0 Joe Neumaier
    Ender’s Game, the book, may have a special place in pop-lit. The movie, however, is as special as a migraine.
    • 51 Metascore
    • 60 Joe Neumaier
    Those who only know Chiwetel Ejiofor from his quietly powerful work in the Best Picture-winning “12 Years a Slave” should see him here — to experience his range.
    • 51 Metascore
    • 60 Joe Neumaier
    Eisenberg - seemingly in every other movie nowadays - gives his best performance since 2005's "The Squid and the Whale" in a film that dramatizes a fascinating New York story.
    • 51 Metascore
    • 60 Joe Neumaier
    With witty throwaway bits and Cavanagh's fast delivery, "Scot" gets away with a third-act dip into hearts and platitudes. Otherwise, it's refreshingly snarky and quick.
    • 51 Metascore
    • 60 Joe Neumaier
    "2" works harder to land punches, but when it does, it provides the kind of fun it's fan base hopes for. But expectations, and targets, are lower all around.
    • 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."
    • 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.
    • 51 Metascore
    • 80 Joe Neumaier
    While “Lovelace” falters a bit, it remains a memorable, unflinching indictment.
    • 51 Metascore
    • 40 Joe Neumaier
    Patric and Baldwin react to all the morbidity with restraint, and Vassilieva keeps her bald head high. But they won't be able to help this barefaced vulgarity earn any terms of endearment.
    • 51 Metascore
    • 20 Joe Neumaier
    So that's three snickers, not counting the Bush quote, 'cause including that one ain't fair, man.
    • 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.
    • 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."
    • 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.
    • 50 Metascore
    • 60 Joe Neumaier
    Director Nimrod Antal’s grungy gang-of-thieves pic is tough and, for this genre, surprisingly ethical.
    • 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.
    • 50 Metascore
    • 40 Joe Neumaier
    Gugino is having a ball, but every scene feels like an oh-so-arch one-act.
    • 50 Metascore
    • 60 Joe Neumaier
    The boat rides and picnics we're privy to are an enjoyable way to get to a bittersweet conclusion. Yet it's hard not to feel like we've taken this trip before.
    • 50 Metascore
    • 40 Joe Neumaier
    A movie that's so anachronistically mushy and awkward, it earns extra credit simply for being so innocent.
    • 50 Metascore
    • 60 Joe Neumaier
    This all feels like an homage to Gilliam’s “Brazil,” though Zero Theorem also has shadows of “12 Monkeys” and other films in the onetime Monty Python animator’s cinematic carnival.
    • 50 Metascore
    • 60 Joe Neumaier
    Like the politicians it skewers, it knows the real winner is the stupidity, stupid.
    • 50 Metascore
    • 40 Joe Neumaier
    Another nicely understated performance from Jesse Eisenberg anchors this shambling drama.
    • 50 Metascore
    • 20 Joe Neumaier
    An epic example of muddled storytelling, chintzy excitement and scatter-brained execution.
    • 50 Metascore
    • 40 Joe Neumaier
    While Messina and Ireland are fine company, writer-director Matt Ross' conceit tires you out.
    • 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.
    • 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).
    • 49 Metascore
    • 60 Joe Neumaier
    Carla Gugino has yet to find the right movie that clicks with her spunky outsider appeal, but The Mighty Macs, a gauzy, inspiring true-life drama about a girls' basketball team, at least gets her close and provides a lot of assists.
    • 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.
    • 49 Metascore
    • 60 Joe Neumaier
    Director Malcolm Venville, who made the British gangster flick "44 Inch Chest," has a strong handle on the tone, so even the familiar twists feel fresh.
    • 49 Metascore
    • 40 Joe Neumaier
    Every generation gets a "Big Chill," and this tired but well-meaning indie contains many clichés of the "pals-pondering-life" movies that came before.
    • 49 Metascore
    • 60 Joe Neumaier
    Though Lorenz Knauer's film is as thoughtful as his subject - with a break for interviews with Pierce Brosnan and Goodall's fellow UN Goodwill Ambassador Angelina Jolie - the study of chimps is given short shrift.
    • 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.”
    • 49 Metascore
    • 60 Joe Neumaier
    With a snappy score made up of American standards and tons of Gallic spice, “Love” wins us over.
    • 49 Metascore
    • 60 Joe Neumaier
    Bridges is enjoyable as he gives the older Flynn a Zen hero quality, and even breaks through the effects to make his younger-Clu-self oddly engaging.
    • 49 Metascore
    • 60 Joe Neumaier
    In terms of scares, this old-fashioned Thing is better than most new things.
    • 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.
    • 49 Metascore
    • 40 Joe Neumaier
    What keeps the movie afloat, though, is Seann William Scott as Steve Stifler.
    • 49 Metascore
    • 60 Joe Neumaier
    Its hard sell wears you down and draws you in, even as you know you're being manipulated.
    • 49 Metascore
    • 20 Joe Neumaier
    Rote, dull and point-blank obvious.
    • 49 Metascore
    • 20 Joe Neumaier
    These actors know how to liven up a room, yet here they're forced to perform in Miller's Theater for the Overwritten.
    • 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.
    • 49 Metascore
    • 60 Joe Neumaier
    While not every family film can plant a flag here, the happily offbeat Mars Needs Moms turns out to be a charming, subversive, minor addition to the club.
    • 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 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.
    • 49 Metascore
    • 20 Joe Neumaier
    Throughout, Davidson's intentions are honest but become lost in a haze of overly familiar story beats.
    • 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
    • 60 Joe Neumaier
    Think you know all about comedy? This thorough, funny and thoroughly funny chronicle of the Catskills Mountains resorts — that is, the Borscht belt — will still teach you a thing or two.
    • 49 Metascore
    • 80 Joe Neumaier
    To eavesdrop on Bernardo Bertolucci, Stephen Frears, Ken Loach and John Sayles, as they talk politics; David Lynch and Todd Haynes, discussing inspiration; and Catherine Breillat, Agnès Varda, Richard Linklater and Liliana Cavani as they riff on controversy and aspiration, even for a little while, is a real treat.
    • 49 Metascore
    • 20 Joe Neumaier
    The story feels like quicksand. Riddick, which couldn’t even qualify for proper summer movie placement, moves like Martian molasses and can’t present an action scene to save its life. You’ll wish you had Uncle Martin’s ability to speed people — not to mention awful movies — up.
    • 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.
    • 49 Metascore
    • 40 Joe Neumaier
    Never achieves the David Lean style of epic it aims for - exterior vistas and interior dramas - but it has two charismatic performances, beautiful Chinese locations and an admirable lack of sentimentality.
    • 49 Metascore
    • 20 Joe Neumaier
    The connection they share is clear; the reason we're invited to sit in is foggy at best.
    • 49 Metascore
    • 40 Joe Neumaier
    A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
    • 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.
    • 49 Metascore
    • 60 Joe Neumaier
    Director Chen Shi-Zheng's film has a graceful energy, and three strong performances help make this serene drama - and its shocking conclusion - quietly moving.
    • 49 Metascore
    • 40 Joe Neumaier
    The only bit of machinery that makes the film move is Jason Statham, who's provided the steely saving grace in so many modern action movies.
    • 49 Metascore
    • 60 Joe Neumaier
    Leave it to Spike Lee to deliver one of the strangest, most off-putting movies for the Thanksgiving holiday.
    • 48 Metascore
    • 80 Joe Neumaier
    Speaking of committed: Duvall, at age 83, nearly steals the show. Always the most inscrutable of the great ’70s actors, Duvall uses his great, unassuming American face to convey pride, confusion, pain and compassion — sometimes all at once.
    • 48 Metascore
    • 40 Joe Neumaier
    Don't expect to taste anything surprising.
    • 48 Metascore
    • 60 Joe Neumaier
    Like its subject, the movie is not as calculating as it seems.
    • 48 Metascore
    • 60 Joe Neumaier
    The result ends up like an "SNL" skit: knowingly over-the-top but still fun.
    • 48 Metascore
    • 40 Joe Neumaier
    A lot of gleeful audience members are interviewed in Glee: The 3-D Concert Experience, though the source of their happiness could be a lot of things.
    • 48 Metascore
    • 40 Joe Neumaier
    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.
    • 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.
    • 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.
    • 48 Metascore
    • 40 Joe Neumaier
    Ultimately, this dull tour of a thieving, primal underworld is just a lot of high-talking hogwash.
    • 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
    • 20 Joe Neumaier
    The only saving grace is Green, the reigning witch-queen of cinema. The smoky-eyed French actress, best known for “Casino Royale,” “The Golden Compass” and “Dark Shadows,” throws her all into the performance, going bare-chested at times, bared-teeth at others. She’s like Elizabeth Taylor’s "Cleopatra" possessed by a succubus — which is a good thing. Without her, 300: Rise of an Empire would be bloodless and brainless.
    • 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.
    • 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.
    • 48 Metascore
    • 0 Joe Neumaier
    The whole thing is such a tedious, foul-mouthed mess that it isn't even worth discussing as a riff on the Bob Dylan doc "Don't Look Back" or a meditation on slovenly semi-madness.
    • 48 Metascore
    • 20 Joe Neumaier
    The movie doesn't try for "Airplane!" or even "Scary Movie"-type ribbing, but its adherence to the genre isn't quite pure, either. Despite McCormack's good-natured efforts, this is "MADtv"-quality satire.
    • 48 Metascore
    • 40 Joe Neumaier
    Now CDL aficionados have One Day, though it is a tedious addition to this subspecies of rom-com, despite Anne Hathaway's efforts to make us fall for her regardless of the setting.
    • 48 Metascore
    • 60 Joe Neumaier
    As a misanthropic guy in a dead-end job, Matthew Broderick is more engaging than when he has to be perky.
    • 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.
    • 48 Metascore
    • 40 Joe Neumaier
    The great David Strathairn can make any film watchable, but even he can’t save this dry dramatic thriller.
    • 48 Metascore
    • 60 Joe Neumaier
    Yelling is a prosaic look at a hard life. Like Sweetness, the movie finds its way by instinct.
    • 48 Metascore
    • 40 Joe Neumaier
    The movie gets too claustrophobic, while its noble attempt to take on suffering remains laudable.
    • 47 Metascore
    • 40 Joe Neumaier
    An earnest but undeniably eye-rolling documentary about the denizens of this odd pocket of show business.
    • 47 Metascore
    • 40 Joe Neumaier
    The earnest attempt at family drama doesn't benefit from the abundance of movie-of-the-week cliches.
    • 47 Metascore
    • 40 Joe Neumaier
    Informative and flavorful, though lacking in surprise.
    • 47 Metascore
    • 60 Joe Neumaier
    It’s never laugh-out-loud funny or inside-track smart, but in a summer full of bombastic failures, a lack of pretense is enough.
    • 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.
    • 47 Metascore
    • 20 Joe Neumaier
    There are some nice moments of camaraderie, as Feldman and Imperioli do their laid-back thing and Fisher is feisty and warmhearted. Still, the let’s-all-talk-at-once actorliness wears thin. It’s just not worth the mood swings.
    • 47 Metascore
    • 40 Joe Neumaier
    It’s all too much. Frankie & Alice has multiple problems it can’t get past.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Joe Neumaier
    A good-ol'-boy civics lesson that's too scattered to achieve its predictable goals.
    • 47 Metascore
    • 60 Joe Neumaier
    More mournful than alarmist, Arthus-Bertrand's film goes beyond global warming to look at life out of balance, through a lens darkly.
    • 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.
    • 47 Metascore
    • 60 Joe Neumaier
    Real-life geopolitical blunders aside, The Interview generally hits its marks. And every time it does skid into juvenile idiocy — with too much scatological humor, for instance, and an overuse of “you-go-bro!” attitude — it follows it with a stride or two toward uproarious meta-satire.
    • 47 Metascore
    • 20 Joe Neumaier
    The cozy sentimentality in The Time Traveler's Wife is the only thing that grounds it. Mostly it's just featherheaded.
    • 47 Metascore
    • 60 Joe Neumaier
    There are big special effects, of course, but refreshingly, this third (and final?) movie in the franchise is like a pleasant stroll through familiar halls.
    • 47 Metascore
    • 0 Joe Neumaier
    This poor man’s Norman Bates, though, doesn’t make us wonder what makes him tick; he makes us want to shut our eyes.
    • 47 Metascore
    • 40 Joe Neumaier
    This heavy-handed movie is simply a sermon its makers think we all should hear.
    • 47 Metascore
    • 40 Joe Neumaier
    The Giver was ahead of its time as a book. But as a movie, it’s too late.
    • 47 Metascore
    • 60 Joe Neumaier
    Despite the ominous feel, this is a mystery about losing or gaining lives and unknown detours.
    • 47 Metascore
    • 60 Joe Neumaier
    As a vampire might say, "Be- vaaare , all who enter here above the age of 7! What lies on the screen ... is not for you !"
    • 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.
    • 47 Metascore
    • 40 Joe Neumaier
    The same boring routine gets played out again.
    • 47 Metascore
    • 80 Joe Neumaier
    Here, the actor (Di Niro) dials it down and wins us over.
    • 47 Metascore
    • 40 Joe Neumaier
    Engrossing, sad and heartbreaking.
    • 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.
    • 46 Metascore
    • 20 Joe Neumaier
    This tonal mishmash cripples The Dilemma almost immediately, though there are many other speed bumps, including Vaughn's irritating, fast-talking prattle.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Joe Neumaier
    In a certain kind of indie movie, the only thing sweeter than a bad boy transformed is slow, sad tragedy. Mercy has both, which isn't good.
    • 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.
    • 46 Metascore
    • 20 Joe Neumaier
    "Dopey" is too good a word for it.
    • 46 Metascore
    • 60 Joe Neumaier
    A frenetic, overstuffed but imaginative fantasy.
    • 46 Metascore
    • 20 Joe Neumaier
    Would like to think of itself as an extension of its lead character -- gangly, a bit uncouth, but ultimately sweet. Unfortunately, it's more like the best friend in a movie like this -- irritating, unfunny and something that hangs around longer than it should.
    • 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.
    • 46 Metascore
    • 60 Joe Neumaier
    There is also inspiration in watching her find herself by helping others.
    • 46 Metascore
    • 60 Joe Neumaier
    Is it all valid? Perhaps. Should the film's questions be addressed? Absolutely.
    • 46 Metascore
    • 60 Joe Neumaier
    Director Nick Hamm's movie is sparky and fun, and full of affectionate pokes at the '80s music scene. It's also, in terms of music biopics, probably better than the real thing.
    • 46 Metascore
    • 40 Joe Neumaier
    About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.
    • 46 Metascore
    • 60 Joe Neumaier
    Kline sinks his old smoothie teeth into the part of Flynn, but is careful not to draw blood too easily. The man’s pathetic nature, after all, doesn’t spring from his movies. (Flynn worked right up to his death, in 1959.) It’s deeper than that, but also more shallow. Walking that knife’s edge is a trick. Kline finds exactly the right path.
    • 45 Metascore
    • 20 Joe Neumaier
    It's the same-old flesh-chewing. Like vampires, this genre is getting deadly.
    • 45 Metascore
    • 60 Joe Neumaier
    Wahlberg and Johnson are the saving graces of an in-your-face movie.
    • 45 Metascore
    • 40 Joe Neumaier
    Most of the movie unfolds in such a dull manner.
    • 45 Metascore
    • 60 Joe Neumaier
    A well-done, conscientious and funny little film that recalls "Clueless," only with more heart.
    • 45 Metascore
    • 60 Joe Neumaier
    Peace, Love and Misunderstanding has a place for everybody in its heart-of-gold band.
    • 45 Metascore
    • 40 Joe Neumaier
    Dignity dies a million deaths despite the best intentions.
    • 45 Metascore
    • 40 Joe Neumaier
    While the film is slightly better than similar efforts Allen made between the ’90s and his recent time in Europe, it’s both too broad and too shallow.
    • 45 Metascore
    • 60 Joe Neumaier
    Any film as politically specific as Miral needs to be addressed on two levels, as a movie and as, from a certain viewpoint, a polemic. If a viewer can separate one from the other - and some may not - there's an intense, novelistic drama here.
    • 45 Metascore
    • 20 Joe Neumaier
    It is likely to become an unintended camp classic, something we haven't had since "Showgirls."
    • 45 Metascore
    • 60 Joe Neumaier
    Though too much of this of-the-people, for-the-people chronicle is by necessity gummed up by clunky captions and explanations, it is an effective, and heartfelt, clarion call.
    • 45 Metascore
    • 40 Joe Neumaier
    Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
    • 45 Metascore
    • 20 Joe Neumaier
    Fine actors are let down by a comatose script and wayward direction in this retro crime drama.
    • 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?"
    • 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.
    • 45 Metascore
    • 0 Joe Neumaier
    Hollowface, like Intruders (which ought to be just the singular "Intruder," as Hollowface works solo), is all about empty scares. Director Juan Carlos Fresnadillo does include perhaps the most half-hearted exorcism ever filmed, which only seems fitting.
    • 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.

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