For 1,706 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 3.4 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:
1706 movie reviews
    • 41 Metascore
    • 60 Ken Fox
    The Sisyphean ordeal at the heart of the film strongly recalls Roman Polanksi's 1958 short "Two Men and a Wardrobe," while Lachow's loose, improvisatory approach -- as well as the occasional self-indulgence -- feels more like Henry Jaglom.
    • 40 Metascore
    • 40 Ken Fox
    It begins with a stale Hitler joke and ends with a miraculous quick-save that demonstrates just how poorly the Holocaust is served by the life-affirming requirements of Hollywood features.
    • 40 Metascore
    • 40 Ken Fox
    If your idea of a good time at the movies is watching two grown men go at it with fists and shivs and nasty wilderness booby-traps, then you're in luck.
    • 40 Metascore
    • 50 Ken Fox
    In a film in which the star talks graphically about the size of her vagina and ex-lovers appear as themselves to call her a whore, there might be such a thing as too much honesty.
    • 40 Metascore
    • 50 Ken Fox
    It's a far more interesting film; unfortunately, it's locked inside a maudlin coming-of-age story that barely registers.
    • 40 Metascore
    • 60 Ken Fox
    Ichaso tells Piñero's story through a sometimes disorienting series of flashbacks and flash-forwards, fracturing the time frame to suit the film's internal rhythms, rather than any coherent time line.
    • 40 Metascore
    • 40 Ken Fox
    However stale the material, Lawrence's delivery remains perfect; his great gift is that he can actually trick you into thinking some of this worn-out, pandering palaver is actually funny.
    • 40 Metascore
    • 60 Ken Fox
    It's a beautifully constructed, often disturbing look at a day in the life of several down-at-the-heels denizens of Recife.
    • 40 Metascore
    • 60 Ken Fox
    From the proposed constitutional amendment banning gay marriage and the president's opposition to the morning-after pill to his pandering to fundamentalist family groups, Cho has all things Bush-related in her crosshairs, and she's taking no prisoners.
    • 40 Metascore
    • 60 Ken Fox
    Director Mike Barker has delivered a film that proves there's life left in the old genre yet, and does so with style, intelligence and surprisingly little violence.
    • 40 Metascore
    • 40 Ken Fox
    It's not a total shock when this gay romantic comedy suddenly veers into to heavy S&M, non-consensual sex and suicide.
    • 40 Metascore
    • 50 Ken Fox
    Unfortunately, that imagination flags early in the first sequel to the grisly 2004 sleeper hit, though the bang-up ending nearly makes it all worthwhile and it opens with a set piece worthy of its predecessor.
    • 40 Metascore
    • 50 Ken Fox
    Supremely silly but undeniably fun sequel.
    • 39 Metascore
    • 60 Ken Fox
    Irving's dead-serious sense of spiritual purpose is here replaced with weepy sentiment and saccharine comedy. But knee-deep in syrup, the film manages to stand on its own -- mainly due to a terrific performance from young Smith and a host of winning supporting players.
    • 39 Metascore
    • 40 Ken Fox
    Tierney's so-serious script lacks any trace of humor, which might actually have made this depressing film feel a bit more real.
    • 39 Metascore
    • 50 Ken Fox
    The boys' laddish catchphrase -- "Shut up!" -- is particularly irritating, especially since they never do.
    • 39 Metascore
    • 50 Ken Fox
    They’re baaaaack.
    • 39 Metascore
    • 40 Ken Fox
    There are two stunning battle sequences, and that rose-tinted bloodbath is a stroke of the eccentric genius for which Stone is famous.
    • 39 Metascore
    • 50 Ken Fox
    The general level of mayhem, the sudden transformations that are Plympton's trademark moves and the pervasive irreverence will no doubt delight Plympton's legion of fans; others may find 80 minutes of these shenanigans exhausting.
    • 39 Metascore
    • 50 Ken Fox
    Formulaic film recounts the tumultuous birth of Israel.
    • 38 Metascore
    • 60 Ken Fox
    Totally daft and a lot of fun.
    • 38 Metascore
    • 50 Ken Fox
    Throughout the film, doors slam, windows shatter and poor, battered Betsy wakes up screaming with tiresome regularity; even Sutherland appears bored by it all.
    • 38 Metascore
    • 50 Ken Fox
    In the grand tradition of "Beerfest" and "Bladels of Glory," this insistently ludicrous -- and not entirely unfunny -- two-joke comedy satirizes an old Hollywood standby: the big-comeback sports movie.
    • 38 Metascore
    • 40 Ken Fox
    It's neither romantic nor particularly funny.
    • 38 Metascore
    • 40 Ken Fox
    The film looks great and makes sophisticated use of digital effects.
    • 38 Metascore
    • 50 Ken Fox
    Though stylishly produced, this clumsy parable will probably engender more boredom than sequels.
    • 38 Metascore
    • 40 Ken Fox
    Simply exhausting; it wants to be funny and sad and lighthearted and serious all at once.
    • 38 Metascore
    • 40 Ken Fox
    Not everyone will be comfortable with a story that's as geared toward recruitment as any Army film, be it God's or Uncle Sam's.
    • 37 Metascore
    • 50 Ken Fox
    It's really just "Rocky" in gleaming dress whites.
    • 37 Metascore
    • 60 Ken Fox
    Too many musical montages break the momentum, but overall it's an engaging piece of work, regardless of which team you play for.
    • 37 Metascore
    • 40 Ken Fox
    It's even louder and dumber than the first XXX, but if watching things fall down and go boom in a very big way makes you cheer, you're in luck.
    • 37 Metascore
    • 50 Ken Fox
    This is first Lee's first attempt at a war epic, but it feels like it's his very first film: What should have been an eloquent answer to the likes of John Wayne and Clint Eastwood -- with whom Lee justly took to task over the total absence of any black soldiers in "The Flags Of Our Fathers" -- is instead a patchy war-time drama.
    • 37 Metascore
    • 60 Ken Fox
    Taylor, while perhaps a little small to become a real Vegas showboy, makes for a very charismatic hero, while Joaquin Baca-Asay's cinematography captures all the glitz and slightly tawdry glamour of the Vegas strip.
    • 37 Metascore
    • 40 Ken Fox
    Too bad the film isn't nearly as elastic as the miraculous green goo: It can barely contain all the flubber-induced chaos and still make sense, but the filmmakers don't quit till they've run out of funny things for flubber to do.
    • 36 Metascore
    • 40 Ken Fox
    An uncomfortable go at romantic comedy that belabors the same mistaken-for-gay premise as"In & Out," but without much of that film's charm.
    • 36 Metascore
    • 40 Ken Fox
    The story's rhythm is so bogged down in unnecessary characterization that the film can hardly breathe.
    • 36 Metascore
    • 50 Ken Fox
    The less said about Simpson the better; whatever her talents, she can't sell a simple reaction shot, and, perhaps sensing this, Coolidge's camera tends to drift south of her face.
    • 36 Metascore
    • 50 Ken Fox
    With its thumping soundtrack, absence of body hair and a camera that practically pants over every bulge, curve and crack of the male form, the film is really closer to porn than a serious critique of what's wrong with this increasingly pervasive aspect of gay culture.
    • 36 Metascore
    • 40 Ken Fox
    Davis not only wrote and directed the film but edited it as well, all of which is no mean feat. Too bad she couldn't have lent some of her own gumption and self-assurance to her pathetic heroine.
    • 36 Metascore
    • 60 Ken Fox
    Disco gets its due in this lightweight but entertaining look at the underground dance culture that flourished in New York City throughout the 1970s.
    • 36 Metascore
    • 50 Ken Fox
    The entire movie is one big build-up to a twist that, while not exactly cheating, plays is an awfully cheap trick.
    • 36 Metascore
    • 50 Ken Fox
    Sassone's hit-and-miss ethnic comedy is actually a retelling of Shakespeare's Romeo and Juliet, with the Italian neighborhood of South Yonkers, N.Y., standing in for Verona.
    • 36 Metascore
    • 60 Ken Fox
    Such a compellingly repulsive freak show it's hard to pay attention to any serious concerns.
    • 36 Metascore
    • 50 Ken Fox
    There isn't enough by way of a story here to keep director Rosser Goodman and writer-star Brent Gorksi earnest but lethargic drama about a romantically stalled Angelino from petering out as well, but some decent performances from the likeable cast may be enough to hold your interest.
    • 36 Metascore
    • 50 Ken Fox
    The cast is unusually good for this sort of film, which only makes the poor execution more regrettable.
    • 36 Metascore
    • 60 Ken Fox
    For all the film's cleverness -- and it's often very clever -- it's as thin as its heroine.
    • 36 Metascore
    • 50 Ken Fox
    Swank and Elba work hard for their paychecks, but Rea quite literally phones in his performance.
    • 36 Metascore
    • 50 Ken Fox
    Cameron Diaz is the ideal guy's gal and Ashton Kutcher is, well, a guy. Together, they're a zero.
    • 36 Metascore
    • 50 Ken Fox
    The film is little more than a stylish exercise in revisionism whose point -- we create, then destroy our own monsters in order to assure ourselves we're human -- is no doubt true, but serves as a rather thin moral to such a knowing fable.
    • 36 Metascore
    • 60 Ken Fox
    It's a real shame that the first half hour is a disorganized ramble that risks driving away the film's audience; a little artful editing would have gone a long way to fixing the problem.
    • 36 Metascore
    • 50 Ken Fox
    The film is hardly profound, but the form perfectly fits the content..
    • 36 Metascore
    • 50 Ken Fox
    The film is shamelessly presented by Miramax as "The Project Greenlight Movie," and writer-director Pete Jones's big break may ultimately prove a liability.
    • 36 Metascore
    • 50 Ken Fox
    The trouble is that if you haven't seen the other entries in the cycle, or don't have all the characters committed to memory, you'll have trouble figuring out who anybody is or, in the end, what any of it is supposed to mean.
    • 35 Metascore
    • 40 Ken Fox
    Neither very dark nor particularly funny.
    • 35 Metascore
    • 40 Ken Fox
    As if to prove that light romantic comedy can be just as difficult to stage as Shakespeare, Kenneth Branagh fails at both, simultaneously.
    • 35 Metascore
    • 40 Ken Fox
    The film is a gorgeous nocturne of surprisingly little substance, a sleek advert for youthful anomie that never quite equals the sum of its pretensions.
    • 35 Metascore
    • 40 Ken Fox
    It all amounts to something less than an 80-minute Calvin Klein advertisement.
    • 35 Metascore
    • 50 Ken Fox
    Not much to laugh about -- or shout about for that matter.
    • 35 Metascore
    • 50 Ken Fox
    For all its shocking content, it remains a rather conventional psychological portrait of Oedipal attraction taken to a disturbing extreme.
    • 35 Metascore
    • 40 Ken Fox
    The film is content to relentlessly scream "Boo!" behind the audience's back rather than provide any real thrills.
    • 35 Metascore
    • 50 Ken Fox
    If it were possible for an entire state to sue for defamation of character, Iowa might have a strong case against writer, director and star Matt Farnsworth.
    • 35 Metascore
    • 40 Ken Fox
    And if you can't figure out who [the bad guy] is the minute he first appears, you've either seen too few movies with mind-numbingly predictable plots or you've seen far too many.
    • 35 Metascore
    • 60 Ken Fox
    Meeske does offer insight into a way of life that may be finally gone for good.
    • 35 Metascore
    • 40 Ken Fox
    Well intentioned but unfocused, director John Henry Davis's debut feature tries to tackle two serious subjects at once: maintaining one's faith in a universe that's seemingly without meaning, and the ways in which scripture is used to justify anti-gay violence.
    • 34 Metascore
    • 60 Ken Fox
    Compulsively watchable.
    • 34 Metascore
    • 60 Ken Fox
    The resulting collaboration is a strange beast;
    • 34 Metascore
    • 50 Ken Fox
    The film is at odds with itself, trying to present transgendered characters as resourceful and tough as nails while the plot habitually reduces them to traumatized masochists and helpless victims.
    • 34 Metascore
    • 40 Ken Fox
    While butching up their hero, Moreton and cowriter Dennis Hensley left out one key ingredient: charisma -- for all his macho swagger, the guy's unbearable.
    • 34 Metascore
    • 40 Ken Fox
    A clear, unbiased documentary examining of the UNSCOM debacle would benefit anyone attempting to make sense of the dire situation. This, unfortunately, is not that documentary.
    • 34 Metascore
    • 50 Ken Fox
    The results are only so-so.
    • 34 Metascore
    • 50 Ken Fox
    Isn't nearly as bad as it might have been.
    • 33 Metascore
    • 40 Ken Fox
    It's painfully corny and surprisingly vulgar, but this embarrassing attempt at a father-son heart-warmer just happens to feature two Hollywood legends, and they're both in terrific form.
    • 33 Metascore
    • 40 Ken Fox
    Flashy, "MATRIX"-style action sequences trump ideas; it's hard not to feel you've just watched a feature-length video game with some really heavy back story.
    • 33 Metascore
    • 60 Ken Fox
    The energy is infectious, and while the female empowerment angle is no doubt sincere, the whole up-tempo construction jiggles a bit too much to be taken seriously.
    • 33 Metascore
    • 50 Ken Fox
    A bizarre hybrid between Euro erotic thriller and a parable of Jewish awakening.
    • 33 Metascore
    • 50 Ken Fox
    Romano is no match for his heavy-hitting supporting cast: Next to the seasoned likes of Harden or Rip Torn, who's hilarious as Cole's campaign manager, Romano's presence barely registers. Aside from the charming Tierney, there are no surprises in Mooseport.
    • tbd Metascore
    • 50 Ken Fox
    It's all wonderfully trashy fun, but the good times come to an abrupt halt when the filmmakers, hoping to capitalize on the starlet's sensational death in 1967, cheaply dramatize the car crash that took the lives of Mansfield, her driver, her friend and lawyer, and Choo Choo.
    • 33 Metascore
    • 50 Ken Fox
    The humor is too adult for children and the plot far too childish for most adults; in fact, everything about the film is really too silly to warrant much consideration.
    • 32 Metascore
    • 40 Ken Fox
    In light of the recent plight of real New York City-based filmmaker Micah Garen, who was kidnapped and nearly executed while attempting to make a genuine documentary in Iraq, the whole endeavor seems simply foolish.
    • 32 Metascore
    • 50 Ken Fox
    A stew of silliness that's so ridiculous it's almost entertaining. Almost.
    • 32 Metascore
    • 50 Ken Fox
    Though written by Wes Craven and his son, Jonathan Craven, this is pretty standard stuff: A lot of creeping through dark tunnels with just enough characterization to help you keep track of who's still alive, but not enough gore to really satisfy fans of Aja's bloodbath.
    • 32 Metascore
    • 40 Ken Fox
    With all the glossy sex, you'd be forgiven for thinking Zalman King was directing, except that even King knows you don't need such a ludicrously complicated plot to show pretty people having sex. Each character is so burdened with gratuitous back story that it's exhausting trying to separate the grain from the chaff, until you realize none of it matters at all.
    • 32 Metascore
    • 50 Ken Fox
    Boasts spunk, imagination and a strong performance from Smallville's very talented Sam Jones III.
    • 32 Metascore
    • 40 Ken Fox
    Marred by lack of a clear strategy and an over-reliance on audio-visual trickery.
    • 32 Metascore
    • 40 Ken Fox
    Sticky sweet sentimentality, clumsy plotting and a rosily myopic view of life in the WWII-era Mississippi Delta undermine this adaptation of an unpublished novel by David Armstrong.
    • 32 Metascore
    • 40 Ken Fox
    A cheesy romance tricked up in cheap sanctimony.
    • 32 Metascore
    • 40 Ken Fox
    The year's most eagerly anticipated green-eyed monster finally rears its ugly head, not with his trademark radioactive roar, but a deafening yawn.
    • 32 Metascore
    • 60 Ken Fox
    With scenes that must surely rank among the most revolting ever committed to film.
    • 32 Metascore
    • 50 Ken Fox
    Even worse than its hypocrisy, gratuitous homophobia and cheap proselytizing, the movie is dull.
    • 31 Metascore
    • 40 Ken Fox
    It's hard to care even just a little when you have no idea what's at stake or why, be it Heaven or Hell.
    • 31 Metascore
    • 50 Ken Fox
    A handsomely produced but unintentionally risible film that mistakes high grotesquerie for high gothic.
    • 31 Metascore
    • 40 Ken Fox
    Levinson, who has directed enough films to know better, should recognize a stinker of a script when he smells one: Instead clever laughs he serves up sloppy schtick, dead spots filled with lame ad-libbing and Walken crooning "The Happy Wanderer."
    • 31 Metascore
    • 50 Ken Fox
    Thank God for Brooke Shields: Spitting spite with every remark she hurls at her long-suffering mother, she's a revelation.
    • 31 Metascore
    • 40 Ken Fox
    It's just plain lurid when it isn't downright silly, and that "drunk cam," a blurred, cockeyed lens through which Sonny's soused point-of-view is shown, is just a terrible idea.
    • 31 Metascore
    • 50 Ken Fox
    Still passable popcorn fare, even if you'll barely taste it before swallowing.
    • 31 Metascore
    • 50 Ken Fox
    Andreas' cast and crew, however, have done an admirable job of backing up that hilarious title with an intelligent little film that knows its limitations and makes the most of a shoestring budget.
    • 31 Metascore
    • 50 Ken Fox
    For all its maturity - and nice performances from Johnson and Phoenix - the film winds up dancing around the 500-lb gorilla in the middle of the room rather than facing the pathology of its real subject head-on.
    • 30 Metascore
    • 40 Ken Fox
    "Alien" redux.
    • 29 Metascore
    • 40 Ken Fox
    If you pitch your expectations at an all time low, you could do worse than this oddly cheerful -- but not particularly funny -- body-switching farce.
    • 29 Metascore
    • 40 Ken Fox
    Not since Larry Clark's "Kids" (1995) has the threat of HIV infection been used so gratuitously, driving a narrative that ultimately has nothing to do with the AIDS crisis.

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