Joshua Rothkopf

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For 755 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Still Walking
Lowest review score: 20 I Spit on Your Grave
Score distribution:
  1. Negative: 47 out of 755
755 movie reviews
    • 52 Metascore
    • 40 Joshua Rothkopf
    You keep waiting for the movie to grow a brain, for that random attractive neighbor (Wilde) to turn out to be a decoy, for Banks herself to become suspect. Nope. The Next Three Days morphs into "The Fugitive" on steroids.
    • 37 Metascore
    • 40 Joshua Rothkopf
    The movie dies onscreen; it might be the best advertisement for avoiding the glories of Italy ever released by a Hollywood distributor.
    • 24 Metascore
    • 40 Joshua Rothkopf
    Like a stumpy limb requiring quick cauterization via steam pipe (our first cringe), the Saw series is begging for closure.
    • 46 Metascore
    • 40 Joshua Rothkopf
    Listen to the rhythms of "Broadcast News" - from Holly Hunter's daily crying jags to William Hurt's cock-of-the walk patter - and you'll hear how romantic comedy can approach an art form, a roundelay that requires the ear of a conductor. How Do You Know, James L. Brooks's latest, has such tone-deaf passages that it feels made by a totally different man.
    • 27 Metascore
    • 40 Joshua Rothkopf
    There's really no focking place for the franchise to go anymore.
    • 61 Metascore
    • 40 Joshua Rothkopf
    A typically lax late-period Ferrara work, far from the glories of "King of New York."
    • 46 Metascore
    • 40 Joshua Rothkopf
    How does one remain an unapologetic fan of Vaughn, abrasive though he is, even as his material fails him?
    • 33 Metascore
    • 40 Joshua Rothkopf
    Sandler's puppy-dog persona is just about ready to be put down. From its title on, this is entertainment for extremely lazy audiences.
    • 50 Metascore
    • 40 Joshua Rothkopf
    Please. If you're going to ask audiences to submit to a dim theater themselves, at least greet them with the proper monster they paid for.
    • 44 Metascore
    • 40 Joshua Rothkopf
    We've seen Nicolas Cage when he's angry-and we like him when he's angry. So why does this painfully loud revenge movie skimp on the Cage rage?
    • tbd Metascore
    • 40 Joshua Rothkopf
    Queens-born horror specialist Stevan Mena has mastered the slow camera creep and the unusually artful vista-he even composes his own orchestral scores, good ones. But he needs to give up screenwriting, pronto. Put down the laptop, Stevan.
    • 63 Metascore
    • 40 Joshua Rothkopf
    In theory, there's nothing wrong when a movie reminds you of TV. (That's where the fun is, anyway.) But when a movie resembles a long-lost, corduroy-clad episode of "The Rockford Files," that's a problem.
    • 45 Metascore
    • 40 Joshua Rothkopf
    A perfectly boring movie from Julian Schnabel - is it possible?
    • 52 Metascore
    • 40 Joshua Rothkopf
    None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
    • 59 Metascore
    • 40 Joshua Rothkopf
    To the movie's small credit, there's very little grasping for larger significance: It's a dumb horror film, complete with a sexy female lust object (Kaboom's Mesquida) undraping for a shower scene.
    • 36 Metascore
    • 40 Joshua Rothkopf
    The original film, for all its zaniness, existed in a recognizable Koch-era metropolis, one that paradoxically added to our hero's likable haze of denial. This time, the town is far shinier (what recession?).
    • 27 Metascore
    • 40 Joshua Rothkopf
    While the movie isn't "Witness," you know that comic scenes of target practice are going to make sense around the bend.
    • 33 Metascore
    • 40 Joshua Rothkopf
    Controversially, Escrivá started the Opus Dei, and There Be Dragons is best appreciated by those seeking more realism than the albino self-whipper of "The Da Vinci Code."
    • 51 Metascore
    • 40 Joshua Rothkopf
    Dedicating a movie to John Hughes doesn't equal capturing the master's ear for the universality of adolescent angst.
    • 45 Metascore
    • 40 Joshua Rothkopf
    The new movie is simpler plotwise (a race to the Fountain of Youth), while at the same time being somehow more deadening.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Some kind of napping for sure: The line between rigor and tedium is crossed in this Madrid-set home-invasion thriller, captured in a dozen or so claustrophobic shots but impoverished as a piece of drama.
    • 69 Metascore
    • 40 Joshua Rothkopf
    Breillat, as always, goes her own way, but her impressionistic scenes barely cohere, even at this brief running time.
    • 41 Metascore
    • 40 Joshua Rothkopf
    It gets bogged down in slo-mo indie quirk when it should be faster, more in our face.
    • 39 Metascore
    • 40 Joshua Rothkopf
    Depending on what you need from this movie, there's slight redemption in its full-on commitment to raunch, both in baby-shit–to-mouth scatology and some choice zingers.
    • 31 Metascore
    • 40 Joshua Rothkopf
    The hard fact, though, is that Harlin's instincts - always toward the massive and slo-mo - make him a fairly dunderheaded political analyst.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The predictability is crushing, and with movies like "Crazy Heart" and Sofia Coppola's distinctly personal "Somewhere" so close in the rearview, David M. Rosenthal's estrangement drama feels especially soft.
    • tbd Metascore
    • 40 Joshua Rothkopf
    Unfortunately, Truffaut fell into a pit of awkwardness on the project; editingwise, he's hardly in the league of Hitchcock, his sequences rushing ahead, his ironies too obvious. The Bride Wore Black only makes you yearn for better imitators like Brian De Palma. (Unlikely agreement came from Truffaut himself, ever the film critic, who hated his own movie.)
    • 59 Metascore
    • 40 Joshua Rothkopf
    J. Edgar is infuriatingly coy and noncritical about its subject, an undeniable patriot but also an alarmist and a ruiner of lives.
    • 28 Metascore
    • 40 Joshua Rothkopf
    Unintentionally true to its title, The Divide first goes for a similar bleakness (it barely registers as entertainment), then lurches into a rousing, vengeful finale; both sides of the equation add up to less than zero.
    • 55 Metascore
    • 40 Joshua Rothkopf
    Filmed with the somber pretentiousness of a "Babel," the movie never quite converts its premise into something grander (never mind believable). Meanwhile, the world starts to riot, yet their bed is warm. Will love save the day? Unfortunately for us, our sense of smell remains intact.
    • 72 Metascore
    • 40 Joshua Rothkopf
    You doubt Wiseman's sense of pacing. Still, he must have had a good time shooting.
    • 80 Metascore
    • 40 Joshua Rothkopf
    Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general.
    • 40 Metascore
    • 40 Joshua Rothkopf
    Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The movie is one big scream, clichéd and hardly credible as an oblique call to civility.
    • 54 Metascore
    • 40 Joshua Rothkopf
    Let's not make 4:44 Last Day on Earth sound cooler than it is. Compared with Lars von Trier's histrionically doomed "Melancholia," the film lacks any serious attempt to grapple with mortality.
    • 45 Metascore
    • 40 Joshua Rothkopf
    Fresnadillo, working with screenwriters Nicolás Casariego and Jaime Marques, might be angling for the same YA fantasy as "Pan's Labyrinth," but they've forgotten about that film's violent underpinnings, a mistake that leaches their movie of suspense.
    • 39 Metascore
    • 40 Joshua Rothkopf
    Close to a parody of a French sex drama - complete with bored, bourgie bed-swappers and a dull sense of amoral sophistication - this autopiloted import does no favors to the legacies of Truffaut and Godard.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
    • 37 Metascore
    • 40 Joshua Rothkopf
    All of them slog through countless boring sword-and-sandal skirmishes, none of which feel remotely suspenseful, until the hugeness of it all becomes a mildly passable joke.
    • 56 Metascore
    • 40 Joshua Rothkopf
    It's Goldthwait's first misstep, a serious one. He's simply not the filmmaker to mount a fierce takedown of Kardashian culture, thorough though his script's rage is.
    • 41 Metascore
    • 40 Joshua Rothkopf
    You can go to one of those sweaty, immersive outdoor music fests and get splattered with the mud and euphoria that always engulfs fans. Or you can cheap out and see this predictable rom-com-shot at the 2010 edition of Scotland's then-in-progress T in the Park­-and boggle at finding strangers in the audience more appealing than our main characters.
    • 41 Metascore
    • 40 Joshua Rothkopf
    What's the word on the film debut of Rihanna, playing a sass-mouthed petty officer? Dreadful (ella, ella).
    • 53 Metascore
    • 40 Joshua Rothkopf
    There's nothing strictly wrong with any of this, except for the fact that even a buttoned-down period piece like "Topsy-Turvy" feels sexier.
    • 50 Metascore
    • 40 Joshua Rothkopf
    Judging from Sánchez's Lovely Molly, he'd like to get lost in the trees again, but now knows the path too well.
    • 59 Metascore
    • 40 Joshua Rothkopf
    The casting is spectacularly wrong, and even on its own scant merits, writer-director Lorene Scafaria's screenplay has little insight into apocalyptic licentiousness, barring a tart line or two.
    • 59 Metascore
    • 40 Joshua Rothkopf
    This time, Stone is just sloshing around in the shallow end. When John Travolta and Benicio Del Toro show up for extended, cartoonish dialogues, you'll wonder what year it is, and let out a sigh of relief that the moment is long gone.
    • 57 Metascore
    • 40 Joshua Rothkopf
    Bound to surprise absolutely no one, Donald Trump comes off like a shameless boor in this slack, hiss-jerking documentary about his efforts to build a luxurious golf resort on hundreds of pristine acres of the Scottish coast.
    • 41 Metascore
    • 40 Joshua Rothkopf
    Almost half a century after "Night of the Living Dead," filmmakers are still misunderstanding how George Romero made his besieged shut-ins compelling.
    • 53 Metascore
    • 40 Joshua Rothkopf
    Bitchy histrionics curdle faster than a spoiled soy latte in this distinctly unlikable comedy about a trio of coked-up gal pals who barely muster the strength to celebrate their happier friend's wedding.
    • 48 Metascore
    • 40 Joshua Rothkopf
    In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.
    • 55 Metascore
    • 40 Joshua Rothkopf
    It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
    • 45 Metascore
    • 40 Joshua Rothkopf
    A coda shifts to video footage of Cleese's irreverent eulogy; you wish the whole film could have been as slyly somber. It's what the colonel would have insisted upon.
    • 31 Metascore
    • 40 Joshua Rothkopf
    A new Red Dawn could have been so much more fun had it thrown a properly out-of-bounds tea party. (It lacks the signature brawn of original director John Milius, a guns-first libertarian.)
    • tbd Metascore
    • 40 Joshua Rothkopf
    The young actors' vacant-eyed brazenness may be true to life, but there's a whiff of exploitation, matched by the script's disinterest in exploring any friction that isn't skin on skin.
    • 51 Metascore
    • 40 Joshua Rothkopf
    In the wake of the spunkier "Your Sister's Sister," writer-director Brian Savelson can't seem to mount a head of steam, and his chamber piece feels underdeveloped. Even Slattery's sourness doesn't redeem the banality of impending heart-to-hearts.
    • 43 Metascore
    • 40 Joshua Rothkopf
    My Best Enemy bleeds suspense like a pin-pricked tire. It wants to be clever, but survivor tales bring with them too much muck.
    • 28 Metascore
    • 40 Joshua Rothkopf
    Fellini used to get away with such slender crises, but he had Marcello Mastrioanni behind the shades, as well as a more vivid penchant for psychosexual fantasy. Coppola and Swan are stuck in their obsessions with dorky album art and old-man cocktails at Musso & Frank. A precious, arid thing, Glimpse arrives pinned to Styrofoam like a prize arthropod.
    • 52 Metascore
    • 40 Joshua Rothkopf
    Christopher Felver, while an inspired photographer, is not the director for the job; he dutifully ticks off Ferlinghetti’s major achievements — such as the founding of North Beach’s literary mecca, City Lights — yet never imbues his life with anything more than lefty zeal.
    • 61 Metascore
    • 40 Joshua Rothkopf
    The whole film seems dead set against offering up any kind of salaciousness. Like the overly arty "Zoo" and other indie experiments, it misses the point in a disturbing way.
    • 76 Metascore
    • 40 Joshua Rothkopf
    The director has made disappointing films before — a more generous word might be transitional — but never one so slight.
    • 34 Metascore
    • 40 Joshua Rothkopf
    Neither as subversively fun as last year’s megadestructive "Project X," nor as creative as "The Hangover" (on which these codirectors broke through as screenwriters), this further installment in the millennials-acting-badly genre serves as a distinctly average placeholder.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Only Hélène Cattet and Bruno Forzani, directors of 2009’s stylish Amer, emerge intact with “O Is for Orgasm,” a surging montage of fluid colors and moans.
    • 48 Metascore
    • 40 Joshua Rothkopf
    Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.
    • 61 Metascore
    • 40 Joshua Rothkopf
    The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.
    • 55 Metascore
    • 40 Joshua Rothkopf
    The whole movie feels like a case of the sweats, putting you in desperate need of the chicken soup of recognizable human behavior.
    • 46 Metascore
    • 40 Joshua Rothkopf
    A soundtrack of churning rock songs by the Kills is as close as this misfire gets to authentic grrrl power, borrowed as it is.
    • 42 Metascore
    • 40 Joshua Rothkopf
    The film’s cutesy vibe is closer to "Glee" than "Election" or "Waiting for Guffman," with Nathan Lane’s exuberant drama teacher pitching several yards of camp tent.
    • 46 Metascore
    • 40 Joshua Rothkopf
    The movie sags after Mary’s weak-willed acquiescence to crime, instantly turning her into a dull-eyed monster. You know her procedures are bound to stray from elective, but it’s hard to care.
    • 50 Metascore
    • 40 Joshua Rothkopf
    When Mark Ruffalo shows up as a crumpled detective, you expect a dose of reality, yet on his heels come twin hams Michael Caine and Morgan Freeman, whose solemn presences (as Christopher Nolan knows well) prove wonderful distractions from silliness.
    • 41 Metascore
    • 40 Joshua Rothkopf
    The filmmakers are too much in love with their made-up holiday to observe it to the fullest.
    • 55 Metascore
    • 40 Joshua Rothkopf
    The better actors — Kevin Costner, chiefly, as the adoptive Earth father — strain to supply warmth, but mostly, the minutes stretch into great expanses of blahness, much of them filled with Transformers-grade skyscraper snapping and bloodless catastrophe.
    • 47 Metascore
    • 40 Joshua Rothkopf
    Less a master class in inappropriate high-school relationships than the CliffsNotes version, A Teacher isn’t going to tell you anything Nabokov or "Election" didn’t.
    • 75 Metascore
    • 40 Joshua Rothkopf
    The movie leans on symbolic imagery that’s alternately tired and ridiculous: Hunt’s impatiently flicked cigarette lighter (yes, he’s a candle waiting to be lit) or a black-widow spider crawling up the stands of one particularly dangerous course. These are classic frenemies; their tale deserves more gas in the tank.
    • 44 Metascore
    • 40 Joshua Rothkopf
    Who will survive the night in order to deflower her? Mysteriously, the film has a hard time functioning on even this level, introducing complications for Mandy that the actor can’t pull off, adorable though she is.
    • 53 Metascore
    • 40 Joshua Rothkopf
    Where the book had a kernel of intellectual irony to it — words betray a nation — this drama goes shamelessly for the heart.
    • 40 Metascore
    • 40 Joshua Rothkopf
    Why introduce two female characters — played by Kate Bosworth and Winona Ryder, both excelling at trashy desperation — if the script’s ultimately going to forget them? The worst sin is visited upon Statham: Sure, those fists fly, but his poetry has become a chopped-up hash.
    • 54 Metascore
    • 40 Joshua Rothkopf
    You’re going to find it all either enormously empowering or deeply calculated: an Arcade Fire–scored TV commercial for instant spirituality.
    • 53 Metascore
    • 40 Joshua Rothkopf
    The film lacks any kind of human interest, relying instead on our inferred love of lengthy strategy sessions and displays of ruffled pride. When it comes to yakuza cinema, you can do better.
    • 54 Metascore
    • 40 Joshua Rothkopf
    Just as you're reeling from the tackiness of this premise, set within such an explosive context, the plot doubles down on it.
    • 52 Metascore
    • 40 Joshua Rothkopf
    The film will do until "Fifty Shades of Grey" turns up. The more you think about Labor Day, the more calculating it gets.
    • 47 Metascore
    • 40 Joshua Rothkopf
    Brief yet underdeveloped, Interior. Leather Bar. has a faux-documentary vibe about it.
    • 48 Metascore
    • 40 Joshua Rothkopf
    One would be better off experiencing Woodley via her heartbreaking turn in last year's "The Spectacular Now," a drama that actually has more to say about nightmarish cliques and individuality than any lackadaisical slide into future schlock.
    • 42 Metascore
    • 40 Joshua Rothkopf
    While Transcendence has tons of money to spend on unpersuasive digital effects and dronelike music, it shows little interest in exploring the potentially tricky benefits of a computer-enhanced intellect; it’s not even in the enjoyable realm of starkly ridiculous Cold War thrillers like "Colossus: The Forbin" Project.
    • 64 Metascore
    • 40 Joshua Rothkopf
    Closer to a special episode of "Diff’rent Strokes" than to "12 Years a Slave," the movie seems to exist to give its white characters belated moments of conscience.
    • 38 Metascore
    • 40 Joshua Rothkopf
    It’s crushing, then, that the movie’s big reveal is the kind of narrative do-over that could only spring from the mind of an almighty writer in love with playing God — or with himself.
    • 43 Metascore
    • 40 Joshua Rothkopf
    Some will find the director’s toothless brand of epiphany comforting (and download his mixtape), but the vast majority will find it tired.
    • 50 Metascore
    • 40 Joshua Rothkopf
    Mainly, though, this is a humorless film that skimps on the delicious opportunity for spousal retribution.
    • 36 Metascore
    • 40 Joshua Rothkopf
    Ultimately, for all its running around in the middle of the night, Sex Tape plays it remarkably coy, reaffirming love, not lust. It’s the cinematic equivalent of sleeping in the wet spot.
    • 31 Metascore
    • 40 Joshua Rothkopf
    Utterly inessential, this slightly cheap-looking reboot of the Turtles franchise is froth too — it might even be too tame for the kids who make up the target audience.
    • 46 Metascore
    • 40 Joshua Rothkopf
    [Eva] Green is the only one able to excite this silly material into the spiky shape it’s supposed to take. You wish the rest of the cast was as clued in.
    • 38 Metascore
    • 40 Joshua Rothkopf
    The first Reitman film to make the 36-year-old director seem about 400 years old.
    • 37 Metascore
    • 40 Joshua Rothkopf
    Centrally, the title character remains an impressive piece of propwork, and Leonetti's restraint in never animating it (à la Chucky) is the only thing worth appreciating here.
    • 53 Metascore
    • 40 Joshua Rothkopf
    The main flaw — twirling farm girls and grunting oxen aside — is an utter lack of insight into the future leader’s character.
    • 73 Metascore
    • 40 Joshua Rothkopf
    Something, Anything doesn’t really engage with issues of faith or materialism.
    • 45 Metascore
    • 40 Joshua Rothkopf
    Still Life constantly threatens to become a better movie: John’s scrutiny of photos feels vaguely serial-killer–esque, and there’s a late-inning love interest (Downton Abbey’s Joanne Froggatt) that you privately cheer for.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Cake chokes you on its self-seriousness, even as it trots out potentially interesting supporting players.
    • 45 Metascore
    • 40 Joshua Rothkopf
    For a movie with a critique of mediocrity well within its grasp, this one settles for an embrace of it, barely breaking a sweat.
    • 29 Metascore
    • 40 Joshua Rothkopf
    Look, the movie didn't have to cure cancer or anything. But sans the original's redemptive nostalgia or any newfound cleverness, it's just a manic, flop-sweat-drenched mess.
    • 52 Metascore
    • 40 Joshua Rothkopf
    Never once does the film feel sharp on black identity (as did Bill Gunn’s original), and the terror is theoretical only.
    • 33 Metascore
    • 40 Joshua Rothkopf
    The doc’s most intriguing moment has Summers dropping into a Japanese karaoke bar and singing along to an in-progress Police hit, an affable man wandering through his own legacy.
    • 50 Metascore
    • 40 Joshua Rothkopf
    It’s made with too much slickness, and you’ll be way ahead of it.
    • 38 Metascore
    • 40 Joshua Rothkopf
    Fans hoping to watch Schwarzenegger growl his catchphrases with a slight edge of shtick are underestimating the patience involved in sitting through a two-hour slog. As for those who want a little apocalyptic tension or (dare to dream) romance, this new model is not for you. It’s the Skynet cut.
    • 49 Metascore
    • 40 Joshua Rothkopf
    Missing is Cameron’s signature action modification, best exploited in Aliens: the strapping female heroine. McG’s testosterone-juiced world feels a little doomed without her.
    • 57 Metascore
    • 40 Joshua Rothkopf
    Like a "Raging Bull" that’s been clocked one too many times in the head, Antoine Fuqua’s blood-simple boxing melodrama is so loaded with obviousness, it gets more pained groans from the audience than the guys in the ring.
    • 27 Metascore
    • 40 Joshua Rothkopf
    The truly mystifying thing about the movie is how desperately it caters to Gen-X junk nostalgia without bothering to think that maybe those Reagan-era kids have grown up a bit.
    • 55 Metascore
    • 40 Joshua Rothkopf
    The 33 makes shameless lunges at religious imagery via ghostly auras and this-is-my-flesh apportioning of daily rations. It feels tacky, and only late in the game does Riggen find the script’s most interesting idea, about unwanted celebrity. Miner story, major fail.
    • 32 Metascore
    • 40 Joshua Rothkopf
    Shoddy and exhausted from the start, this painfully unfunny buddy-cop comedy lands with a plop in the January sewer of failed Hollywood castoffs.
    • 49 Metascore
    • 20 Joshua Rothkopf
    The new movie is a joke, a toxic cocktail of banal psychobabble, laughably arty slo-mo flourishes and unmotivated sexual violence that only brain-in-jar types could take as a serious statement.
    • 27 Metascore
    • 20 Joshua Rothkopf
    The little action here will disappoint fans; it’s way too choppy.
    • 25 Metascore
    • 20 Joshua Rothkopf
    Keep your coin far away from this toxic fountain of crap.
    • 48 Metascore
    • 20 Joshua Rothkopf
    This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama.
    • 31 Metascore
    • 20 Joshua Rothkopf
    Watching people play a board game ain’t ever going to be scary, and that’s essentially what we have here.
    • 34 Metascore
    • 20 Joshua Rothkopf
    The only aspects marking The Back-Up Plan as modern (not fresh) are its skanky wallowings in hormonal urges and an equally sour penchant for potshots at the target audience: women who want to be mothers.
    • 33 Metascore
    • 20 Joshua Rothkopf
    Excruciatingly stupid movie.
    • 50 Metascore
    • 20 Joshua Rothkopf
    Even on its own limited terms, the jokes are sub–"Friday" sequel, and a last-act grab for "Boyz n the Hood" pathos is seriously reaching.
    • 27 Metascore
    • 20 Joshua Rothkopf
    Harsh-voiced Sarah Butler lends zero personality to her avenging antiheroine, and the retributive torture sequences approach "Saw" levels of unlikelihood.
    • 24 Metascore
    • 20 Joshua Rothkopf
    A distinctly shameless and shoddily made family comedy.
    • 43 Metascore
    • 20 Joshua Rothkopf
    A tiresome mess that's completely bereft of a quiet moment in speech or manner, The Tempest aches for the wisdom of discipline.
    • 26 Metascore
    • 20 Joshua Rothkopf
    So bland it's easy to forget the title only minutes after exiting, this Emmerich-by-numbers invasion movie exists only to offer you the cutting edge in unconvincing special effects.
    • 18 Metascore
    • 20 Joshua Rothkopf
    Russian-born schlockmeister Andrei Konchalovsky has flirted with the good kind of bad in the past (Tango & Cash), but here, he's finally made his disaster-piece. Unclean.
    • 35 Metascore
    • 20 Joshua Rothkopf
    Yogi Bear on the big screen feels not just needless, but wasteful.
    • 38 Metascore
    • 20 Joshua Rothkopf
    Hollywood's hocus-pocus machine has turned out swill like this before, but even ultra-observant Catholics will find their interest waning. Hammy acting should make nonbelievers of the rest.
    • 50 Metascore
    • 20 Joshua Rothkopf
    Skip this one, even if your hipster significant other whines a blue streak.
    • 66 Metascore
    • 20 Joshua Rothkopf
    The whole movie aches from tired blood.
    • 22 Metascore
    • 20 Joshua Rothkopf
    You can take the phoenix-rising actor out of straight-to-video trash, but-well, you know the rest of it.
    • 63 Metascore
    • 20 Joshua Rothkopf
    Puiu offers zero insight into his character; only suckers will find the pose artful or nourishing. Skip it.
    • 38 Metascore
    • 20 Joshua Rothkopf
    Lacking a single serious scare or sly idea, the movie dies in ways that merely mediocre horror films can't even dream of.
    • 17 Metascore
    • 20 Joshua Rothkopf
    The question remains: Exploitative films are a dime a dozen, but how low will two-faced art-film distributor IFC go?
    • 58 Metascore
    • 20 Joshua Rothkopf
    Dropping on top of the heap is Lucky McKee's barely competent domestic thriller, bound to make you groan more than think.
    • 26 Metascore
    • 20 Joshua Rothkopf
    An excruciatingly awkward stab at generational sympathy, I Melt with You presents a quartet of thickening college buddies gathering at a Big Sur rental house to mourn their lost ambition.
    • 31 Metascore
    • 20 Joshua Rothkopf
    Charmless and histrionic, this mean-spirited movie takes place in the toyscape of McG (Charlie's Angels), a monomonikered director who makes Michael Bay seem thoughtful.
    • 45 Metascore
    • 20 Joshua Rothkopf
    From the auteur of "Torque" (2004) comes this instant headache: a panicky snark-schlock horror-comedy that reduces everything to a hyperactive squall of white noise.
    • 9 Metascore
    • 20 Joshua Rothkopf
    A last-minute twist implicating the audience in the bloodlust isn't clever so much as hypocritical.
    • 36 Metascore
    • 20 Joshua Rothkopf
    Never do you sense an overriding intelligence; Cortés once found laughs and shocks within the coffin-confined Buried, but here's he's got too much room to wander into realms of the ridiculous.
    • 55 Metascore
    • 20 Joshua Rothkopf
    Let your mind wander during this painfully generic teen-sex dramedy (trust us, it will), and there might be emotions worse than frustration in store.
    • 46 Metascore
    • 20 Joshua Rothkopf
    Unlike a truly daring movie like Lars von Trier's "The Idiots" - about a gang of clever jerks who pretend to be mentally retarded - The Comedy never musters an articulate indictment, nor does it have much to say on the subject of free-floating fatigue.
    • 31 Metascore
    • 20 Joshua Rothkopf
    Time to fire up the critical Black & Decker: Somebody-there are six credited screenwriters-really wasn't clear on the concept.
    • 18 Metascore
    • 20 Joshua Rothkopf
    As sick-making sketch comedies go, this stupefyingly bad one-somehow rife with A-list talent-must rank near the very bottom.
    • 42 Metascore
    • 20 Joshua Rothkopf
    The smidgen of dramatic color offered by Jennifer Lopez, as a divorced real-estate broker drawn into Parker's payback scheme, is offset by her character's shocking naïveté, shedding her clothes on command (as if she still couldn't hide a wire somewhere) and falling unconvincingly for Statham's featureless cipher.
    • 37 Metascore
    • 20 Joshua Rothkopf
    Waiting for Inescapable to finally reach its unearned, sentimental conclusion is a tiresome experience, but seeing Tomei submit to its badness is several measures worse.
    • tbd Metascore
    • 20 Joshua Rothkopf
    Smitten to a fault with high-art predecessors, Eric Atlan’s excruciatingly bad drama takes place in an abstract Buñuelian hotel room, glows luminously like Last Year at Marienbad and concludes with a Bergmanesque card game on which the fate of souls rests.
    • 35 Metascore
    • 20 Joshua Rothkopf
    All the solemnity is deadly: Not one of these superhuman gang members registers in memory, and you feel stiffed on gory giggles. Talk about having your chain yanked.
    • 25 Metascore
    • 20 Joshua Rothkopf
    Tired byplay between Reynolds’s mystified straight man and Bridges’s supernatural old pro will kill off any fond memories you have of zesty buddy films past and present.
    • 36 Metascore
    • 20 Joshua Rothkopf
    She (Lohan) isn’t the best thing about this awful, lounged-out drama — it has no best thing — but in her defense, Lohan has been atrociously directed, allowed to get away with the worst aspects of her vocal-fry laziness, and trotted out like a symbolic objet d’art.
    • 65 Metascore
    • 20 Joshua Rothkopf
    Technically cruddy and tiresome in its we’ve-seen-a-lot-of-movies dialogue.
    • 25 Metascore
    • 20 Joshua Rothkopf
    Where, exactly, is Dario Argento? He’s up there in the title, but none of the horror maestro’s former genius (Suspiria) is evident in this silly, Stoker-by-numbers slog, rife with cheesy digital blood spurts but not a single moment of deep-red gorgeousness.
    • 35 Metascore
    • 20 Joshua Rothkopf
    If mean-spirited snarksters had set out to trash the reputation of "Juno" screenwriter Diablo Cody, they couldn’t have done a more vicious job than the Oscar winner herself does with her directorial debut.
    • 31 Metascore
    • 20 Joshua Rothkopf
    Since this marks the directorial debut of Hollywood hack Akiva Goldsman (A Beautiful Mind), there’s a heavy foot applied to the era-skipping leaps made by source novelist Mark Helprin.
    • 39 Metascore
    • 20 Joshua Rothkopf
    There’s not enough villainy—nor lip-smacking comeuppance—to justify a smiting by ash or falling column. The movie in your head melts ten times better.
    • 30 Metascore
    • 20 Joshua Rothkopf
    From "Police Academy" to "Hot Fuzz," there are satires to be made about undisciplined law enforcement; this will not join their ranks, try as it might.
    • 57 Metascore
    • 20 Joshua Rothkopf
    The Equalizer is a stone-dumb movie.
    • 30 Metascore
    • 20 Joshua Rothkopf
    After several tedious jump scares and boneheaded escape plans, a bag over your head won't seem like such a bad idea. Or the noose.
    • 38 Metascore
    • 20 Joshua Rothkopf
    No Escape takes pains to pause for some unconvincing speechifying about Western meddling abroad, but its showbiz racism gets an infuriating pass.
    • 53 Metascore
    • 20 Joshua Rothkopf
    A ridiculously infantile film, one that flatters itself by intimating a deeper comment about suppressed masculinity or romantic passivity.

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