For 1,709 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.4 points higher than other critics. (0-100 point scale)

Ken Fox's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Monastery: Mr. Vig and the Nun
Lowest review score: 0 Superhero Movie
Score distribution:
1709 movie reviews
    • 50 Metascore
    • 50 Ken Fox
    While it does take place over a weekend spent touring Northern California's wine country, writer-director Russell Brown's feature debut isn't exactly a bicurious "Sideways." The characters are less interesting and even less likable, and the only pleasure we can take is in their emotional pain.
    • 49 Metascore
    • 40 Ken Fox
    What begins as an entertainingly contrived lark soon feels like a poorly plotted muddle.
    • 49 Metascore
    • 60 Ken Fox
    Packed with more information than can possibly be digested in a single viewing, the film will be a bracing eye-opener to anyone who hasn't considered the full implications of recent Congressional debates advocating further media deregulation.
    • 49 Metascore
    • 40 Ken Fox
    The movie exists only as a showcase for the animation technology known as hyperReal, a photo-realistic simulation of space, figure and movement that hopes to one day erase the line between animation and live action once and for all.
    • 49 Metascore
    • 60 Ken Fox
    Though "Pulp Fiction" is the obvious point of reference, but this hugely entertaining Mexican crime comedy is actually closer in spirit to "Go," Doug Lyman's underrated 1998 lark.
    • 49 Metascore
    • 50 Ken Fox
    The film's few saving graces include Dickinson's sardonic southern belle; Winger's welcome return to the screen after a five-year absence; and Howard's voice-over readings of Brown's powerful prose, which ultimately saves the film from itself.
    • 49 Metascore
    • 50 Ken Fox
    The result is an inconsistent, incoherent anti-superhero action-adventure comedy.
    • 49 Metascore
    • 50 Ken Fox
    Works better as a look at life among a family of Croatian immigrants in Vienna during the nightmare years of the Balkan conflicts than an exploration of the psychosexual tension between a prostitute and her son.
    • 49 Metascore
    • 50 Ken Fox
    The downside is that many of these characters are hastily sketched and their stories unsatisfactorily developed.
    • 49 Metascore
    • 50 Ken Fox
    The plot itself isn't really strong enough to stand alone. And that leaves the film an essentially conventional whodunit, if one with a rather unconventional sleuth at its center.
    • 49 Metascore
    • 40 Ken Fox
    While the film's erotic symbolism is surprisingly obvious -- all those trains and tunnels! -- it's otherwise bafflingly vague.
    • 49 Metascore
    • 50 Ken Fox
    It took the combined directorial talents of Ivan Passer and Sergei Bodrov to complete this historical epic about the 18th-century attempt to unify the contentious Kazakh tribes into what would become Kazakhstan (no Borat jokes, please), but the result is really little more than an intermittently entertaining.
    • 49 Metascore
    • 60 Ken Fox
    Easily one of the oddest romantic comedies since "My New Gun." It's also one of the most visually inventive, and if its charms very nearly defy description, it's nonetheless irresistible.
    • 49 Metascore
    • 60 Ken Fox
    It's refreshing that there's any moral at all, and that despite its warm and fuzzy trappings, the film floats actual ideas and sprinkles serious questions of ethics and morality atop the usual Hollywood syrup.
    • 49 Metascore
    • 60 Ken Fox
    Good, ghoulish fun.
    • 49 Metascore
    • 40 Ken Fox
    A pastel-pretty and oh-so-dull coming of age tale.
    • 49 Metascore
    • 60 Ken Fox
    Basically a one-joke film, but the joke is a good one.
    • 49 Metascore
    • 60 Ken Fox
    As a treatment of yet another unexplored corner of the Nazi nightmare, the film is revelatory; needless to say it's also heartbreaking.
    • 48 Metascore
    • 50 Ken Fox
    Armstrong is fortunate to have the luminous Blanchett, who, along with her equally fine supporting cast, helps compensate for what the film lacks.
    • 48 Metascore
    • 50 Ken Fox
    It's a testament to both the timelessness and the prescience of Herman Melville's 1853 story "Bartleby, the Scrivener" that it can be so easily updated with so few changes.
    • 48 Metascore
    • 50 Ken Fox
    The film basically follows Moore and Slater's book, but without the details that reveal the strange complexity of the Bush-Rove symbiosis.
    • 48 Metascore
    • 40 Ken Fox
    Neither the appealing cast nor the bouncing, ska-inflected soundtrack can keep the party going.
    • 48 Metascore
    • 60 Ken Fox
    Anyone unfamiliar with Chomsky's work may be unsettled by his unblinking critique of the U.S. policy at a time when patriotism is the order of the day, and while he fails to offer any real solutions, his conscientious perspectives on the questions remain invaluable.
    • 48 Metascore
    • 60 Ken Fox
    John Carlos Frey's tough social drama has a slightly sensationalistic edge, but the disturbing fact is that all too much of his worthy film hews closely to the real-life experiences of undocumented immigrant workers.
    • 48 Metascore
    • 50 Ken Fox
    Actor-turned-director Campbell Scott handles this enigmatic science fiction mystery with such gloomy restraint that it barely moves. That said, it never panders to audience expectations and is exceptionally well acted. Bill Tyler.
    • 75 Metascore
    • 60 Ken Fox
    A fine, straightforward tribute to a sports giant who faced blatant prejudice and paved away for the likes Jackie Robinson, Hank Aaron and other minorities who dared make a place for themselves as heroes of America's greatest pastime.
    • 48 Metascore
    • 50 Ken Fox
    Director Jeff Renfroe and screenwriter Andrew Joiner's flashy psychological thriller wants to say something important about the dangers of a fear-mongering media and resultant ethnic profiling in an age of terrorism, but their warnings are undone by a tricky plot that tries to have it both ways while leaving the audience arguing among themselves as to what it all means.
    • 48 Metascore
    • 60 Ken Fox
    The similarities between this film and Michael Bay's overblown "Armageddon"are too numerous to ignore; the crucial difference is that this one is actually pretty good.
    • 48 Metascore
    • 50 Ken Fox
    Crams more subplots, minor characters and comic situations into 100 minutes than most sitcoms burn through in an entire season. And that's not necessarily a good thing.
    • 48 Metascore
    • 40 Ken Fox
    It's all pretty tasteless, but surprisingly chaste and not very funny.
    • 48 Metascore
    • 50 Ken Fox
    Though many of the risks she takes don't pay off, Elster's film contains a number of stylishly staged set pieces.
    • 48 Metascore
    • 50 Ken Fox
    Cusack makes a half-hearted attempt to connect with Coleman, but chemistry is fatally absent and small wonder: Dennis is a unsettlingly strange creature who could well be from another planet.
    • 48 Metascore
    • 50 Ken Fox
    This is a creditable but disappointingly draggy war epic. It should sizzle like a fuse, but instead plods along with methodical deliberation.
    • 48 Metascore
    • 60 Ken Fox
    More a reflection in a fun-house mirror than a portrait of the artist.
    • 48 Metascore
    • 50 Ken Fox
    This loud, overlong and thoroughly exhausting fantasy, based on Milan Trenc's slim children's book, purports to introduce youngsters to the wonders of New York City's American Museum of Natural History, but in fact aims squarely at hyperactive kids who can't sit still or stand a moment's silence.
    • 48 Metascore
    • 50 Ken Fox
    It shares all the original's shortcomings —--it’s too long and too loud and filled with historical disinformation -- but none of the snap that made "National Treasure" fun for kids and a guilty pleasure for some adults.
    • 47 Metascore
    • 50 Ken Fox
    Well-acted first-feature.
    • 47 Metascore
    • 50 Ken Fox
    In Ducastel's and Martineau's hands all the unpleasantness blows away like a kiss on a soft summer breeze, a light wind that nevertheless leaves a vaguely unpleasant scent in its wake.
    • 47 Metascore
    • 60 Ken Fox
    The film is filled with Miike's brand of imaginatively staged violence and hints of fetish sexuality, but his sadism, which reaches its apotheosis in 2001's sickening "Ichii The Killer", is tempered by a sincere romanticism and a number of lovely touches.
    • 47 Metascore
    • 50 Ken Fox
    Given the serious subject matter, this adaptation of Irish writer Brendan Behan's autobiographical novel is surprisingly light and exceedingly good-natured.
    • 47 Metascore
    • 60 Ken Fox
    Weinstock's trump is Moreau, a natural-born charmer.
    • 47 Metascore
    • 50 Ken Fox
    The group's credo, "Live free, stay high," only confirms your worst suspicions about their real motives. And that makes it hard to feel any nostalgia for the good old days or condemn the members who came to their senses and moved on.
    • 47 Metascore
    • 50 Ken Fox
    In the end, it all remains a dramatically inert set of talking points, and not even the high-caliber cast can make much more out of it.
    • 47 Metascore
    • 50 Ken Fox
    An appealing, if decidedly unconventional, buddy picture that seems to channel "Midnight Cowboy" while going its own quirky way.
    • 47 Metascore
    • 40 Ken Fox
    The first-act crash is admittedly spectacular and the ending adequately suspenseful, but what comes between is disappointingly routine and completely lacks the kind character complexity that made the original a thrill every step of the way.
    • 47 Metascore
    • 60 Ken Fox
    It's a conspiracy theory worthy of "The X-Files."
    • 47 Metascore
    • 40 Ken Fox
    Corny and irritatingly simplistic though this fast-paced biography of 16th-century German religious reformer Martin Luther may be, it's undeniably entertaining.
    • 47 Metascore
    • 60 Ken Fox
    Ten tumultuous years in the history of the gay rights movement serve as the backdrop for this warm, engaging romantic comedy.
    • 47 Metascore
    • 60 Ken Fox
    If it's not an entirely wholesome portrait of the immigrant experience, it's certainly an entertaining one.
    • 47 Metascore
    • 60 Ken Fox
    It's hard to believe that this oddly mesmerizing film, set in large part in the vast subway system that snakes its way through Manhattan and its outer boroughs, wasn't made by a native New Yorker.
    • 47 Metascore
    • 50 Ken Fox
    The humor is mostly visual -- 70s relics like Pong, Shasta and men's platform shoes compete with the sight of Ferrell squeezed into tube socks and short shorts.
    • 47 Metascore
    • 50 Ken Fox
    The beautiful ice-blue landscapes are really the only reason to sit through this rambling and rather silly first feature by writer-director Sue Clayton.
    • 47 Metascore
    • 60 Ken Fox
    It's overtly about provocation, set in a tony Danish suburb where a group of men and women living commune-style in an empty house are discovering their "inner idiots" by pretending to be developmentally challenged.
    • 47 Metascore
    • 40 Ken Fox
    Lame and inane, but a huge hit in Spain.
    • 46 Metascore
    • 60 Ken Fox
    No matter that the setting is one of the most picturesque on the planet: cinematographer Jean-Max Bernard's camera would much rather linger all the skin and muscle Morel contrives to put on display.
    • 46 Metascore
    • 50 Ken Fox
    Harkening back to a time when race relations in New York City were even worse than they seem today.
    • 46 Metascore
    • 40 Ken Fox
    Good intentions can't compensate for crude technique or lack of insight, but Israeli director Dan Wolman's deserves credit for broaching a serious subject.
    • 46 Metascore
    • 60 Ken Fox
    Ryan is raw and remarkably good, but the film's real star is New York. Draped in post-9/11 anxiety and brimming with a free-floating fear, the city hasn't appeared this threatening since the '70s.
    • 46 Metascore
    • 40 Ken Fox
    In the end it's simply another Chucky movie -- whether that's a recommendation or a warning is entirely up to you.
    • 46 Metascore
    • 50 Ken Fox
    Clumsy and amateurish. But it's also occasionally quite charming, and ultimately more commendable for what it ISN'T than worthy of censure for being nothing more than an inconsequential comedy.
    • 46 Metascore
    • 60 Ken Fox
    There are few things as imposing -- or terrifying -- as the sight of the B-52, and the film is beautifully shot with an almost fetishistic passion.
    • 46 Metascore
    • 50 Ken Fox
    Once the excellent Rhys and Corunder are off-screen, the film's overall staginess and the inconsistent work of the supporting cast become glaringly apparent.
    • 46 Metascore
    • 50 Ken Fox
    The film's conceits grow thin and von Trier's mocking, hectoring tone tiresome.
    • 46 Metascore
    • 50 Ken Fox
    What makes the film more interesting than it might have been, however, is the warm relationship between Glenn and Peter.
    • 46 Metascore
    • 60 Ken Fox
    Odd yet thoughtful romantic comedy.
    • 46 Metascore
    • 50 Ken Fox
    Surprisingly, some of the best moments come from supermodel Crawford and singer Connick, two acting tyros not generally known for their dramatic skills.
    • 46 Metascore
    • 60 Ken Fox
    Mehta says it all so articulately and with such good humor.
    • 46 Metascore
    • 60 Ken Fox
    The surprise is how utterly original his (Woodley's) gorgeously mounted curiosity seems.
    • 46 Metascore
    • 40 Ken Fox
    You may give up on Ian Iqbal Rashid's feature debut long before things get interesting, courtesy of a distracting conceit that shatters whatever spell the hackneyed premise might cast.
    • 46 Metascore
    • 60 Ken Fox
    Chock full of personality and irreverent detail.
    • 46 Metascore
    • 60 Ken Fox
    This provocative, at times languid, documentary from German experimental filmmaker Gabriel Baur is something of travelogue through this unexplored frontier, a mixed-up, shook-up borderland where nothing, especially not an individual's gender, should be ever be taken for granted.
    • 46 Metascore
    • 40 Ken Fox
    The best thing about the whole sorry enterprise is the soundtrack, which features choice tunes by Bruce Springsteen, Starsailor and, of course, Parsons himself.
    • 46 Metascore
    • 60 Ken Fox
    Moore's film is unusually sharp looking for this sort of documentary, and comes complete with a nice soundtrack. But most important, it's as comprehensible as any "Dummies" guide, something even non-techies can enjoy.
    • 46 Metascore
    • 50 Ken Fox
    This beautifully shot, 70-minute black-and-white film remains deliberately inconclusive.
    • 45 Metascore
    • 50 Ken Fox
    Unpleasant stuff, and Clark pounces on the material with his usual relish and a discomfiting combination of moralizing and prurience.
    • 45 Metascore
    • 40 Ken Fox
    The film has all the pregnant pauses, exaggerated reaction shots and melodramatic scoring of an overripe telenovela, but, unlike a good soap opera, the sisters' separate story lines are clumsily balanced.
    • 45 Metascore
    • 60 Ken Fox
    Of course, no creepy movie worth its salt would be complete without an appearance by Udo Kier, and Parigi doesn't disappoint: Kier appears as Kenneth's louche, hookah-smoking next-door neighbor and, as always, is a disturbing delight.
    • 45 Metascore
    • 40 Ken Fox
    The script originally began life as a stage play, but still feels underwritten.
    • 45 Metascore
    • 50 Ken Fox
    Fans of 50 Cent, whose own endlessly exploited past keeps him surrounded by Kevlar and bodyguards, will probably see the film for what it is -- a weak, watered roman à clef -- while admirers of Irish director Jim Sheridan (My Left Foot, In America) will marvel that he had anything to do with such a trite variation on the venerable "Star is Born" scenario.
    • 45 Metascore
    • 50 Ken Fox
    The phrase "Everything happens for a reason" is heard more than once, a risibly simplistic cliché that not only stands as this film's hackneyed theme but also as a surprisingly honest confession as to just how calculated the entire film is.
    • 45 Metascore
    • 60 Ken Fox
    Cox, a fifth-generation Mormon whose own story isn't too far from that of Elder Davis, shows how much of Aaron's strength derives directly from his faith, while even the most homophobic of Cox's characters demonstrate a capacity for both charity and, possibly, change.
    • 45 Metascore
    • 40 Ken Fox
    It may be a simple matter of cultural dissonance, or maybe just a bad translation, but it's hard to see why this obnoxious romantic comedy about a lifetime-long relationship between two mischievous adults locked in an ongoing game of "Dares" was such a huge hit in its native France.
    • 45 Metascore
    • 50 Ken Fox
    Lunkheaded but entertaining action flick.
    • 45 Metascore
    • 50 Ken Fox
    It all adds up to an unfortunate misfire: a film at odds with both its source material and itself.
    • 45 Metascore
    • 50 Ken Fox
    Fun for a while, but soon turns grating before ending on a startlingly tragic note.
    • 45 Metascore
    • 60 Ken Fox
    Rather than portraying these girls as one-dimensional victims, Harada offers a complex portrait of teenagers who've learned to make their exploitation work for them.
    • 67 Metascore
    • 60 Ken Fox
    Getting Irving's characteristic blend of quirky comedy and sorrow just right on screen has always been tricky, and writer-director Tod Williams' best efforts aren't enough to make the mix gel.
    • 45 Metascore
    • 50 Ken Fox
    There's nothing particularly original about art-director-turned-filmmaker Ray Yeung's good-natured look at a pair of aging gay men in London, other than the fact that these men happen to be of Chinese descent. Beyond that, it's pretty much gay business as usual.
    • 45 Metascore
    • 40 Ken Fox
    The mystery is terribly plotted and the satirical elements are limited and not very funny.
    • 45 Metascore
    • 60 Ken Fox
    The scene transitions are sometimes jarring, but the story unfolds like a particularly juicy bit of small-town gossip, one that's told by a particularly vivid storyteller.
    • 45 Metascore
    • 40 Ken Fox
    If Jean-Luc Godard at his most Maoist had felt compelled to make adult movies, he might have cooked up something like pop-art punk-porn auteur Bruce LaBruce's slab of revolutionary raunch.
    • 44 Metascore
    • 50 Ken Fox
    Raoul Ruiz's absurdly overwrought phantasmagoria tries to recast the notorious Viennese artist's life as a kind of Divine Comedy: Inferno.
    • 44 Metascore
    • 50 Ken Fox
    Strangest of all, Roman Polanski shows up to torture our heroes with a Paris phone book, then subject them to a full-cavity search. A gratuitous nod to "Chinatown"? Who knows? Who cares?
    • 44 Metascore
    • 50 Ken Fox
    Without any deeper consideration of the matter, the film is a grueling experience, and 90 minutes is simply far too long to spend in the company of Jesse Power.
    • 44 Metascore
    • 40 Ken Fox
    Just because it was written and directed by a woman doesn't mean the title isn't exactly the vulgar double entendre you think.
    • 44 Metascore
    • 50 Ken Fox
    But one can only imagine how different the film might have been with, say, Parker Posey or Catherine Keener -- truly funky actresses with some real edge -- in the lead.
    • 44 Metascore
    • 50 Ken Fox
    Atonal romantic comedy.
    • 44 Metascore
    • 60 Ken Fox
    It's essential viewing for anyone interested in the state of post-Apartheid South Africa.
    • 44 Metascore
    • 50 Ken Fox
    Far too long for a movie so unabashedly formulaic, Sylvain White's drama about a kid from L.A. who discovers the world of "stepping" at an Atlanta university uses a propulsive soundtrack and flashy dance sequences to draw attention away from wooden acting and a cliched plot.
    • 44 Metascore
    • 50 Ken Fox
    The lack of opposing viewpoints soon grows tiresome -- the film feels more like a series of toasts at a testimonial dinner than a documentary.

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