For 1,040 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,040 movie reviews
    • 36 Metascore
    • 50 Keith Phipps
    Plays like an undeserved victory lap for a series that only limped to the finish line the last time.
    • 55 Metascore
    • 50 Keith Phipps
    The holiday spirit feels real, but the film does not.
    • 61 Metascore
    • 50 Keith Phipps
    Oculus takes a potentially corny premise further than most could, but it keeps stumbling on the possibilities, never quite taking any of them all the way.
    • 50 Metascore
    • 50 Keith Phipps
    A situation of such inherent drama only suffers from the director's attempts to intensify it, and eventually, the scenes of professional and personal rejection begin to suffer from an overabundance of pathos.
    • 65 Metascore
    • 50 Keith Phipps
    It's a daring move, focusing on the isolated splendor and interior dramas, and letting the politics remain at most a distant rumble; Coppola deserves credit for offering a different, and probably truer, perspective on life as a royal. But the perspective rarely lends itself to compelling filmmaking.
    • 73 Metascore
    • 50 Keith Phipps
    The imagery eventually becomes the only reason to keep watching. This is the first of an announced trilogy, but it already feels as long as the 20th century itself.
    • 36 Metascore
    • 50 Keith Phipps
    Even at its best, the film plays like the comedy equivalent of a legacy act reuniting for a tour fueled more by nostalgia and goodwill than inspiration. It’s less sequel than encore, and it’s probably time to turn on the house lights and close this buddy act.
    • 49 Metascore
    • 50 Keith Phipps
    Less a film than a terror delivery system, The Grudge repeatedly shows off Shimizu's technical chops, but never gives viewers a reason to care about or identify with the victims.
    • 42 Metascore
    • 50 Keith Phipps
    Though staged with technical skill and unflinching brutality, it's an awfully familiar-looking slaughter filled with moments on loan from other movies.
    • 57 Metascore
    • 50 Keith Phipps
    Cheers and many happy returns to Garner as she makes her first starring film role. She's the real deal. But jeers to every other aspect of 13 Going On 30.
    • 60 Metascore
    • 50 Keith Phipps
    While Good Ol’ Freda will surely fascinate hardcore Beatles fans, there simply isn’t a feature-length story here.
    • 56 Metascore
    • 50 Keith Phipps
    The many shots of characters operating devices with remote controls will do little to quiet the complaints that the films have started to resemble video games, and the same can be said of the proliferating digital effects.
    • 55 Metascore
    • 50 Keith Phipps
    Directors Jennifer Flackett and Mark Levin deliver some eye-catching fantasy sequences in the early scenes, but the film grows more mundane and the tone more uneven as it goes on.
    • 57 Metascore
    • 50 Keith Phipps
    There’s a wealth of information in My Father And The Man In Black, but Holiff’s directorial choices don’t always help in conveying them.
    • 52 Metascore
    • 50 Keith Phipps
    For a film that depends so much on the interaction between words and passion -- and the drama of how each shapes the other -- the shortage of both leaves Possession looking like nothing more than an "Indiana Jones" in which card catalogs stand in for treasure maps, and footnotes for bullwhips.
    • 48 Metascore
    • 50 Keith Phipps
    Ritchie has made a film that's so busy, it starts to become boring.
    • 71 Metascore
    • 50 Keith Phipps
    Skillfully sketches the parameters of its small-town existence but never quite fleshes out the inhabitants of those parameters. Without the well-considered humor and strongly defined characters of "Chuck," only a good cast stands between Girl and some familiar stereotypes.
    • 46 Metascore
    • 50 Keith Phipps
    The best thing about the movie is its premise: It's a good idea, taken from before Allen's recent losing streak, but it's stretched too thin for its own good.
    • 40 Metascore
    • 50 Keith Phipps
    Whenever it features feet flying through the air, Brick Mansions is a pleasure. Asked to do anything else, it’s one stumble after another.
    • 55 Metascore
    • 50 Keith Phipps
    The monster effects, as designed by Stan Winston, are stunners, but after Twister, it should be obvious that it's not the quality of the effects that matter so much as the quality of the film in which they appear.
    • 68 Metascore
    • 50 Keith Phipps
    An advocacy doc constructed to make a clear political point first and function as a film a distant second.
    • 41 Metascore
    • 50 Keith Phipps
    Wilson's funny. Mann's funny. But paired together here, nothing works.
    • 61 Metascore
    • 50 Keith Phipps
    As a spectacle, The Polar Express looks remarkable. As a film, however, it's the equivalent of an elaborately wrapped Christmas present containing a nice new pair of socks.
    • 61 Metascore
    • 50 Keith Phipps
    There’s a strain of gross-out humor—most bodily fluids make cameos—that doesn’t mesh well with the rest of the movie. But more bothersome is a tendency The To Do List shares with its heroine: mistaking checking items off a list for progress.
    • 49 Metascore
    • 50 Keith Phipps
    The members of its young cast (Jennifer Connelly, Joaquin Phoenix, Liv Tyler) have all shown promise elsewhere, but don't really get to do much but look attractive and troubled here. They may be stars, but as long as they keep treading water in bland stuff like this, the world may never know.
    • 66 Metascore
    • 50 Keith Phipps
    The Amazing Spider-Man, helmed by "(500) Days Of Summer" director Marc Webb, doesn't put its own stamp on the material, which feels warmed-over in ways that don't help.
    • 58 Metascore
    • 50 Keith Phipps
    On the whole, the film is a shallow, shrill, and all-too-familiar marital roundelay.
    • 43 Metascore
    • 50 Keith Phipps
    Newell's film arrives loaded with problems. The most superficial, but undeniably distracting, involves the way characters age at different rates and under makeup of varying believability.
    • 60 Metascore
    • 50 Keith Phipps
    It never adds up to much. There's a fair amount of fine acting (with that cast, how could there not be?), but it's in the service of a story that bubbles without ever boiling.
    • 46 Metascore
    • 50 Keith Phipps
    This may be the biggest production in Korean-film history, but viewers should search elsewhere for a better sampling of what the country has to offer.
    • 38 Metascore
    • 50 Keith Phipps
    Though haphazardly put together, The Medallion stays fairly entertaining until it kills Chan off and resurrects him as an immortal being.
    • 64 Metascore
    • 50 Keith Phipps
    Fortunately, no one seems to have clued Bardem in on the game plan, and the fierceness and complexity he brings to his role nearly saves Mondays In The Sun.
    • 58 Metascore
    • 50 Keith Phipps
    It's an odd, unsatisfying combination that moves from mopey drama one moment to a reaction shot of a monkey smacking his forehead in exasperation the next. By the end of the film, viewers might understand the monkey's feelings all too well.
    • 53 Metascore
    • 50 Keith Phipps
    It almost goes without saying that the film looks gorgeous, but the filmmaking behind it feels unsure how to work on this grand a scale. Australia is big. But it never fills the screen.
    • 33 Metascore
    • 50 Keith Phipps
    It's got a few laughs and some impressive car chases, but mostly, it's just a puzzling jumble of gags and exhaust fumes.
    • 56 Metascore
    • 50 Keith Phipps
    The real struggle here isn't so much Chatagny's slow emergence into maturity as Lionel Baier's directorial struggle to balance artful and erotic elements.
    • 55 Metascore
    • 50 Keith Phipps
    Quickly devolves into another showcase for Gibson’s snorting-bull act, a routine he could happily have shelved during his time off.
    • 45 Metascore
    • 50 Keith Phipps
    Fanboys has a lot of talent in its margins, including Jay Baruchel, Kristen Bell, Seth Rogen, and other usual suspects.
    • 62 Metascore
    • 50 Keith Phipps
    If director Brian Dannelly were interested in taking his film into the realm of camp, the gag might have worked, but as is, it simply gives the impression that he doesn't quite know what he's talking about.
    • 77 Metascore
    • 50 Keith Phipps
    A sophomore film major would be lucky to get a passing grade with such material.
    • 37 Metascore
    • 50 Keith Phipps
    What do you call it when someone pulls a gender reversal on someone else's movie? If that movie is "My Best Friend's Wedding," you call it Made Of Honor.
    • 47 Metascore
    • 50 Keith Phipps
    It's a tangle unknotted in the most predictable fashion by Aline McKenna's script, and with little flair from choreographer-turned-director Anne Fletcher.
    • 40 Metascore
    • 50 Keith Phipps
    Sometimes it’s fascinating, but just as often, it’s frustrating: It’s a film without a net, and it tends to land with a thud.
    • 39 Metascore
    • 50 Keith Phipps
    As a pretty, low-stakes bayou romance The Lucky One works well enough. When asked to carry any kind of dramatic weight, however, it collapses.
    • 54 Metascore
    • 50 Keith Phipps
    Some might even find the leisurely pace a nice break from the rapid-fire approach favored by most kids' entertainment.
    • 55 Metascore
    • 50 Keith Phipps
    The latter half, set in the less visited parts of New York's subway system, bogs down considerably, abandoning its hybrid approach and becoming content to simply clone Aliens.
    • 71 Metascore
    • 50 Keith Phipps
    One of the not-so-nice qualities of Real Women Have Curves is that it occasionally is as preachy as its title suggests.
    • 50 Metascore
    • 50 Keith Phipps
    You want cowboys and aliens in the same movie? This one's for you. If you want anything beyond what the title promises, look elsewhere. And that means even anything resembling a clever mash-up of established genres.
    • The A.V. Club
    • 52 Metascore
    • 50 Keith Phipps
    It's handsomely mounted, and its heart seems in the right place, but that's not reason enough to put on a show.
    • 52 Metascore
    • 50 Keith Phipps
    In the wake of T"he Passion Of The Christ," the three-hour chore takes on some positive qualities it wouldn't have had otherwise.
    • 38 Metascore
    • 50 Keith Phipps
    Seems to understand its source material, but has no idea how to improve on it.
    • 27 Metascore
    • 50 Keith Phipps
    It's virtually indiscernible from any other contemporary horror film except for, well, the fog.
    • 61 Metascore
    • 50 Keith Phipps
    Though star-packed to the point of absurdity--juror Luis Guzmán has little to do but nod his head every once in a while--The Runaway Jury doesn't know what to do with its players.
    • 72 Metascore
    • 50 Keith Phipps
    A lesser filmmaker, and a lesser actor, might have made American Sniper into an unthinking bit of jingoism. Eastwood and Cooper keep finding respectful complexities in Kyle’s story, until the film reveals itself as too simple to have much use for them.
    • 59 Metascore
    • 50 Keith Phipps
    The first time around, Wall Street felt like a warning about the perils of excess just as excess started to exact its toll. This one's little more than a reminder that we all got, and remain, screwed. Noted.
    • 59 Metascore
    • 50 Keith Phipps
    The perfect movie for 14-year-old girls having a slumber party, and a must for everyone else to avoid.
    • 42 Metascore
    • 50 Keith Phipps
    Better than an opportunistic sequel has any right to be, but still pretty flawed.
    • 43 Metascore
    • 50 Keith Phipps
    There's nothing wrong with formulas when they work, but Eternal is neither scary nor particularly sexy.
    • 63 Metascore
    • 50 Keith Phipps
    Trouble is, the gags just keep finding new ways to make McBride's strip-mall sensei seem pathetic, and the few scattered laughs never justify the cruelty.
    • 47 Metascore
    • 50 Keith Phipps
    Somehow, Van Sant has made a film about life and death in which the stakes never seem higher than whether one insolent kid will stop being such a horrible mope.
    • 55 Metascore
    • 50 Keith Phipps
    Mostly, Dodgeball just feels off--never consistently funny, but also never dire. It's as if Thurber resigned himself to making a dumb, formula-bound movie with a dusting of smart gags instead of a smart movie in dumb-movie clothes.
    • 53 Metascore
    • 50 Keith Phipps
    Jon Cryer and Leslie Mann have a couple of sly moments as overworked career people, and Spader again proves he learned a lot by working with William Shatner for so long. But the bottomless slapstick and silly effects quickly grow wearying, as does a cast of young actors whose work can politely be called energetic.
    • 49 Metascore
    • 50 Keith Phipps
    It's corny, but the film might have worked anyway, had anyone brought a lick of conviction to the business. But Lopez--once such a promising actress--now does little but pose, and everyone else seems to have figured out that the film wasn't going anywhere before the cameras started rolling.
    • 47 Metascore
    • 50 Keith Phipps
    Egoyan's sensibility doesn't quite fit the material. His trademark stone-faced austerity never bends to capture the black comedy in the dissonance between his characters' public and private lives. It almost demands a trashier approach.
    • 54 Metascore
    • 50 Keith Phipps
    Director Mark Waters has done probably the best possible job translating the material to film, and the truly filmic moments work well, but with this dialogue-heavy material, it's like trying to translate Run-DMC lyrics into Old French.
    • 55 Metascore
    • 50 Keith Phipps
    Corny and uncool. Initially, it doesn't matter. Banderas is so winning in the lead that the film's early scenes are almost as persuasive as one of his lectures.
    • 45 Metascore
    • 50 Keith Phipps
    Even more sad is an embarrassingly shrill performance by Faye Dunaway, and an ending which insults the ability of the audience to watch a movie without having a conclusion spoon-fed to them.
    • 58 Metascore
    • 50 Keith Phipps
    As Pattinson nears the bottom - both of his fortune, and to all appearances, his sanity - Cronenberg has to take the film somewhere, emptying out into a confrontation between Pattinson and a disgruntled former employee (Paul Giamatti) that never fully ties together all that's come before.
    • 45 Metascore
    • 50 Keith Phipps
    Sadly, only Hurt seems to recognize that the only way to make this material work is to play it with lunatic enthusiasm instead of grave seriousness.
    • 50 Metascore
    • 50 Keith Phipps
    If well done, a film like Letters To Juliet should need no surprises. But it does need more than the postcard-ready vistas against which director Gary Winick (13 Going On 30) frames much of the action.
    • 54 Metascore
    • 50 Keith Phipps
    The film spends so little time developing its characters, apart from all that expository dialogue, that it's like asking audiences to care for paper dolls. And Sparkle never delivers on the promise of its most famous song by giving viewers something they can feel.
    • 53 Metascore
    • 50 Keith Phipps
    While Bachelorette is admirably free of the normal formulas governing movies that revolve around women and wedding dresses, it doesn't offer anything more satisfying in their stead.
    • 36 Metascore
    • 50 Keith Phipps
    Russell Brand steps into the role of Arthur Bach for the 2011 remake, and while it's one of the more reined-in performances of his short, busy big-screen career, Brand's unvarying onscreen persona just doesn't do soulful.
    • 39 Metascore
    • 50 Keith Phipps
    Director Jeff Wadlow and his co-writer/producer Beau Bauman throw in a couple of gripping sequences, especially one set in a library sub-basement with an energy-saving lighting system, but for a film that's essentially one big logic problem, there's an unfortunate absence of logic to the way its characters behave.
    • 53 Metascore
    • 50 Keith Phipps
    Milos and Rossum are like Iberian "Gilmore Girls," only with an ocean view and without the clever dialogue.
    • 54 Metascore
    • 50 Keith Phipps
    It finds some fine comedic moments when it stops focusing on Affleck's never-ending angst and starts exploring small-town oddness.
    • 62 Metascore
    • 50 Keith Phipps
    Sometimes actors get parts so rich that they almost can't help but make meals of them. Playing a frosty, high-powered editor in The Devil Wears Prada, Meryl Streep turns the role into a four-course dinner and shows up with her own dessert...But it's hard to care about what's going on whenever she's offscreen.
    • 54 Metascore
    • 50 Keith Phipps
    It’s a painfully minor movie that doubles as an accidental study in how pros handle themselves when given less-than-challenging material.
    • 54 Metascore
    • 50 Keith Phipps
    The film has virtually nothing to say about the man, or about much of anything, really. It's a sketchbook trying to pass as a tapestry.
    • 36 Metascore
    • 50 Keith Phipps
    In spite of some prominently featured green slime and power-beam weaponry, it won't make anyone forget "Ghostbusters" anytime soon.
    • 60 Metascore
    • 50 Keith Phipps
    Kids won't mind a bit, but adults accustomed to "Shrek" and Pixar will have no trouble spotting what's missing.
    • 54 Metascore
    • 50 Keith Phipps
    It works for a little while, but an Irons-narrated slideshow of the region would have worked just as well.
    • 50 Metascore
    • 50 Keith Phipps
    Andrew Davis ("The Fugitive," "Steal Big Steal Little") has made a technically competent thriller that's not only thrill-less, but dull.
    • 52 Metascore
    • 50 Keith Phipps
    Writer-director Audrey Wells never aims higher than postcard filmmaking, and Under The Tuscan Sun at least works on that level, by casting its little operetta of self-realization and remodeling travails against some of the most beautiful scenery in the world.
    • 52 Metascore
    • 50 Keith Phipps
    Director Blair Treu hails from Brigham Young University, and while there's nothing explicitly religious about Little Secrets, his primary influence seems to be those LDS public-service announcements in which nice people learn to become even nicer.
    • 48 Metascore
    • 50 Keith Phipps
    The film is smart enough to know that verbal humor isn't its strong point, but it doesn't offer much in the way of compensation.
    • 37 Metascore
    • 50 Keith Phipps
    Company almost seems like the product of a post-Sept. 11 world. Like a cartoon version of a real threat, the villains are terrorists of a non-specific nationality with an ill-defined anti-American agenda and a tendency to spout complaints too clichéd to take seriously.
    • 51 Metascore
    • 50 Keith Phipps
    In the end, it becomes the cinematic equivalent of one of the songs Tunney adores: enjoyable enough while it lasts, but so thin that its ingratiating charms seem as much a source of frustration as pleasure.
    • 42 Metascore
    • 50 Keith Phipps
    It’s a handsome disappointment, fast food masquerading as fine dining.
    • 46 Metascore
    • 50 Keith Phipps
    If Epstein and Kahn's plot mechanics were as fresh as the headlines from which they borrow, they might have been on to something.
    • 57 Metascore
    • 50 Keith Phipps
    The film feels more thrown-together than thought-through, but the best moments transcend such problems.
    • 28 Metascore
    • 50 Keith Phipps
    Even the best performers can only do so much to elevate mediocre material. In the long run, good or bad, the material always wins.
    • 67 Metascore
    • 50 Keith Phipps
    Outrage is compelling to watch until it becomes exhausting.
    • 44 Metascore
    • 50 Keith Phipps
    Though "extremely mediocre" may seem like an oxymoron, no phrase better defines Picture Perfect. Aside from wearing, with visual discomfort, a series of absurdly revealing dresses, Aniston does little to distance herself from her "Friends" persona with this slightly less likable character.
    • 43 Metascore
    • 50 Keith Phipps
    A few stray livers and severed heads aside, this is a monster too polite for its own good.
    • 59 Metascore
    • 50 Keith Phipps
    The action, while busy, never produces much excitement, particularly since Thanit never gives the audience any reason to care about the characters, beyond their underdog status.
    • 58 Metascore
    • 50 Keith Phipps
    In spite of a promising start, an unconventional setup, attractive photography, and game lead performances from Ewan McGregor and Emily Blunt, Salmon Fishing quickly turns into exactly the sort of wet cardboard box of a movie its title suggests.
    • 62 Metascore
    • 50 Keith Phipps
    Ultimately, it's an absence of personality that does the film in. The creatures remain beautifully designed and Narnia still looks like a colorful, inviting place, but it feels as lifeless as the fantastical anyworlds found on glittery unicorn posters.
    • 49 Metascore
    • 50 Keith Phipps
    A joyless trudge, particularly when compared to Fellini’s vibrant original?
    • 40 Metascore
    • 50 Keith Phipps
    The best parts come in the rare moments when the film decides to break from formula, as when old Zucker-team warhorse Leslie Nielsen returns as the U.S. President.
    • 45 Metascore
    • 50 Keith Phipps
    None of it is particularly novel or exciting.
    • 48 Metascore
    • 50 Keith Phipps
    Tries for that series' breezy matinee atmosphere but the results turn out far too forced.
    • 60 Metascore
    • 50 Keith Phipps
    However much the film may mirror the truth, dramatically it feels like a cheat. It omits the human spark that would make it work as a film, rather than a collection of dramatized issues.
    • 55 Metascore
    • 50 Keith Phipps
    Stahl quietly plays the straight man, giving the usually skillful Farmiga plenty of room to overact with abandon; she plays her character as one part Rosanna Arquette in David Cronenberg's "Crash" to two parts Natalie Portman's magical life-saving pixie in "Garden State."
    • 61 Metascore
    • 50 Keith Phipps
    It's okay to be manipulated, so long as you don't feel the strings being pulled. Here the tug is constant, and constantly distracting.
    • 46 Metascore
    • 50 Keith Phipps
    The film contains so many plugs for Warner Bros. movies like the "Harry Potter" series and "300" that it could almost double as an infomercial.
    • 48 Metascore
    • 50 Keith Phipps
    It's the material that stinks, failing to give even an old pro like White more than a couple of modest laughs.
    • 61 Metascore
    • 50 Keith Phipps
    Director Jacques Sarasin lazily relies on a talking-heads/archival-footage approach to tell Traoré's story, doing little to put it in context and assuming a lot more knowledge of Malian history than most viewers possess.
    • 59 Metascore
    • 50 Keith Phipps
    The result: some intriguing moments, even more intriguing performances, and a film that doesn't quite work.
    • 40 Metascore
    • 50 Keith Phipps
    The overstuffed film lumbers across clichés of the heart and of history until it reaches a big, tune-filled climax that isn't worth the wait.
    • 51 Metascore
    • 50 Keith Phipps
    Where the first film kept insisting that drama and liveliness need not disappear in the golden years, its sequel feels almost like a rebuttal. Hopefully everyone involved will find something better to do before this unexpected franchise opens up a third location.
    • 66 Metascore
    • 50 Keith Phipps
    Two movies in one. That’s one more movie than it needs to be.
    • 53 Metascore
    • 50 Keith Phipps
    As a nail-biting thriller, The Siege is too confusing, and as a thought-provoking social drama, too confused.
    • 36 Metascore
    • 50 Keith Phipps
    Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
    • 71 Metascore
    • 50 Keith Phipps
    An ambitious undertaking, but not a successful one: It unfolds with the studied determination of a grade-school book report.
    • 58 Metascore
    • 50 Keith Phipps
    Shaw and Kingsley both create crisp, comic performances, but Sorvino remains a problem throughout. Her physical transformation falls short of the "Boys Don't Cry" standard, to put it mildly.
    • 51 Metascore
    • 50 Keith Phipps
    If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
    • 52 Metascore
    • 50 Keith Phipps
    Scott loses the humanity amid all the gods and kings. The setpieces, however, elevate the film around them.
    • 54 Metascore
    • 50 Keith Phipps
    The triumphs feel engineered, and the realizations overheated. Seldom has a globe-spanning, soul-plumbing search for what really matters looked so inconsequential.
    • 58 Metascore
    • 50 Keith Phipps
    But the parts of Foer's lively novel that didn't get cut in the script stage have died on the way to the screen. To be fair, it's not an easy novel to adapt.
    • 32 Metascore
    • 50 Keith Phipps
    Predictably, the best moments belong to Buscemi, whose performance is a model of understatement in a field of grotesques.
    • 64 Metascore
    • 50 Keith Phipps
    In spite of its cast and seemingly can't-miss premise, Wedding Crashers is at its best a succession of mild chuckles.
    • 47 Metascore
    • 50 Keith Phipps
    If Project Almanac didn’t bungle it all with a shrug of an ending, it would be easier to recommend. Maybe someone with a time machine should go back and give the movie a do-over.
    • 70 Metascore
    • 50 Keith Phipps
    Realized through old-fashioned camera mastery and newfangled special effects, it’s a stunning technical accomplishment, but one seemingly designed only to broadcast banal sentiments, when it says anything at all.
    • 45 Metascore
    • 50 Keith Phipps
    A sweet, inoffensive, achingly laughless comedy.
    • 55 Metascore
    • 50 Keith Phipps
    Annaud has given Seven Years In Tibet an epic scope, packed with beautiful scenery, lush costumes, and elaborate sets. Which would all be well and good if they didn't often seem like the reason the movie exists.
    • 53 Metascore
    • 50 Keith Phipps
    The film de-emphasizes plot and action in favor of lyricism and outbursts of magic-doing, but the results are more dull than enchanting, no matter how many people fly across the room.
    • 34 Metascore
    • 50 Keith Phipps
    The role needs a steely, inhuman reserve, and Garner's innate likeability works against her.
    • 40 Metascore
    • 50 Keith Phipps
    A garish mediocrity.
    • 67 Metascore
    • 50 Keith Phipps
    Turns a fond look back at the great Federico Fellini into an occasion for the kind of talky tedium Fellini's own movies would never have allowed.
    • 24 Metascore
    • 50 Keith Phipps
    The film owes as much to Caddyshack as to Capra.
    • 65 Metascore
    • 50 Keith Phipps
    The characters are funny and the cast's characterizations right on, but the movie repeatedly lets them down.
    • 41 Metascore
    • 50 Keith Phipps
    The story feels half-considered, the relationships thin, and the direction visually indifferent.
    • 39 Metascore
    • 42 Keith Phipps
    Pity any poor kid stuck in a house like that. Pity, too, anyone who has to stop by for a visit.
    • 65 Metascore
    • 42 Keith Phipps
    Martin attempts to present the whole oversized Chess story, but instead winds up reducing the lives and art that give it shape.
    • 35 Metascore
    • 42 Keith Phipps
    Beyond being unable to decide what kind of Musketeers movie it wants to be, Anderson's adaptation seems determined to underachieve as both heavy spectacle and light adventure. It's two mediocrities for the price of one.
    • 52 Metascore
    • 42 Keith Phipps
    For a film ostensibly about how life means nothing without adventure and unpredictability, Last Holiday all feels as preordained as the film-ending Emeril cameo.
    • 44 Metascore
    • 42 Keith Phipps
    The further Kelly bends his funhouse mirror, the more he loses sight of what it was supposed to reflect. By the end, the image has twisted beyond coherence.
    • 52 Metascore
    • 42 Keith Phipps
    Turns out it's hard to make one man swapping his sperm for another's seem cute, as much as The Switch tries.
    • 49 Metascore
    • 42 Keith Phipps
    Moves so sluggishly that someone must have been dosing the cast and crew with Nyquil.
    • 41 Metascore
    • 42 Keith Phipps
    As a comedy, it relies on Keaton and Latifah playing the same characters they always play, and Holmes overcompensating by switching into bug-eyed manic-comedienne mode. Her performance is part Lucille Ball, part overcaffeinated chicken, and it deserves some credit for daring, but none for execution.
    • 72 Metascore
    • 42 Keith Phipps
    It is, without a doubt, a striking debut. But it's also punishingly distasteful and disjointed almost beyond coherence, a repetitive heap of a film that feels disgorged rather than crafted.
    • 51 Metascore
    • 42 Keith Phipps
    Adapted (and significantly reshaped) from a young-adult book by novelist Alice Hoffman, Aquamarine has the tossed-off quality of an ABC Family TV movie. Its lessons come pre-digested.
    • 56 Metascore
    • 42 Keith Phipps
    Winter Passing is full of nice dramatic turns, including one from relative-unknown Amelia Warner as Harris' former student-turned-nanny (and possible lover). What Winter Passing lacks, however, is a reason to exist other than as a dramatic exercise.
    • 66 Metascore
    • 42 Keith Phipps
    The politics of Stone's 9/11 movie lean right, if they lean any way at all. Mostly, the film sits up straight and just wants to be loved by all. There are more controversial Hallmark cards.
    • 41 Metascore
    • 42 Keith Phipps
    This is not a movie for anyone who's aged past the "Oh! Cute!" phase of moviegoing. It's paced for little minds with short attention spans.
    • 36 Metascore
    • 42 Keith Phipps
    Trudging through a thriller that would have felt warmed over in 1988, the pair investigate a serial killer.
    • 45 Metascore
    • 42 Keith Phipps
    The plot tangles until it seems irrelevant, the jokes can't push through the somber tone, and the most interesting moment apart from the action scenes involves one character using the corpse of one of the more famous cast members for a grisly ventriloquist act.
    • 33 Metascore
    • 42 Keith Phipps
    While the film deserves some credit for creating and sustaining a creepy atmosphere, it doesn't matter much when the plot doesn't go anywhere, and here, it winds toward the most arbitrary, nonsensical final scene in recent memory. But, hey, they're ghosts. They can do some pretty crazy shit.
    • 45 Metascore
    • 42 Keith Phipps
    Relentlessly plods from one dour moment to the next, coming to life only in a late-film car chase that takes the possibilities of a world filled with robots to an absurd extreme.
    • 38 Metascore
    • 42 Keith Phipps
    If Eragon proves anything, it's that not all dragons produce magic.
    • 38 Metascore
    • 42 Keith Phipps
    Only Sarsgaard shows a pulse, creating a self-destructive, omnisexual rogue who, for all his faults, would probably be great company. The same can't be said for the film around him.
    • 32 Metascore
    • 42 Keith Phipps
    Not only does Untraceable unmask its initially hidden killer with little ceremony, it's the sort of film that telegraphs every new development.
    • 39 Metascore
    • 42 Keith Phipps
    There's just not enough here for a movie. It's almost as if some ideas were meant to live for three and a half minutes each Christmas season, not to get stretched to the breaking point for 50 years.
    • 46 Metascore
    • 42 Keith Phipps
    The aerial sequences look an awful lot like X-wing-versus-TIE-fighter battles and the effects have the same not-quite-solid feel of the Star Wars prequels. When the heroes crash, they go up in blazes of digital glory that seem just as artificial as the plotting that brought them to their fates.
    • 40 Metascore
    • 42 Keith Phipps
    Trouble is, it feels like a film going through the motions, never finding mooring in believable human feelings.
    • 53 Metascore
    • 42 Keith Phipps
    In The Big Year co-stars Owen Wilson and Jack Black appear on the verge of succumbing to the same terminal blandness that's gripped Martin for so long.
    • 44 Metascore
    • 42 Keith Phipps
    Nobody feels anything they're not explicitly told to feel. Not even the audience.
    • 51 Metascore
    • 42 Keith Phipps
    It just grows darker and broodier as Stadlober grapples with coming out. That's not an easy thing, but someone should tell the poor guy that being gay doesn't have to mean being this lame.
    • 27 Metascore
    • 42 Keith Phipps
    Ultimately, the glacial pace kills Pulse. What was dreadful and trance-like in the original feels here like nothing-much-at-all sandwiched between some stock horror jolts.
    • 41 Metascore
    • 42 Keith Phipps
    Knowing frequently feels one Revelation quote away from turning into a chiding, fundamentalist-friendly end-of-the-world movie in the "Left Behind" mold.
    • 60 Metascore
    • 42 Keith Phipps
    It's too little premise stretched over too much movie, and while the cast gives it their all, Nolfi's characterless direction only makes the movie feel that much slighter.
    • 36 Metascore
    • 42 Keith Phipps
    It also has enough nutty energy and oddball touches - "The Wire's" Andre Royo shows up as a gun-toting, faux-hawk-sporting badass - that it's never boring. Dumb, gross, gratuitous, and overly familiar, sure. But never boring.
    • 38 Metascore
    • 42 Keith Phipps
    Kudos to The Rite for thinking outside the usual goat/pentagram/black-candles box for its satanic imagery, but is a mule really the best it could manage?
    • 34 Metascore
    • 42 Keith Phipps
    "The Day After Tomorrow" was kind of stupidly fun, and 10,000 B.C. might be too, if it weren't so stupidly dull.
    • 49 Metascore
    • 42 Keith Phipps
    There's probably a graduate thesis to be drawn from this, about what audiences want from horror films, and ways to make viewers uncomfortable with their own voyeuristic desires, but that doesn't make the thrills any less sour, or the end any less exploitative. (Or worse, dull.)
    • 45 Metascore
    • 42 Keith Phipps
    Purists will balk at a pointless--and boring--revamp of a major villain, but that's the least of the film's worries. Only a few isolated shots of the group striding together as a team make Surfer feel like a Fantastic Four movie.
    • 30 Metascore
    • 42 Keith Phipps
    As a study in insanity, Zookeeper is mildly interesting. But as a kiddie comedy, it's something to watch only once the little ones have worn out their "Dr. Doolittle" DVD.
    • 43 Metascore
    • 42 Keith Phipps
    Proven comic talents like Judah Friedlander and Ed Helms make up much of Murphy's crew, but apart from speaking in contraction-free spaceman-ese, the film doesn't give them anything funny to do.
    • 68 Metascore
    • 42 Keith Phipps
    Here's a great way to start savoring life: Don't waste it on pat manipulations like this.
    • 48 Metascore
    • 42 Keith Phipps
    It's crude in every sense: The film looks like shit, the characters are boors, and it's as sloppily put-together as the home movie it pretends to be. Project X's commitment to its crudity almost redeems it, though.
    • 50 Metascore
    • 42 Keith Phipps
    There's no right way to do an adaptation, particularly a difficult-to-adapt work like this, but there are plenty of wrong ways, and Perry's film offers a casebook of things-not-to-do.
    • 50 Metascore
    • 42 Keith Phipps
    No Reservations is pretty much the dramatic equivalent of a burger and fries, however pretty the presentation.
    • 20 Metascore
    • 42 Keith Phipps
    It raises the question of who the movie is for in the first place: Kids have seen much better animation in other films, and it's hard to imagine too many grown-ups ready to smile and nod at yet more smirking takes on famous moments from "Scarface" and "The Silence Of The Lambs."
    • 45 Metascore
    • 42 Keith Phipps
    Opting for car chases instead of the thought-provoking ideas of its predecessors, the film looks like the work of, if not pod people, folks who gave up any kind of passion for the material long before the cameras started to roll.
    • 41 Metascore
    • 42 Keith Phipps
    Apart from Considine, the actors all deliver superficial performances beneath several layers of slathered-on Summer Of Love drag, and Woolley's use of multiple film stocks and flash-cut editing jumbles together a bunch of '60s filmmaking clichés without putting them to any particular use.
    • 49 Metascore
    • 42 Keith Phipps
    There must have been a reason why the real-life Rush could do so much with seemingly so little, but The Mighty Macs never captures it. It lets canned inspiration provide the uplift, instead of something more tangible.
    • 45 Metascore
    • 42 Keith Phipps
    When she's (Paltrow) singing, she can pass for someone who's been listening to Tammy Wynette since the cradle; when the music stops, she looks like a tourist.
    • 57 Metascore
    • 40 Keith Phipps
    Sadly, that thin premise snaps after a while, and when Wife takes a serious turn, it becomes apparent how little the director has to say.
    • 48 Metascore
    • 40 Keith Phipps
    An actress of magnetizing screen presence whose inability to land choice roles can only be attributed to her post-TRL age, Gershon easily identifies with her character, giving her performance an edge that this lazy, punked-up melodrama otherwise lacks.
    • 46 Metascore
    • 40 Keith Phipps
    Written and directed by Daniel Taplitz, Breakin' has a hard time building up steam and an even harder time distinguishing itself from any number of UPN sitcoms.
    • 66 Metascore
    • 40 Keith Phipps
    Never becomes more than a just-acceptable kiddie time-filler.
    • 35 Metascore
    • 40 Keith Phipps
    Jones' role, on the other hand, only requires him to look embarrassed at all times, which shouldn't have been too hard to pull off, considering the circumstances. Is that what they call "method" acting?
    • 62 Metascore
    • 40 Keith Phipps
    This adaptation of Eric Bogosian's 1994 play-- which revolves around several post-high-school drifters hanging around a convenience store while awaiting the return of their rock-star classmate -- doesn't hold up to Linklater's previous work, and the problem is Bogosian's script.
    • 53 Metascore
    • 40 Keith Phipps
    While Zeffirelli couldn't have assembled a more capable cast, none of them, except Cher, are given characters colorful enough to make the film worthwhile; almost everyone gets lost amidst the Tuscan scenery.
    • 37 Metascore
    • 40 Keith Phipps
    The best that can be said is that neither Matthew Perry nor Salma Hayek embarrass themselves, but they're both appealing enough that the same could probably be said if they were starring in a commercial for a hair-replacement system.
    • 31 Metascore
    • 40 Keith Phipps
    The setup almost needs footnotes, which makes it all the more puzzling that Zombie's obvious love for horror's past would translate into such a joyless, grisly rehashing.
    • 64 Metascore
    • 40 Keith Phipps
    When the twists arrive, they feel like much of the film: creepy and cliché-free, but still terribly wrong.
    • 44 Metascore
    • 40 Keith Phipps
    Written and directed by Robert Shallcross, and seemingly misdirected into theaters from its natural home on the ABC Family Channel, Uncle Nino is a sweet but not particularly distinguished effort.
    • 51 Metascore
    • 40 Keith Phipps
    Not especially funny, romantic, or exciting.
    • 53 Metascore
    • 40 Keith Phipps
    Earth To Echo is yet another found-footage film, and not a particularly inventive one at that.
    • 37 Metascore
    • 40 Keith Phipps
    It has the courage to feature some refreshingly lousy bear costumes, but the film seems likely to send most kids tugging at sleeves for the cinematic equivalent of Space Mountain.
    • 37 Metascore
    • 40 Keith Phipps
    In one of the most laughable confrontations between humanity and nature since Elisha Cuthbert stared down the cougar on "24," Quaid's family runs amok in the house, as each member simultaneously discovers a carefully placed snake meant to scare them off the property, almost as if the snakes were working off a timer system. The film never recovers.
    • 46 Metascore
    • 40 Keith Phipps
    It’s a monster movie made with energy, but no real enthusiasm, and its setting just makes it feel like a long way to go to get the same old thing.
    • 52 Metascore
    • 40 Keith Phipps
    A slow, ponderous, ultimately unsuccessful exercise in cerebral nihilism.
    • 56 Metascore
    • 40 Keith Phipps
    An overstuffed would-be epic.
    • 51 Metascore
    • 40 Keith Phipps
    Scott can invest just about any scene with heft and intelligence, but neither the material nor his co-star give him much help.
    • 59 Metascore
    • 40 Keith Phipps
    Part of what made "Koyaanisqatsi" such a revelation was its purely cinematic dependence on unconstructed imagery. Here, he adds a parade of religious, corporate, and political icons, and what's already preachy turns heavy-handed.
    • 33 Metascore
    • 40 Keith Phipps
    Doesn't have a mean bone in its body, but it's so sloppily assembled that even Lohan's charm can't keep it together.
    • 52 Metascore
    • 40 Keith Phipps
    It takes mere seconds for every charming moment to go from "Ahhh..." to "Aarrggh!"
    • 58 Metascore
    • 40 Keith Phipps
    If there’s a real person beneath Danny’s over-the-top showbiz-lifer persona, Pacino never finds him. Pacino probably still has it in him to do measured, subtle performances, but this isn’t one of them. He’s more mannerism than man, even in some otherwise-relaxed scenes with Bening.
    • 32 Metascore
    • 40 Keith Phipps
    Lacks the creepiness and craft of the films that inspired it.
    • 27 Metascore
    • 40 Keith Phipps
    Where Locklear's careful, clipped delivery confirms that she's better suited for TV stardom than the movies, every time Duff opens her mouth, she confirms that her natural home is in magazines. Or voicing animated squirrels. Either one would work.
    • 48 Metascore
    • 40 Keith Phipps
    Despite the obviously mercenary nature of this sequel, there's a thimbleful of clever ideas at work here, most notably in the way Allen's RoboSanta begins to turn his toy factory into a tiny dictatorship.
    • 30 Metascore
    • 40 Keith Phipps
    First-time director Casey La Scala and some talented stunt doubles squeeze in a fair amount of impressive skating footage, but the film around it will gleam the cube only of viewers with an unusually high tolerance for porta-toilet and Dutch-oven gags.
    • 60 Metascore
    • 40 Keith Phipps
    In spite of some affecting moments, the film never quite works. It's too theatrical, perhaps unavoidably.
    • 34 Metascore
    • 40 Keith Phipps
    The film wavers between the drippy and the glib from start to finish, sometimes within the course of a single scene.
    • 42 Metascore
    • 40 Keith Phipps
    Casting Affleck would have paid off had the conflicted, acerbic star of “Boiler Room,” “Changing Lanes,” or even “Bounce” shown up. Instead we're left with the cardboard hero of “Armageddon” and “The Sum Of All Fears,” a caretaker leading man wholly dependent on the quality of the movie around him. Sadly, there's not much of that.
    • 41 Metascore
    • 40 Keith Phipps
    Stupidity has worked for the Wayans brothers in the past, but White Chicks will likely test the patience of even their most loyal fans.
    • 30 Metascore
    • 40 Keith Phipps
    It's an undistinguished effort in which none of the actors distinguish themselves.
    • 32 Metascore
    • 40 Keith Phipps
    By the time Arnott's whining monologues begin to number in the dozens, the notion of a swift apocalypse seems like a good idea.
    • 42 Metascore
    • 40 Keith Phipps
    Bay directs Armageddon in a way that seems more concerned with constantly assaulting the senses than anything else, hoping perhaps that the quick cuts and constant explosions will distract from his film's many flaws.
    • 41 Metascore
    • 40 Keith Phipps
    McConaughey is usually a welcome presence, but here, he looks like making the movie was getting in the way of his exciting African adventure.
    • 52 Metascore
    • 40 Keith Phipps
    Nonetheless, the film never amounts to more than the sum of a few good moments, and it leaves the aftertaste of a second-tier X-Files episode.
    • 30 Metascore
    • 40 Keith Phipps
    Fans of the books might enjoy seeing their world brought to life, but most everyone else will likely leave feeling as if they’ve just completed a seminar on vampire lore, and they’re likely to fail any pop quiz that follows.
    • 52 Metascore
    • 40 Keith Phipps
    The story is thrown together in the most perfunctory way possible, and director Steve Miner's ("Friday The 13th Part 3: 3D," "My Father The Hero") idea of a scary moment is having things spookily jump out of the blue.
    • 18 Metascore
    • 40 Keith Phipps
    Writer-director Martin Brest lends the film a professional sheen, and his stars (who some rumors suggest may have become romantically involved) have charisma to spare, but the film has all the charge and momentum of a Paxil ad.
    • 50 Metascore
    • 40 Keith Phipps
    The ick-factor deepens as the story progresses, but the mystery never does.
    • 30 Metascore
    • 40 Keith Phipps
    Marginally watchable-in part because of the odd presence of Dan Aykroyd and Courtney Love-it's ultimately pointless, repetitive and more concerned with appearing offbeat than actually doing anything inventive.
    • 34 Metascore
    • 40 Keith Phipps
    In its absolute commitment to inoffensive, fun-for-the-whole-family entertainment, it's as extreme in its own way as hardcore pornography.
    • 50 Metascore
    • 40 Keith Phipps
    A moralizing thriller so listless that it plays out like a game of mouse and mouse.
    • 46 Metascore
    • 40 Keith Phipps
    Consider that in “Point Blank,” Lee Marvin walks through the film with the look of a man who's lost his soul. You can see it in his eyes. Look in Gibson's eyes in this one and you'll see soullessness, but it doesn't seem to come from anywhere within his character.
    • 46 Metascore
    • 40 Keith Phipps
    Freeman and Judd are fine, as could be expected, but their pairing deserves a better movie -- not one with a cheap twist ending that will easily be spotted by anyone who's studied the complex machinations of any episode of Murder, She Wrote.
    • 54 Metascore
    • 40 Keith Phipps
    It's every bit as silly as it sounds, sillier really.
    • 39 Metascore
    • 40 Keith Phipps
    Pompeii just feels like an excuse to rain digital terror on screaming extras. There’s much to see here, but little to feel, and even less to remember.
    • 47 Metascore
    • 40 Keith Phipps
    Hitchcock's Psycho had a lot more than watchability going for it. Van Sant's film impresses only on the level of a cinematic parlor trick, and while that makes it an interesting curiosity, the world doesn't need it.
    • 31 Metascore
    • 40 Keith Phipps
    Despite an intriguing opening and an overqualified cast, The Lazarus Effect can’t shake a been-there/resurrected-that vibe left over from Flatliners, Pet Sematary, and countless other films stretching back to Frankenstein.
    • 49 Metascore
    • 40 Keith Phipps
    Radford’s pacing, which alternates between “stately” and “deathly,” keeps robbing the film of any momentum, and for every charming moment between the two leads, the film offers annoying bits of overstatement.
    • 49 Metascore
    • 40 Keith Phipps
    Condon seems to hope energetic staging and furrowed brows will compensate for a script that’s essentially an exchange of halfhearted arguments.
    • 46 Metascore
    • 40 Keith Phipps
    Its flat whimsy, VH1-ready musical montage sequences, and less-than-magic magic realism will probably not be enough to hold the attention of all but the most undiscriminating fans of witches and Stockard Channing.
    • 70 Metascore
    • 40 Keith Phipps
    Van Sant's direction is surprisingly static and conventional, which doesn't help this earnest, underwhelming misfire.
    • 46 Metascore
    • 40 Keith Phipps
    It’s hard to care about the fate of characters who never seem particularly alive in the first place.
    • 37 Metascore
    • 40 Keith Phipps
    Weiner might have a great movie in him yet, but Are You Here suggests his true talent lies elsewhere.
    • 49 Metascore
    • 40 Keith Phipps
    Schepisi does nothing inventive visually, and the stars can’t find the humanity beneath Di Pego’s dialogue, generate much romantic chemistry, or make their personal struggles feel like burdens instead of scripted complications they’re destined to overcome before the credits roll.
    • 45 Metascore
    • 40 Keith Phipps
    It almost takes skill to make this cast dull, but the relentlessly tepid film does it anyway, by never getting the characters straight.
    • 53 Metascore
    • 40 Keith Phipps
    Either a radical reinterpretation of the source material or a mammoth failure of nerve. Whichever the case, it makes for a tremendously dull film that gives Witherspoon little to do except pose against a pretty backdrop.
    • 48 Metascore
    • 40 Keith Phipps
    The Judge ultimately plays less like a film than a series of big moments, some of which work well. Downey, Duvall, Farmiga, D’Onofrio, and Thornton aren’t known for making dull choices, and they often dig out nuance where others wouldn’t find it.
    • 39 Metascore
    • 40 Keith Phipps
    While endearing as cartoons, they don't wear flesh well.
    • 33 Metascore
    • 40 Keith Phipps
    Its mad rush to offer shallow takes on every Big American Issue would be offensive if it weren't so misguided. It's almost cute the way Dear Wendy thinks it knows what it's talking about and then just keeps going and going long after it's stopped making sense.
    • 46 Metascore
    • 40 Keith Phipps
    Even when better members of Jaglom's cast make connections, the atmosphere remains one of dull chaos.
    • 63 Metascore
    • 40 Keith Phipps
    Sluggish, laugh-free comedy (or is it an ineffectual drama?).
    • 34 Metascore
    • 40 Keith Phipps
    For twists to work, viewers have to feel like they're being led along, not jerked around, and James Vanderbilt's script eventually devolves into little more than a series of jerks, stopping short only of introducing evil twins and alien interlopers.
    • 29 Metascore
    • 40 Keith Phipps
    It would take a true visionary not to borrow from Alien Vs. Predator's predecessors, but Anderson lifts more than most will consider polite, borrowing to the point where some viewers may wonder whether he simply edited in footage from the old movies (or even, at one point, "Jurassic Park").
    • 46 Metascore
    • 40 Keith Phipps
    It's as if Gordon feared his film's none-too-subtle suggestion that kids should ask questions and decided to provide answers instead, tying up his story with a phony happy ending.
    • 49 Metascore
    • 40 Keith Phipps
    Maddeningly dull. It works on the cerebrum while the rest of the body drifts off to sleep, and the dullness only intensifies as the film goes on.
    • 48 Metascore
    • 40 Keith Phipps
    Unfortunately, Brother Bear doesn't offer much to marvel at beyond its animation.
    • 45 Metascore
    • 40 Keith Phipps
    The film's attempts at meaning do it in. The longer it goes on and the darker it grows, the further it drifts from any kind of human experience, outside of its protagonists' particular flavor of madness.
    • 38 Metascore
    • 40 Keith Phipps
    Sadly, Taking Lives, adapted from a novel by Michael Pye, proves to be one long wallow in elements that have long since had their effectiveness dulled flat.
    • 57 Metascore
    • 40 Keith Phipps
    Though the episodic, low-key action bears a resemblance to Kurosawa's Madadayo -- his little-seen, underrated final film -- neither the characters nor the plot lend it even a hint of dynamism.
    • 27 Metascore
    • 40 Keith Phipps
    McCormack admirably tries to squeeze a lot of real-world messiness into Expecting, but her film’s essential phoniness refuses to make room for it.
    • 37 Metascore
    • 40 Keith Phipps
    Given nothing to do, Carrie-Anne Moss looks on from the sidelines as the film halfheartedly toys with the tired old notion that only a thin line separates the dogged investigator and the compulsive killer. She looks bored, and she should.
    • 56 Metascore
    • 40 Keith Phipps
    As it goes with the TV show, so it goes with the movie, which benefits from being shot largely in Rome and suffers from trying to stretch its sitcom antics to feature length.
    • 48 Metascore
    • 40 Keith Phipps
    The film too often gets bogged down by a rhythmless pace and an overabundance of the kind of wacky physical business better left to experts in a dumber brand of comedy.
    • 35 Metascore
    • 40 Keith Phipps
    The amusements here are mostly of the unintentional kind.
    • 57 Metascore
    • 40 Keith Phipps
    One long tease, not just because it keeps promising sex it doesn't deliver. It teases at deeper themes and cultural commentary.
    • 37 Metascore
    • 40 Keith Phipps
    The Last Party's scattershot approach doesn't linger on any single topic long enough to make a convincing case for any side.
    • 47 Metascore
    • 40 Keith Phipps
    Once the dust clears, it's hard to think of a film saga that's wound down with such a profound anticlimax. It's a whimper in bang's clothing.
    • 55 Metascore
    • 40 Keith Phipps
    Too pretty to dismiss, but too dull to recommend.
    • 35 Metascore
    • 40 Keith Phipps
    Ultimately, the film is the kind of neither-fish-nor-fowl work unlikely to satisfy anyone: There's not enough hot-and-heavy action for thrill-seekers, and not enough substance for those looking for above-the-waistline kicks.
    • 29 Metascore
    • 40 Keith Phipps
    At least Christensen seems to have the right idea: She gives her character a look that's part lust, part thousand-yard stare, and part Machiavelli in tight sweaters and form-fitting skirts. It's not exactly acting, but it's not predictable, either, which makes it stand out all the more.
    • 33 Metascore
    • 40 Keith Phipps
    That points to the problem at Sleepover's heart: It buys into the caste system it ostensibly flouts.
    • 55 Metascore
    • 40 Keith Phipps
    Girotti has no magical powers, but his dementia has a way of coming and going at just the right time to move the story and themes wherever director Ferzan Ozpetek and co-writer Gianni Romoli want them to go.
    • 52 Metascore
    • 40 Keith Phipps
    The issues Decena raises rarely get treated on any but the most superficial of levels, and the flatly realized characters make it difficult to care what becomes of them.
    • 30 Metascore
    • 40 Keith Phipps
    League begins as a smart variation on the summer blockbuster, then loses its nerve in a second half sure to satisfy neither cheap-thrill-seekers nor fans of neglected literary oddities.
    • 31 Metascore
    • 33 Keith Phipps
    Peter Stormare has fun engaging in some Walken-level scenery-chewing-almost literally-as the patriarch of a werewolf clan. Good for him. That means at least one person has found something to like about this tedious collection of wisecracks and hand-me-down monsters.
    • 27 Metascore
    • 33 Keith Phipps
    The original was a tart dipped in acid; this one's a biscuit sprinkled in Splenda.
    • 45 Metascore
    • 33 Keith Phipps
    A lot of The Break-Up doesn't work. Actually, apart from some funny moments between old Swingers sparring partners Favreau and Vaughn, and a nice scene with Jason Bateman as the couple's realtor, virtually none of it works.
    • 32 Metascore
    • 33 Keith Phipps
    It doesn't help that neither Ferrell nor McBride bring their best material, with McBride offering yet another variation on an angry redneck, and Ferrell falling back on Ron Burgundy-like bluster and nonsense exclamations.
    • 28 Metascore
    • 33 Keith Phipps
    It's a horror film better suited for skittish cats than humans.
    • 33 Metascore
    • 33 Keith Phipps
    As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.
    • 41 Metascore
    • 33 Keith Phipps
    Hop
    Candy-coated or otherwise, crap's still crap.
    • 59 Metascore
    • 33 Keith Phipps
    Dredd, a second attempt at making Judge Dredd a movie star, overcorrects, veering in the opposite direction with a dark - literally and otherwise - nearly humorless bit of ultraviolence distinguished largely by a fondness for spurting CGI blood.
    • 26 Metascore
    • 33 Keith Phipps
    As long it sticks to that chase, Babylon A.D. remains a sub-passable lead-footed action film with neat scenery.
    • 35 Metascore
    • 33 Keith Phipps
    Cage has some fun with the role, making Blaze a kind of Zen Elvis with a strange fixation on Carpenters songs, but the film's priorities lie with the digital effects and not the story, and even the effects aren't that hot.
    • 35 Metascore
    • 33 Keith Phipps
    When a film whose cast includes Michael Keaton, Jane Lynch, Fred Armisen, Craig Robinson, Demetri Martin, and the now rarely seen Carol Burnett can’t scare up more than a smattering of laughs, the patient was never meant to live in the first place.
    • 32 Metascore
    • 33 Keith Phipps
    There must be some solid marketing reason for putting out a Christmas movie before the jack o'lanterns have begun to rot, but if so, it's elusive. Couldn't this lump of coal have waited another month?
    • 39 Metascore
    • 33 Keith Phipps
    It's a film for kids who want to know what headaches feel like.
    • 39 Metascore
    • 33 Keith Phipps
    If there's anything sadder than a satire without teeth, it's a thriller without thrills. Even sadder is the rare movie that fails at both genres simultaneously. That, and that alone, makes Man Of The Year exceptional.
    • 45 Metascore
    • 33 Keith Phipps
    It doesn't help that the characters have so little to them. Weston plays Moriarty as such an unfailingly good, temptation-free kid that he only needs a halo floating above his pre-Raphaelite curls to complete the picture.
    • 42 Metascore
    • 33 Keith Phipps
    If director Jaume Collet-Serra (House Of Wax) set out to make a parody of horror-film clichés, he succeeded brilliantly.
    • 54 Metascore
    • 33 Keith Phipps
    This isn’t a movie. It’s a MySpace page.
    • 49 Metascore
    • 33 Keith Phipps
    No one makes it out of this laughless mess unscathed.
    • 42 Metascore
    • 33 Keith Phipps
    Whatever its model, the film is assembled from much poorer material, leftover parts of Lifetime movies and well-meaning indie films seen only on opening nights at some forgotten festival in Tampa.
    • 48 Metascore
    • 33 Keith Phipps
    Even the movie's rubber monsters look tired.
    • 44 Metascore
    • 33 Keith Phipps
    Dunmore creates a memorably grimy London, but the moral grime covering the film proves less memorable.
    • 25 Metascore
    • 33 Keith Phipps
    As for the 3-D, much ballyhooed in the film's advertisements, it's another muddy conversion that does little but make the film's unconvincing blood effects look a little darker. It's good, theoretically at least, to have Craven back. But why come back for this?
    • 56 Metascore
    • 33 Keith Phipps
    Maher's too smart to make a movie this dumb.
    • 45 Metascore
    • 33 Keith Phipps
    So instead of history and drama, we get images, many of them striking but none of them memorable, and noise that deafens until no sense can escape. The events beg for Shakespearean gravity, but the only tragedy here is that so little could be made of so much.
    • 26 Metascore
    • 33 Keith Phipps
    It's seldom a good sign when a Rob Schneider cameo elevates a comedy, but Little Man aims so low and fires so often that it can't miss all the time.
    • 39 Metascore
    • 33 Keith Phipps
    About Piven: When did it go wrong? When did the caustic character actor guaranteed to liven up even the dullest movie turn into a walking black hole of smarm from which no joy can escape?
    • 50 Metascore
    • 33 Keith Phipps
    It's as dull as it is brainless, the work of creators who've spent far more time concocting silly stories about Shakespeare than learning from him.
    • 39 Metascore
    • 30 Keith Phipps
    Yet another comedy that suggests someone should take Martin aside and remind him that he can do better.
    • 33 Metascore
    • 30 Keith Phipps
    The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
    • 26 Metascore
    • 30 Keith Phipps
    Even Neeson can’t rescue this halfhearted shrug of a movie.
    • 32 Metascore
    • 30 Keith Phipps
    When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
    • 29 Metascore
    • 30 Keith Phipps
    It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation."
    • 30 Metascore
    • 30 Keith Phipps
    Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
    • 35 Metascore
    • 30 Keith Phipps
    Neither Grossman’s uninspired staging nor the performances help much.
    • 44 Metascore
    • 30 Keith Phipps
    The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp.
    • 51 Metascore
    • 30 Keith Phipps
    McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.

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