For 1,479 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 0.6 points lower than other critics. (0-100 point scale)

J.R. Jones' Scores

  • Movies
Average review score: 58
Highest review score: 100 House of Flying Daggers
Lowest review score: 0 House of the Sleeping Beauties
Score distribution:
1,479 movie reviews
    • 64 Metascore
    • 40 J.R. Jones
    Judge races through some of his most provocative ideas in the opening minutes and ignores his story's many logical inconsistencies; the movie is bracing for its bile but ultimately more frustrating than funny.
    • 43 Metascore
    • 40 J.R. Jones
    It's gooey fun for the first reel or two despite an abundance of close-ups that render the frantic action nearly unreadable.
    • 41 Metascore
    • 40 J.R. Jones
    The gender-bending comedy of Billy Wilder and Blake Edwards gets a teenpic makeover in this 2005 debut feature by Martin Curland.
    • 65 Metascore
    • 40 J.R. Jones
    Coppola based her script on a revisionist biography by Antonia Fraser, though the film reads most poignantly as a personal statement; like Marie, the director was born to a life of privilege and carries the burden of a proud family legacy.
    • 38 Metascore
    • 40 J.R. Jones
    With the "Lord of the Rings" trilogy completed and the next "Chronicles of Narnia" movie two years away, fantasy aficionados needing a Yuletide fix may have to settle for this dull sword-and-sorcery epic.
    • 33 Metascore
    • 40 J.R. Jones
    Never really generates any serious laughs.
    • 44 Metascore
    • 40 J.R. Jones
    Holding all this together would be enough of a chore even without the hollow black-pride message.
    • 35 Metascore
    • 40 J.R. Jones
    Ulliel, the meek missing soldier in "A Very Long Engagement," makes such a tedious Lecter that this quickly becomes a chore, though Dominic West ("The Wire") is good as a French detective on the madman's trail.
    • 65 Metascore
    • 40 J.R. Jones
    Various news stories have noted the movie's accuracy, which I don't doubt, but the blanket antipathy makes for a wearying and predictable story.
    • 55 Metascore
    • 40 J.R. Jones
    The movie's idea of funny is giving the two lovers identical moles bordering their upper lips.
    • 36 Metascore
    • 40 J.R. Jones
    War
    Routine crime thriller.
    • 49 Metascore
    • 40 J.R. Jones
    Director Kenneth Branagh has mercifully pared the action down to 88 minutes (the first movie dragged on for 138), but the final act, with its obscure homosexual flirtation, still seems to go on forever.
    • 47 Metascore
    • 40 J.R. Jones
    There's no real reason it should be set in the 70s, except that the freaky wigs, loud clothes, and wall-to-wall soul classics are needed to bolster the nothing script.
    • 48 Metascore
    • 40 J.R. Jones
    Dylan Moran has a few funny moments as Pegg's shiftless pal, and Mike Leigh regular Ruth Sheen puts in an all-too-brief appearance.
    • 33 Metascore
    • 40 J.R. Jones
    The gags are consistently weak, though actor Miles Fisher turns in a hair-raising impression of Tom Cruise.
    • 56 Metascore
    • 40 J.R. Jones
    Hunt's crabby performance weighs on the film, though it's nothing compared to Colin Firth's scenery-chewing turn as her self-lacerating new beau.
    • 69 Metascore
    • 40 J.R. Jones
    The September Issue fixates on status and professional one-upmanship; if you want to see a movie that actually treats fashion as personal expression--in other words, art--keep a lookout for Anne Fontaine’s forthcoming biopic "Coco Before Chanel."
    • 62 Metascore
    • 40 J.R. Jones
    Indifferently scripted and shoddily animated feature.
    • 38 Metascore
    • 40 J.R. Jones
    Watching John Leguizamo labor to keep this leaky vessel afloat, I was reminded of all those Hell's Kitchen melodramas James Cagney rescued in the early 30s.
    • 48 Metascore
    • 40 J.R. Jones
    A Sears catalog of rock 'n' roll cliches.
    • 47 Metascore
    • 40 J.R. Jones
    Like the first movie, this has some cute gags but collapses like a soggy paper plate because it can't decide whether to mock or celebrate the heroine's shallow materialism.
    • 65 Metascore
    • 40 J.R. Jones
    I found it warm, humane, pretty, and dull enough to anesthetize patients awaiting massively invasive surgery.
    • 37 Metascore
    • 40 J.R. Jones
    It takes forever to get moving, but when it finally does, the Quaid and Stone characters still seem ill defined.
    • 52 Metascore
    • 40 J.R. Jones
    It's more like a feature-length music video, with grainy images illustrating songs from (Youngs) recent album of the same title and actors lip-synching to his reedy vocals.
    • 45 Metascore
    • 40 J.R. Jones
    Sicko horror flick.
    • 48 Metascore
    • 40 J.R. Jones
    As Adam Sandler vehicles go, this isn't quite as dire as "Eight Crazy Nights," but any movie that has to fall back on Rob Schneider rubbing his nipples has some serious script issues.
    • 30 Metascore
    • 40 J.R. Jones
    It's a pleasure to see Jill Clayburgh on the big screen in a story about middle-aged love and sexuality, but she can't rescue this alternately trite and implausible comedy.
    • 52 Metascore
    • 40 J.R. Jones
    You can't set the comedy bar much lower than spoofing the old Rock Hudson-Doris Day romances.
    • 35 Metascore
    • 40 J.R. Jones
    This has its moments--most of them thanks to Kilmer and Joe Mantegna as the boy's abusive father--but the troubled romance is unconvincing and the big-name actors hang on the story like ornaments on a spindly tree.
    • 28 Metascore
    • 40 J.R. Jones
    This big-budget adventure is based on a recent Michael Crichton thriller, though its premise is too stale to instill the sense of wonder critical to great sci-fi.
    • 35 Metascore
    • 40 J.R. Jones
    Buffeted by the usual car crashes and explosions, Wilson and Murphy never develop any comic chemistry.
    • 44 Metascore
    • 40 J.R. Jones
    Writer-director Toni Kallem generates some touching moments (most of them involving Tom Bower as Taylor's wisp of a father), but this never surmounts the woeful miscasting of its two leads.
    • 42 Metascore
    • 40 J.R. Jones
    This dull actioner, written and directed by Mark Steven Johnson, uses voice-over to hurry along Daredevil's genesis tale, and Affleck's rigid performance is a perpetual drag on the story.
    • 33 Metascore
    • 40 J.R. Jones
    This operates at the intellectual level of the old "Star Trek" in its limp last season, and the professed humanism is belied by the extreme violence and Nazi-chic production design (not to mention a voice-over that traces the outlawing of emotion to "the revolutionary precept of the hate crime").
    • 60 Metascore
    • 40 J.R. Jones
    Frank Whaley and Philip Seymour Hoffman play minor characters so annoying they might as well wear T-shirts reading "Eat My Brain."
    • 38 Metascore
    • 40 J.R. Jones
    Without Diesel's brooding lunkhead presence it's more like "1/2 Fast 1/2 Furious."
    • 54 Metascore
    • 40 J.R. Jones
    The ghoulish tone and Mikkelsen's glassy performance smother any laughs.
    • 47 Metascore
    • 40 J.R. Jones
    Manages to transplant the action to Chicago without completely ruining it, though the emotional impact is largely deflated by the change in cultures.
    • 53 Metascore
    • 40 J.R. Jones
    This has wit and energy to burn, but I can't call it escapism, because tackiness and snarkiness are among the things I most need to escape.
    • 37 Metascore
    • 40 J.R. Jones
    The performers all move a lot better than they talk, which is bad news for the insipid melodrama but good news whenever the characters hit the floor in furious competitions between rival crews.
    • 36 Metascore
    • 40 J.R. Jones
    Spade claims he latched onto his snide persona to distinguish himself from the pack; it's served him well as an ensemble player and a big-screen foil to Chris Farley, but as a romantic lead he's hopeless.
    • 47 Metascore
    • 40 J.R. Jones
    This drama about Baltimore firefighters makes a serious effort to honor the sacrifices of professional rescue workers, but blasts of hokum keep threatening to collapse the building.
    • 37 Metascore
    • 40 J.R. Jones
    The characters' undiluted self-interest will seem one-dimensional to all but the worst cynics.
    • 39 Metascore
    • 40 J.R. Jones
    Weak comedy.
    • 43 Metascore
    • 40 J.R. Jones
    Andrews is still a treasure, but the series's currency is plummeting.
    • 18 Metascore
    • 40 J.R. Jones
    Schizoid romantic comedy -- The first half of the movie is full of broad but capable comedy, but the original film's sexual and class politics are clumsily handled, and the mood turns serious with all the subtlety of a falling guillotine blade.
    • 65 Metascore
    • 40 J.R. Jones
    There's one nifty and original sequence--an assassination attempt during a state funeral where the pipe organs in the church all go haywire--but otherwise, this is crushingly generic.
    • 56 Metascore
    • 40 J.R. Jones
    A perfect example of the modern comedy mill gone wrong, a prolonged muddle whose plot, specific situations, and improvised quips never line up.
    • 43 Metascore
    • 40 J.R. Jones
    At long last, the Dead series may be ready for that final bullet between the eyes.
    • 64 Metascore
    • 40 J.R. Jones
    Packs a punch in its first act with a passionate lead performance by Cyndi Williams and a painfully concrete sense of modern life closing in. But gradually it slips into the indie paradigm of an alienated soul rushing into darkness, climaxing with a semiabstract montage sequence that's more rhetorical than dramatic.
    • 39 Metascore
    • 40 J.R. Jones
    No one breaks into song, but this fact-based legal drama about a battered Anglo-Indian wife on trial for murdering her husband is infected with a fatal strain of heaving Bollywood melodrama.
    • 39 Metascore
    • 40 J.R. Jones
    With its sappy musical vignettes and encounter-session dialogue, the movie consistently overplays its insights, though all three leads contribute thoughtful and genuine performances.
    • 42 Metascore
    • 40 J.R. Jones
    Well-meaning but thick with cliches.
    • 30 Metascore
    • 40 J.R. Jones
    Beneath all the forced hilarity lies an awful fear of aging--and Sandler is only 43! This is gonna be rough.
    • 55 Metascore
    • 40 J.R. Jones
    A chaotic sequence midway through shows Mormon and gay-rights protesters shouting abuse at each other in San Francisco, and that's pretty much what the whole movie feels like.
    • 51 Metascore
    • 40 J.R. Jones
    This odd-couple comedy reunites Galifianakis with Todd Phillips, who directed "The Hangover," but don't expect anything like the other movie's novel plotting or wild slapstick.
    • 27 Metascore
    • 40 J.R. Jones
    The Focker franchise has become such a swell payday (Meet the Parents grossed $166 million; Meet the Fockers, $279 million) that now everyone wants in on the act.
    • 65 Metascore
    • 40 J.R. Jones
    A strong cast fails to rescue this ponderous Oscar bait.
    • 49 Metascore
    • 40 J.R. Jones
    It's so played out at this point that not even the enjoyably no-nonsense Statham can pump any life into it.
    • 36 Metascore
    • 40 J.R. Jones
    Three decades of skyrocketing income inequality have soured the comedy of Arthur's astronomically expensive self-indulgences.
    • 42 Metascore
    • 40 J.R. Jones
    As on their TV collaboration, "That '70s Show," the time period never extends much farther than hairdos, costume design, and soundtrack hits.
    • 75 Metascore
    • 40 J.R. Jones
    This low-budget sci-fi item was produced by some of the Brits who made "Shaun of the Dead" and "Hot Fuzz," including their writer and director, Edgar Wright, but it hardly compares, despite Nick Frost's brief appearance as a mangy pot dealer.
    • 60 Metascore
    • 40 J.R. Jones
    The result is a problem drama with more problem than drama.
    • 39 Metascore
    • 40 J.R. Jones
    Inevitably, however, this oh-so-cosmopolitan setup gradually devolves into resentment, messy romance, and marital strife.
    • 57 Metascore
    • 30 J.R. Jones
    The very idea of handing him over to professional lad Guy Ritchie (who directed Snatch, Lock, Stock and Two Smoking Barrels), to be played as a punch-throwing quipster by Robert Downey Jr., is so profoundly stupid one can only step back in dismay.
    • 27 Metascore
    • 30 J.R. Jones
    Soporific comedy.
    • 45 Metascore
    • 30 J.R. Jones
    The premise for this sci-fi actioner makes sense for about four seconds, after which you begin to wonder why everyone on the planet would willingly become a shut-in.
    • 24 Metascore
    • 30 J.R. Jones
    After nine years, Duffy has coughed up a sequel, and like the first movie it's energetic, proudly juvenile, and reverently derivative.
    • 37 Metascore
    • 30 J.R. Jones
    With any luck this biopic of Amelia Earhart will also vanish without a trace. Hilary Swank is sorely miscast as the legendary aviator.
    • 45 Metascore
    • 30 J.R. Jones
    Whether you want to trace this romance back to "La Strada" or Allen's marriage to Soon-Yi Previn is your business, but on-screen it never registers as more than a writer's conceit.
    • 41 Metascore
    • 30 J.R. Jones
    Jarmusch makes some effort to deliver on the promise of suspense near the end, with de Bankole stalking despicable businessman Bill Murray at his fortresslike compound in the hills.
    • 35 Metascore
    • 30 J.R. Jones
    De Niro gives a crafty performance, and director John Polson (Swimfan) maintains a pleasantly low-key suspense. But the ending is a disappointment.
    • 30 Metascore
    • 30 J.R. Jones
    Director Adam Shankman (Bringing Down the House) can't block a sight gag to save his life.
    • 56 Metascore
    • 30 J.R. Jones
    Excruciatingly narcissistic.
    • 36 Metascore
    • 30 J.R. Jones
    The funny-looking kids steal every scene from Lawrence, simply by virtue of being funny-looking kids.
    • 47 Metascore
    • 30 J.R. Jones
    This parallel-reality shtick would be OK if the gun violence weren't so awful--but staging a murder again and again for the sake of some undergraduate head game is no more defensible than using it to pump up an action flick.
    • 70 Metascore
    • 30 J.R. Jones
    But the big scare scenes seem particularly isolated here, supported by neither the flat characters nor the vague plot.
    • 30 Metascore
    • 30 J.R. Jones
    It's a great premise for comedy, but this thing is too dumb to do it justice.
    • 41 Metascore
    • 30 J.R. Jones
    Everything wrong with today's hipster comedy seems to coalesce in this toothless satire.
    • 47 Metascore
    • 30 J.R. Jones
    I missed the first half hour of this Zorro adventure, and it's a tribute to the idiot-proof screenplay that I had no trouble following the rest.
    • 38 Metascore
    • 30 J.R. Jones
    This wretched remake was helmed by Raja Gosnell, perpetrator of the live-action "Scooby-Doo" movies. I'm partial to Quaid and Russo, but there are limits.
    • 46 Metascore
    • 30 J.R. Jones
    A flimsy setup dooms this from the start, though its sheer awfulness is something to see.
    • 47 Metascore
    • 30 J.R. Jones
    Even 82 minutes seems an eternity...The net effect is weirdly reminiscent of taking part in any online community, where a "relationship" is more like a juxtaposing of egos.
    • 34 Metascore
    • 30 J.R. Jones
    This is funny mostly for its brazen disregard of common sense.
    • 27 Metascore
    • 30 J.R. Jones
    This remake takes an alternate tack from the original feature, expanding the story of "The Sitter" to a full 83 minutes, but the result is dull and painfully generic.
    • 41 Metascore
    • 30 J.R. Jones
    A vicious, incoherent shoot-'em-up.
    • 18 Metascore
    • 30 J.R. Jones
    Director Kurt Wimmer has an eye for jackboot chic (Equilibrium), and the images here have been digitally polished so that the characters' skin is smoother than porcelain. It's a cool effect--I spent most of this interminable actioner wondering if one could bounce a quarter off Jovovich's bare midriff.
    • 47 Metascore
    • 30 J.R. Jones
    The movie's notion of humor is exemplified by Bradshaw's extended nude scene, which might be termed "roughing the viewer."
    • 27 Metascore
    • 30 J.R. Jones
    An almost comically lurid tale of a little boy abused by his malignant hooker mother, malignant fundamentalist grandfather, and malignant surrogate dads.
    • 21 Metascore
    • 30 J.R. Jones
    Though some of his one-liners are pretty good, his shtick can't sustain this dutifully scripted comedy. Megyn Price, who's done time on the sitcom Grounded for Life, is a welcome distraction as the waitress with a crush on Larry.
    • 35 Metascore
    • 30 J.R. Jones
    Underneath the wrapping lies a squalid Tarantino-style crime flick.
    • 45 Metascore
    • 30 J.R. Jones
    The director of "American Pie" has set out to make a merciless satire of American media culture along the lines of "Network," but his ideas are so commonplace that nothing registers except the bile.
    • 38 Metascore
    • 30 J.R. Jones
    I'm guessing Donald Sutherland agreed to do this tedious horror flick because he heard Sissy Spacek was on board, and Spacek agreed to do it because she heard Sutherland was on board.
    • 52 Metascore
    • 30 J.R. Jones
    A shocking revelation near the end explains the soldier's nihilistic rage but simultaneously tears a gigantic hole in the plot, leaving little to admire but Considine's typically penetrating performance.
    • 74 Metascore
    • 30 J.R. Jones
    The resulting movie (2005) covers seven years and touches on some of the same social issues that gave "Hoop Dreams" its epic sweep, yet Serrill fails to treat any of them adequately, and the narrative loses its shape as events unfold.
    • 57 Metascore
    • 30 J.R. Jones
    Smirky, gum-in-your-hair humor dominates this dreadful 2005 feature.
    • 33 Metascore
    • 30 J.R. Jones
    By the time Gooding showed up for one of his assignments disguised as a call girl, even "Boat Trip" looked good to me.
    • 37 Metascore
    • 30 J.R. Jones
    The word "raunchy" doesn't begin to describe this.
    • 27 Metascore
    • 30 J.R. Jones
    The remake begins with the same premise and appropriates the most striking visuals, grafting them onto a more explicable but equally dull George Romero-style doomsday scenario.
    • 49 Metascore
    • 30 J.R. Jones
    This Spanish comedy showcases a gallery of popular actresses, but writer-director Manuel Gomez Pereira gives them nothing to work with aside from tiresome romantic complications.
    • 32 Metascore
    • 30 J.R. Jones
    Keith is an awkward, galumphing presence, but he's more fun to watch than Kelly Preston as the girl's uptight mother.
    • 64 Metascore
    • 30 J.R. Jones
    The U.S. vs. John Lennon isn't so much a history of Lennon's pacifism as a continuation of it, the last bed-in, so to speak, with contemporary figures like Gore Vidal and Noam Chomsky on hand to connect Vietnam with Iraq, President Nixon with President Bush, and the FBI's spying on Lennon with the current administration's domestic surveillance.
    • 53 Metascore
    • 30 J.R. Jones
    Director Niall Johnson struggles to find the proper tone: the serial murders aren't horrible enough to be funny, and the characters don't respond as if they're horrible at all. As a result the black humor thins into gray fog.
    • 27 Metascore
    • 30 J.R. Jones
    The cinematic debut of Chicago theater director Marc Rosenbush, this 2004 indie comedy is an irritating exercise in ham acting, metaphysical patter routines, and rim-shot-style comic editing.
    • 36 Metascore
    • 30 J.R. Jones
    There's a great "Office Space"-style satire to be made about big-box stores screwing their working-poor employees, but Hollywood studios covet DVD rack space at those same stores, so instead we're supposed to get excited about which of these two idiots earns more gold stars.
    • 36 Metascore
    • 30 J.R. Jones
    Despite the syncopated score and subtitled patois, this is just another "Scarface" knockoff, with the usual array of bling, booty, and ballistics.
    • 44 Metascore
    • 30 J.R. Jones
    Feeble exercise in brain-teaser noir.
    • 27 Metascore
    • 30 J.R. Jones
    I'm a fan of director Bob Odenkirk, but my high hopes for this comedy were dashed by screenwriters Ben Garant, Thomas Lennon, and Michael Patrick Jann, all alumi of "Reno 911"!
    • 22 Metascore
    • 30 J.R. Jones
    It exchanges the police subplot that gave the earlier film its steady pace for a lot of pointless backstory about the mother-fixated stalker.
    • 33 Metascore
    • 30 J.R. Jones
    Good movie roles have generally eluded her (Agnes Bruckner), and she labors in vain to keep this big-studio horror confection alive.
    • 17 Metascore
    • 30 J.R. Jones
    The cinematic equivalent of a tapeworm, this delivers few laughs beyond the initial chuckles of recognition. Seltzer and Friedberg (who also directed) have another script in development called "Raunchy Movie"; apparently one idea they haven't yet considered is "Watchable Movie."
    • 27 Metascore
    • 30 J.R. Jones
    This dismal comedy joins a growing pile of Murphy disasters.
    • 27 Metascore
    • 30 J.R. Jones
    Slack direction from Walt Becker (National Lampoon's Van Wilder) sullies this formula comedy, but the cast is agreeable.
    • 34 Metascore
    • 30 J.R. Jones
    As "Saw" demonstrated, Wan and Whannell have a carnivalesque sense of fun and a sure instinct for recycling classic horror tropes, but their characters are so flat and their plotting so listless that this low-budget feature fails to generate much suspense.
    • 49 Metascore
    • 30 J.R. Jones
    This may not be as ill considered as it sounds--some of the sharpest material in Rock's last concert special, "Never Scared," dealt with the eternal conflict between men and women--but his crowd-pleasing gags tend to clash with Rohmer's sly moral comedy.
    • 55 Metascore
    • 30 J.R. Jones
    Verde is too blankly amoral to sustain interest, but the film has isolated moments of haunting poetry.
    • 36 Metascore
    • 30 J.R. Jones
    Director Steve Carr continues his streak of numbingly mediocre family comedies.
    • 54 Metascore
    • 30 J.R. Jones
    Tends toward arch silliness more than actual humor, a formula that's tolerable enough in 15-minute tube installments but deadly dull in this 86-minute feature.
    • 24 Metascore
    • 30 J.R. Jones
    The whole thing is pretty stupid, but Angus Macfadyen is watchable as the villain.
    • 34 Metascore
    • 30 J.R. Jones
    Shelved for over a year, this incompetent mystery thriller stops periodically so some character or other can deliver an expository speech and pull the plot back on track, but by the end the story has turned into a hair ball.
    • 42 Metascore
    • 30 J.R. Jones
    When the story finally collapses in a heap at the end, you'll probably want your money back, but that's where the title comes in: "Next!"
    • 64 Metascore
    • 30 J.R. Jones
    The novelty wears off almost immediately, leaving this a real chore to watch; there's something bizarre about low-budget spontaneity being replicated in such a labor-intensive medium.
    • 45 Metascore
    • 30 J.R. Jones
    This sequel to "Fantastic Four" (2005) drags in the Silver Surfer, who looks like a gigantic hood ornament and, given voice by Laurence Fishburne, has about as much personality.
    • 16 Metascore
    • 30 J.R. Jones
    The troubled star writhes her way through a red-lit pole dance in the opening credits and shrieks her way through a prolonged torture-porn sequence; after those lurid turns the movie settles into an indifferent mystery plot as the cops pressure the girl to help them find the culprit.
    • 18 Metascore
    • 30 J.R. Jones
    The players appear to be having a good time, though the situation is too sitcom-familiar to be funny.
    • 25 Metascore
    • 30 J.R. Jones
    The villainous turns by Jon Voight (as a hard-hearted Mormon bishop) and Terence Stamp (as a bloodthirsty Brigham Young) would have been more fun if they weren't part of such a clumsy campaign to lay this tragedy at the church's doorstep.
    • 54 Metascore
    • 30 J.R. Jones
    The action plot is lousy with cliched suspense scenes of back-road executions halted at the last possible instant.
    • 56 Metascore
    • 30 J.R. Jones
    If a bullet hadn't killed John Lennon, this Beatles-scored musical might have.
    • 42 Metascore
    • 30 J.R. Jones
    Kline gives an interesting performance playing against type, but with its action plotting and sensationalistic scenes of women being brutalized, the movie often seems to be exploiting as much as illuminating the problem.
    • 25 Metascore
    • 30 J.R. Jones
    Someone should tell these guys you can't score a touchdown throwing lateral passes.
    • 69 Metascore
    • 30 J.R. Jones
    As creator and head writer of "The West Wing," Aaron Sorkin had a gift for making policy debate seem sexy, but what worked in the context of that liberal fantasy founders badly amid the realpolitik of this cold war drama.
    • 58 Metascore
    • 30 J.R. Jones
    A tedious movie about excitement.
    • 41 Metascore
    • 30 J.R. Jones
    This lame comedy was adapted from a recent British TV movie, though its (quite literal) money shots of the women squealing and hurling cash in the air reminded me of 80s greed capers like "Trading Places" and "A Fish Called Wanda."
    • 46 Metascore
    • 30 J.R. Jones
    The orgy of violence, as ghastly as in any video game, should go a long way toward erasing whatever goodwill Stallone earned with his sentimental "Rocky Balboa."
    • 29 Metascore
    • 30 J.R. Jones
    Sorry deep-sea adventure.
    • 35 Metascore
    • 30 J.R. Jones
    Like so many other CGI behemoths, this dull action fantasy ultimately squashes rather than inspires one's sense of wonder.
    • 32 Metascore
    • 30 J.R. Jones
    This drama, about the three days leading up to the murder, never overcomes its inherent ghoulishness, largely because Chapman, like so many mentally ill people, is a huge bore.
    • 60 Metascore
    • 30 J.R. Jones
    Simpleminded indictment of every senator who voted "yea."
    • 38 Metascore
    • 30 J.R. Jones
    Perelman never overcomes the disjuncture of having two familiar actresses play the same grown character, and despite the endless crosscutting, the two halves settle respectively into ghoulish foreboding and murky psychological drama.
    • 45 Metascore
    • 30 J.R. Jones
    The narrative emphasizes how much danger Spurlock is in and how noble he is to embark on all this while his wife is back in the U.S. expecting their first child; it's a little insulting to all the real reporters who've died in the field looking for hard information, not weak indie comedy.
    • 31 Metascore
    • 30 J.R. Jones
    Jackman and McGregor throw their best American accents behind the effort, but Michelle Williams seems fairly bored as the sex-club partner who wins McGregor's heart. I'm with her.
    • 61 Metascore
    • 30 J.R. Jones
    As the title of this splatter comedy by writer-director Stuart Gordon (Re-Animator) indicates, he's like a bug stuck to her windshield, and that's about the level of humanity and insight one can expect here.
    • 64 Metascore
    • 30 J.R. Jones
    Big, cruel, stupid actioner.
    • 59 Metascore
    • 30 J.R. Jones
    With no personalities established and nothing at stake, it's no more interesting than a pickup game on your local court.
    • 51 Metascore
    • 30 J.R. Jones
    Ferrell and Reilly get more mileage out of juvenile pouting and bickering than any other performers I can imagine, but that's about as far as this goes.
    • 32 Metascore
    • 30 J.R. Jones
    German supermodel Uschi Obermaier slept with Mick Jagger and Keith Richards, and all we get is this lousy biopic.
    • 70 Metascore
    • 30 J.R. Jones
    Watching Allen fart out a story when he has no characters is always painful, as people are defined through clumsy expository dialogue and ranked according to their cultural accomplishments. But the script here is lazy even by his standards.
    • 56 Metascore
    • 30 J.R. Jones
    Insipid, TV-bland drama.
    • 43 Metascore
    • 30 J.R. Jones
    Caruso and Spielberg probably thought they were reviving the paranoid style of 70s political thrillers, but their story is so implausible it barely provokes a tremor.
    • 37 Metascore
    • 30 J.R. Jones
    Overblown and unconvincing, the director's bright, poppy style clashing with the grim subject matter.
    • 47 Metascore
    • 30 J.R. Jones
    These ideas may well have cohered in Chuck Palahniuk's best-selling satirical novel, which I haven't read, but in this screen adaptation by writer-director Clark Gregg they seem more like an assortment of gimmicks.
    • 58 Metascore
    • 30 J.R. Jones
    A murky, directionless plot sinks this big-budget fantasy despite Martin Laing's elaborate production design; the dark, industrial-looking sets often recall "Brazil" but without that film's thrilling sense of an imagination run amok.
    • 28 Metascore
    • 30 J.R. Jones
    The plot twists are mostly predicated on the characters' improbably shifting loyalties, the sort of thing you can get away with only when the people in your movie are drained of all compassion.
    • 30 Metascore
    • 30 J.R. Jones
    This awful sequel dispenses with any such pretense, its cartoonish characters running an endless gauntlet of hypergruesome violence.
    • 36 Metascore
    • 30 J.R. Jones
    Contrived hunk of feel-good.
    • 29 Metascore
    • 30 J.R. Jones
    The laughs and emotional moments are so weak that director Jonas Elmer has no choice but to tweak them with music cues and bland guitar-rock.
    • 38 Metascore
    • 30 J.R. Jones
    Put this one back on the shelf, and walk away.
    • 54 Metascore
    • 30 J.R. Jones
    I've observed this Seth Rogen comedy, and I can report that it's not very good.
    • 22 Metascore
    • 30 J.R. Jones
    The thesis-driven story precludes much dramatic discovery, and the looming shuttle disaster only exacerbates the sense of heavy-handedness.
    • 19 Metascore
    • 30 J.R. Jones
    To her credit, Bello makes a real commitment to this spiteful, self-absorbed character, though the credibility she generates through sheer force of will is no match for the gimmicky plot twist that arrives at the story’s midpoint and sends the movie spinning off into stupid-land.
    • 32 Metascore
    • 30 J.R. Jones
    A more accurate title might be "Sub-Bad."
    • 54 Metascore
    • 30 J.R. Jones
    Unbearably twee mockumentary.
    • 61 Metascore
    • 30 J.R. Jones
    By the end, when Moore presents himself as a lone crusader for justice and wraps yellow crime-scene tape around the AIG building, his reasoning is so muddled that he can’t distinguish an economic system (corporate capitalism) from a political one (representative democracy).
    • 31 Metascore
    • 30 J.R. Jones
    The grad student and her boyfriend (Marc Blucas) are blandly written and the story never develops any psychological depth; the paranormal explanation for what's going on is equally slight.
    • 36 Metascore
    • 30 J.R. Jones
    This motorcycle melodrama is so stupid that during the press screening my colleagues' laughter threatened to drown out the roar of the engines.
    • 30 Metascore
    • 30 J.R. Jones
    Malkovich is severely miscast as a heartless and conniving thug admired by the hero (apparently Charles Grodin was busy), and Hopper, in a paper-thin role, barely registers.
    • 38 Metascore
    • 30 J.R. Jones
    This is a complete mess, making up its story logic as it goes along, though in contrast to the sluggish "Shanghai Knights" its chief problem is having too many ideas instead of too few.
    • 42 Metascore
    • 30 J.R. Jones
    Bland comedy romance. Grant and Bullock fail to put across the tired dialogue, and many scenes seem ad-libbed--in desperation.
    • 36 Metascore
    • 30 J.R. Jones
    Most of the action in this 2001 indie drama takes place on computer screens, with grainy faces framed by sharp little boxes; the 21st-century conceit is topical enough but the characters and their problems couldn't be more stale.
    • 46 Metascore
    • 30 J.R. Jones
    So stale and complacent that it could be a rerun of "Love American Style."
    • 38 Metascore
    • 30 J.R. Jones
    Watching this quick-buck sequel was about as pleasant as having my wisdom teeth pulled.
    • 41 Metascore
    • 30 J.R. Jones
    Delivers state-of-the-art freeway thrills tenuously held together by an absurd plot, cheap but pretty leads (Martin Henderson, Monet Mazur), diner and gas station locations that look like they've been preserved in amber since the 1950s, and plenty of engine porn.
    • 45 Metascore
    • 30 J.R. Jones
    This didn't make me laugh much, but I liked the music, a patchwork of samples culled from the various atomic-monster epics.
    • 47 Metascore
    • 30 J.R. Jones
    Like Robert Altman's "M*A*S*H" this has a banquet scene posed like The Last Supper, but the basic idea--toothless satire trimming a dull star party--reminded me more of "Ready to Wear."
    • 33 Metascore
    • 30 J.R. Jones
    The plot of this PG action thriller, a remake of the 2002 Danish film Klatretosen, is so full of holes that even middle schoolers might give it the raspberry, but a bigger problem is the three leads' lack of on-screen chemistry.
    • 15 Metascore
    • 30 J.R. Jones
    This is one dull party.
    • 42 Metascore
    • 30 J.R. Jones
    Armitage adds a slick veneer of one-liners and slapstick to Leonard's novel, but the story has been so spun around that it barely knows how to end.
    • 56 Metascore
    • 30 J.R. Jones
    Predictable outrage.
    • 28 Metascore
    • 30 J.R. Jones
    Spike Lee's fans have learned to take the bad with the good, but this is pretty damn bad.
    • 24 Metascore
    • 30 J.R. Jones
    As in most bad thrillers, the number of pointless shocks increases in direct proportion to the drama's decreasing vitality, like defibrilator paddles jolting a dying man.
    • 36 Metascore
    • 30 J.R. Jones
    Suzuki and Kaneshiro keep the first hour afloat with their easy comic interplay, but Yamazaki badly needs editing: the opening escape sequence is needlessly repeated later, and a slow drip of false endings drags this out to a tiring 118 minutes.
    • 49 Metascore
    • 30 J.R. Jones
    Jules Verne's novel has been flattened into a standardized Jackie Chan vehicle.
    • 35 Metascore
    • 30 J.R. Jones
    The road of excess leads to the palace of boredom in this overblown monster epic.
    • 30 Metascore
    • 30 J.R. Jones
    Abysmal thriller.
    • 22 Metascore
    • 30 J.R. Jones
    In any normal year this dire comedy would be the undisputed lump of coal in our psychic stocking, but with "Surviving Christmas" still in theaters it's a close second.
    • 25 Metascore
    • 30 J.R. Jones
    Having defused the fairy tale, first-time screenwriter Leigh Dunlap pads this out to 96 minutes with stale high school politics and the usual claptrap about believing in yourself.
    • 19 Metascore
    • 30 J.R. Jones
    Grazer's writing team has filled up the film's 82 minutes with winking product placements, SNL-type goofs, PG gags premised on not quite cursing, a Smashmouth cover of the Beatles' "Getting Better," and a lame subplot about a scuzzy lothario (Stephen Baldwin).
    • 33 Metascore
    • 30 J.R. Jones
    This teen romance doesn't have a single authentic moment.
    • 29 Metascore
    • 30 J.R. Jones
    Breillat's mix of dramatic skill and feminist intimidation has cowed plenty of critics in the past, but no political agenda could redeem this movie's joyless pedantry.
    • 27 Metascore
    • 30 J.R. Jones
    The cat is computer-generated, as are his one-liners.
    • 65 Metascore
    • 30 J.R. Jones
    Unfortunately, as the opening title might suggest, the filmmakers have punted on the hard cinematic work of making the incredible seem credible; instead they've turned Russell's story into a broad farce with one wocka-wocka gag after another.
    • 46 Metascore
    • 30 J.R. Jones
    Cruise and Diaz have worked together before (in Vanilla Sky), but this is their first summer-movie pairing, and their star qualities are so similar--dazzling looks, good comedic chops, complete emotional vacuity--that together, instead of romantic chemistry they generate a sort of giddy, blinding falseness.
    • 35 Metascore
    • 30 J.R. Jones
    It's a victory of tone over storytelling, though perhaps a Pyrrhic one.
    • 60 Metascore
    • 30 J.R. Jones
    Despite the 138-minute running time, Temple holds all the artists to one song (or less), devoting about half the movie to kaleidoscopic--and ultimately wearying--montage of festivalgoers past and present.
    • 43 Metascore
    • 30 J.R. Jones
    A dearth of game footage and a wealth of inspirational platitudes contribute to the sense of a powerful tale having already faded into yellowed newspaper clippings.
    • 52 Metascore
    • 30 J.R. Jones
    Jaglom's 14th consists of his usual weakly improvised relationship comedy.
    • 25 Metascore
    • 30 J.R. Jones
    The panoramic backgrounds have a silky beauty, but the characters are cheaply rendered with doll faces, enlarged musculature, tiny joints, and clunky movement. It's like watching Max Headroom lead his people out of Egypt.
    • 68 Metascore
    • 30 J.R. Jones
    Pretentious and overconceived, the movie purports to celebrate self-determination yet squashes it at every turn.
    • 44 Metascore
    • 30 J.R. Jones
    This indie drama spends a lot of time mooning over classical Hollywood cinema, but its own visual style tends toward the pointless flash of music videos.
    • 59 Metascore
    • 30 J.R. Jones
    Even Herzog loyalists will have to concede that this fact-based 2009 hostage drama is a serious dud.
    • 71 Metascore
    • 30 J.R. Jones
    By the end of this 124-minute drama I'd have settled for ANYONE else, but like most visits with irritating people, the movie lingers, sharpening one's judgment.
    • 33 Metascore
    • 30 J.R. Jones
    Written and directed by Tom Six--who doesn't seem to realize that movie theaters rely on popcorn sales--this nasty stuff plays like a cross between "Saw," "Naked Lunch," and "Bride of the Monster."
    • 37 Metascore
    • 30 J.R. Jones
    Director Taylor Hackford ("Ray") seems to be aiming for a big "Boogie Nights" social canvas, though the movie's risible prize-fight sequence is more reminiscent of the later "Rocky" sequels.
    • 37 Metascore
    • 30 J.R. Jones
    The scenes in which Charlie plays catch with the ghost of his Red Sox-happy brother are only the most mawkish in a movie whose every element is calculated to set a 12-year-old girl's heart thumping.
    • 52 Metascore
    • 30 J.R. Jones
    As it turns out, what's going on is yet another cinematic rip-off, this time of “The Exorcist.” Apparently rec stands not for record but for recycle
    • 60 Metascore
    • 30 J.R. Jones
    Rodriguez retreats into gruesome violence and flaccid comedy, grasping feebly for topical relevance by referencing the current immigration fracas.
    • 51 Metascore
    • 30 J.R. Jones
    The paltry theme is that we can't predict the future, but I spent part of the time calculating how many more feeble movies Allen will make, based on his productivity rate (one per year), his batting average (four duds for every success), his current age (74), and his father's longevity (Martin Konigsberg lived to be 100). Are you ready for 20 more remakes of "Manhattan"?
    • 26 Metascore
    • 30 J.R. Jones
    Visual-effects wizards Greg and Colin Strause directed, showing more affinity for the city's steel and glass than for any of the characters.
    • 55 Metascore
    • 30 J.R. Jones
    A watered-down satire of the pharmaceutical industry.
    • 43 Metascore
    • 30 J.R. Jones
    For a filmmaker like Julie Taymor, Shakespeare's language isn't nearly as enticing as Prospero's violent manipulation of the elements, and this screen adaptation of the play-like her egregious Beatles movie "Across the Universe" (2007)-is primarily an exercise in eccentric (and, I would argue, empty) spectacle.
    • 37 Metascore
    • 30 J.R. Jones
    Unfortunately, this is one of those movies with a twist ending that turns a character inside out, revealing earlier scenes to be essentially fraudulent and more or less invalidating one's emotional investment in the story. No one ever walked out of a Hitchcock movie feeling as cheated as this made me feel.
    • 47 Metascore
    • 30 J.R. Jones
    The young sweethearts amuse themselves by donning steampunk outfits and crashing the funerals of dead children, which may seem quirky and sweet if you can disregard the awful grief of such gatherings; the problem is that, once you manage this, the main characters' grief doesn't register either.
    • 58 Metascore
    • 30 J.R. Jones
    Cohen probably thinks he's Charlie Chaplin lampooning Hitler, but of course Hitler was still on top of the world when "The Great Dictator" came out in 1940; Cohen is actually Chaplin's antithesis, a first-world bully content to target the Other.
    • 35 Metascore
    • 30 J.R. Jones
    This story line turns out to be a put-on, and the latter half of the movie is a tedious mockumentary exercise.
    • 29 Metascore
    • 30 J.R. Jones
    Like an idiot, I came to this movie hoping that director Catherine Hardwicke-who made her debut with the bad-girl shocker "Thirteen" (2003)-might engage in a feminist interrogation of the old fairy tale, just as French filmmaker Catherine Breillat has with "Blue Beard" (2009) and "The Sleeping Beauty" (2010). Instead this is a muddle-headed horror flick.
    • 57 Metascore
    • 30 J.R. Jones
    A rare dud from Pixar.
    • 41 Metascore
    • 30 J.R. Jones
    There's some cute stuff involving Hanks and some teenagers who tool around campus on scooters, but an utter lack of chemistry between him and Roberts dooms the movie.
    • 30 Metascore
    • 30 J.R. Jones
    The best thing I can say about this sleep-inducing kiddie comedy is that the need to bring in a PG rating must have precluded the endless series of giant-turd gags promised by the title.
    • 46 Metascore
    • 30 J.R. Jones
    This never rises above the level of a plodding sword-and-sandal adventure, peopled with chiseled young beauties and bored industry hacks. Singh is a talented and eccentric visual artist with no creative future in the movie business.
    • 78 Metascore
    • 30 J.R. Jones
    The script, by Nolan and his brother Jonathan, takes a few vague pokes at Wall Street and the financial elite but mainly revives the ponderous psychodrama of the first movie.
    • 44 Metascore
    • 30 J.R. Jones
    Pure punishment, this rote action flick from Australia.
    • 62 Metascore
    • 30 J.R. Jones
    Writer-director Michel Leclerc keeps stressing how political all this is (the heroine labels almost everyone a "fascist"), but the movie never really decides what it's about, and its odd-couple romance is stale and unpersuasive.
    • 45 Metascore
    • 30 J.R. Jones
    How long do you have to be gone to make a triumphant return to the screen, and how triumphant can your return be when all three movies are duds?
    • 41 Metascore
    • 30 J.R. Jones
    Initially this struck me as something you'd take your grandmother to see, but by the end it seemed more like something your grandmother would take her grandmother to see.
    • 66 Metascore
    • 20 J.R. Jones
    The witty title aside, this is a miserably dull exercise in stingy-Jew humor and post-Jarmusch nonreaction.
    • 49 Metascore
    • 20 J.R. Jones
    A career low for Mark Wahlberg and director John Singleton (Boyz N the Hood), this ridiculous mean-streets adventure starts out like a Hell's Kitchen melodrama from the 30s and eventually spins off into a series of gunfights, beat downs, and trite Motown numbers.
    • 25 Metascore
    • 20 J.R. Jones
    No laughs here, just the dull ache of seeing Heder slotted into a standard piece of Hollywood twaddle.
    • 40 Metascore
    • 20 J.R. Jones
    The result is an insufferable academic cocktail party of declamatory speeches coaxed to life in its middle stretch by the incredible Maria Bello, who wades in like a paramedic at a disaster scene.
    • 30 Metascore
    • 20 J.R. Jones
    A real air ball, this lethargic drama by Preston A. Whitmore II is so poorly scripted that most of the major plot developments occur offscreen.
    • 47 Metascore
    • 20 J.R. Jones
    This is mostly a listless hodgepodge of half-improvised whatever, the seven lead characters so flatly conceived they're like the Keystone Kops (without the chops).
    • 31 Metascore
    • 20 J.R. Jones
    The dearth of ideas is exemplified at the end by a Mary Tyler Moore freeze-frame of Graham leaping in the air.
    • 35 Metascore
    • 20 J.R. Jones
    Without the grandiose narrative structure of the six live-action releases, this feels even more pointless, a mechanical attempt to milk the kids for every last dime.
    • 34 Metascore
    • 20 J.R. Jones
    Creatively it's a giant step backwards.
    • 23 Metascore
    • 20 J.R. Jones
    Dismal.
    • 18 Metascore
    • 20 J.R. Jones
    Cuba Gooding Jr. is the kind of guy who does ten minutes of shtick every time the little light in the fridge comes on, and for years I've been waiting for him to just go away. If this dud comedy is any indication of the scripts he's getting, I may not have to wait much longer.
    • 36 Metascore
    • 20 J.R. Jones
    Stephen Gaghan, who scripted this turkey, landed in the director's chair after Edward Zwick (Glory) bailed out, and you can almost smell the flop sweat.
    • 29 Metascore
    • 20 J.R. Jones
    Corrupt warden, sadistic guards, new inmate debauched by her surroundings, prison-break hostage drama--could have come straight from an old George Raft vehicle.
    • 38 Metascore
    • 20 J.R. Jones
    Bloody gangsta crap.
    • 28 Metascore
    • 20 J.R. Jones
    A better name for it would have been the Herschell Gordon Lewis: the godfather of gore himself couldn't have topped this succession of grisly deaths.
    • 51 Metascore
    • 20 J.R. Jones
    Only in the last third, when he gets down to the business of telling a story, does The Brown Bunny become a porn movie -- though not in the sense you'd expect.
    • 30 Metascore
    • 20 J.R. Jones
    The serious Catholic themes that made the original film genuinely disturbing have been flattened out into a cartoonish backstory.
    • 23 Metascore
    • 20 J.R. Jones
    This tired action comedy is the usual weave of over-the-top violence and cross-cultural shtick.
    • 48 Metascore
    • 20 J.R. Jones
    Distributors are clearly scraping the bottom of the barrel with this flimsy exposé of presidential adviser Karl Rove.
    • 16 Metascore
    • 20 J.R. Jones
    Shameless exercise in high-tech sadism.
    • 46 Metascore
    • 20 J.R. Jones
    Saw
    Sicko horror film from Australia, whose sadism is topped only by its absurdity.
    • 19 Metascore
    • 20 J.R. Jones
    The best thing I can say about this limp prequel to the Farrelly brothers' Dumb & Dumber is that it obliged me to check out the original, which I'd been studiously avoiding for years. If you haven't seen it, it's pretty funny, and mercifully light on the scatology and cheap sentiment of later Farrelly efforts.
    • 35 Metascore
    • 20 J.R. Jones
    Using blasts of shrill, high-decibel noise in place of actual scares has become a common horror-movie tactic, the cinematic equivalent of botox, silicone, and penile-enhancement surgery. Producer Michael Bay and director Samuel Bayer deploy the tactic so regularly in this remake of Wes Craven's 1984 classic that after a while I just plugged my ears.
    • 39 Metascore
    • 20 J.R. Jones
    As with many R-rated studio comedies, the transgressive humor isn't nearly as offensive as the phony sentiment that's supposed to redeem it, supplied here in stale scenes of the sitter bonding with his little charges.
    • 22 Metascore
    • 20 J.R. Jones
    Even with the bar lowered, this seems appallingly bad, a lazy assortment of weak punch lines, sentimental music cues, and trite situations.
    • 24 Metascore
    • 10 J.R. Jones
    The awful crank comedy "Spun" (2002) still ranks as the most dehumanizing youth picture of the decade, but this New York drama by first-time director Hunter Richards is a close second.
    • 28 Metascore
    • 10 J.R. Jones
    This one follows the depressing pattern of "Surviving Christmas" and "Christmas With the Kranks": enforced holiday cheer gives way to bilious hatred, then hollow forgiveness.
    • 36 Metascore
    • 10 J.R. Jones
    This high-decibel shocker is an insult to intelligence and faith alike.
    • 56 Metascore
    • 10 J.R. Jones
    At its core this is just another piece of big-studio nothingness. The characters are so underwritten they barely qualify as types, and the movie is badly paced, bookended by high-ordnance action sequences but painfully static in the middle.
    • 32 Metascore
    • 10 J.R. Jones
    Wretched yuletide comedy.
    • 19 Metascore
    • 10 J.R. Jones
    Before seeing this film I couldn't understand why the producers had given it a subtitle; afterward I realized "Ecks vs. Sever" was probably the full script.
    • 41 Metascore
    • 10 J.R. Jones
    A turkey of Rubenesque proportions.
    • 23 Metascore
    • 10 J.R. Jones
    A holiday film for the whole family, provided the whole family is obsessed with human waste.
    • 31 Metascore
    • 10 J.R. Jones
    A new low for director Alan Parker, this trite mystery thriller does for capital punishment what his "Mississippi Burning" did for civil rights: with its muddled message, liberal piety, and slick Hollywood plot mechanics.
    • 9 Metascore
    • 10 J.R. Jones
    This excruciating sequel tries to squeeze a few more bucks from the "Spy Kids" espionage formula.
    • 32 Metascore
    • 10 J.R. Jones
    Whitney frames this as the pilot for a reality TV show, but if that doesn't pan out he can pitch it to al Qaeda as a recruiting tool.
    • 31 Metascore
    • 10 J.R. Jones
    Unwatchable-and, thanks to its high-decibel action sequences, barely listenable-this misbegotten medieval fantasy/stoner comedy marks a new low for David Gordon Green.
    • 34 Metascore
    • 0 J.R. Jones
    Soulless, hyperbolic actioner.
    • 31 Metascore
    • 0 J.R. Jones
    Nothing to see here, keep moving.
    • 17 Metascore
    • 0 J.R. Jones
    A nauseating, stridently phony rom-com.
    • 20 Metascore
    • 0 J.R. Jones
    Repulsive 80s flashback.
    • 7 Metascore
    • 0 J.R. Jones
    The meanest and least inspired kids U know.
    • 9 Metascore
    • 0 J.R. Jones
    Brain-dead adaptation of a popular video game.
    • 40 Metascore
    • 0 J.R. Jones
    Comes to life only when it reprises elements from the original movie.
    • 29 Metascore
    • 0 J.R. Jones
    With its pathetic characters, questionable logic, and wall-to-wall Beethoven, the movie is a serious contender for this year's Golden Turkey award.
    • 37 Metascore
    • 0 J.R. Jones
    More than anything Chuck and Larry shows just how flaccid American movie comedy has become now that "Saturday Night Live" has replaced vaudeville as our comedy college.
    • 32 Metascore
    • 0 J.R. Jones
    By now the hypocrisy of simultaneously condemning and exploiting the audience's sadism has become so commonplace in American movies it hardly seems noteworthy.
    • 45 Metascore
    • 0 J.R. Jones
    This ends on an uplifting and philosophical note, equating moral blindness with the literal sort, which you'll probably appreciate if you haven't already slit your wrists.
    • 55 Metascore
    • 0 J.R. Jones
    This might have had some potential as a German exercise in self-examination, but as a tony BBC Films production, with the actors all speaking British-accented English (including Jersey girl Farmiga), it reeks of self-righteousness.
    • 21 Metascore
    • 0 J.R. Jones
    Glowna presents this smoky German feature as an elegy for lost youth, but it's so tumescent with male self-pity that I couldn't wait for it to end.
    • 32 Metascore
    • 0 J.R. Jones
    Has exactly the same premise (Repo! The Genetic Opera).
    • 63 Metascore
    • 0 J.R. Jones
    I can't remember when I last hated an art-house movie as much as this one...Other reviewers have praised the film's alleged quirky humor, but I was repelled by the two heartless creeps who set the story in motion and baffled by the protagonist's fascination with them.
    • 38 Metascore
    • 0 J.R. Jones
    This putrid action flick crawls along for two and a half hours before expiring in a septic field of bad one-liners, halfhearted catchphrases, obliterated cars, vicious slow-motion bullet penetration, graphic corpse mutilations played for laughs, and shamefully hollow bonding scenes between its two dyspeptic megastars.
    • 34 Metascore
    • 0 J.R. Jones
    As romantic comedies go, this is the worst drivel I've seen since Nia Vardalos's "I Hate Valentine's Day."
    • 35 Metascore
    • 0 J.R. Jones
    This comedy is a bilge pump of tacky jokes, fake sentiment, and hollow performances, accompanied on the soundtrack by lite rock and hokey music cues. It should never have been made, though it's probably guaranteed a long life at bad-film festivals.