For 49 reviews, this critic has graded:
  • 57% higher than the average critic
  • 0% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 10.5 points higher than other critics. (0-100 point scale)

Ken Tucker's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 War of the Worlds
Lowest review score: 30 Bewitched
Score distribution:
  1. Positive: 34 out of 49
  2. Negative: 3 out of 49
49 movie reviews
    • 74 Metascore
    • 100 Ken Tucker
    The visually stunning Sin City has grit to spare and a thrilling undercurrent of morality.
    • 73 Metascore
    • 100 Ken Tucker
    Steven Spielberg's War of the Worlds is huge and scary, moving and funny--another capper to a career that seems like an unending succession of captivations.
    • 87 Metascore
    • 90 Ken Tucker
    The remarkable thing director Ang Lee has done is to have made a film that remains firmly in the Western genre while never retreating from its portrayal of a tragic love story.
    • 80 Metascore
    • 90 Ken Tucker
    In the best moments of Howl's Moving Castle and in his extraordinary body of work, Miyazaki teaches his viewers more valuable lessons.
    • 74 Metascore
    • 90 Ken Tucker
    Stunning, explosively moving.
    • 79 Metascore
    • 90 Ken Tucker
    Murray's performance is at once enormously generous and fiercely, concisely witty.
    • 82 Metascore
    • 90 Ken Tucker
    Ralph Fiennes gives one of the year's subtlest, yet most exciting, screen performances.
    • 76 Metascore
    • 90 Ken Tucker
    A film that transcends its obvious timeliness to say some elemental things about personal loyalty and institutional betrayal.
    • 76 Metascore
    • 90 Ken Tucker
    When this long movie is over, all you want to do is clap and weep and watch it all over again immediately.
    • 77 Metascore
    • 90 Ken Tucker
    The result is an admirably bumpy ride of a biopic, a rare one that leaves you feeling not safe but bracingly unsettled.
    • 69 Metascore
    • 80 Ken Tucker
    It's a film you won't stop thinking about, arguing over, debating, after the lights come up.
    • 81 Metascore
    • 80 Ken Tucker
    I'd like to hear from some women about the sole scene I didn't buy--Bello getting angry, then super-turned-on when she learns about her calm Tom's tough-guy origins--but otherwise, A History of Violence is a remarkably convincing examination of heroism, hero worship, and the seductive allure of villainy.
    • 64 Metascore
    • 80 Ken Tucker
    Delightful, insightful documentary.
    • 50 Metascore
    • 80 Ken Tucker
    Reeves has confidently entered his self-parodic period. You’ll enjoy his wry post-Matrix murmurs and squinty stares.
    • 78 Metascore
    • 80 Ken Tucker
    Half-amazing, half-ridiculous, thoroughly exhilarating.
    • 82 Metascore
    • 80 Ken Tucker
    The most blessedly traditional sort of documentary. It follows the twisty, complicated rise and fall of Enron in steady, chronological order, from the mid-eighties to the present.
    • 55 Metascore
    • 80 Ken Tucker
    A cool summer thriller whose laughs don't slow down the suspense.
    • 72 Metascore
    • 80 Ken Tucker
    Gloriously filthy, ramshackle, endearing documentary.
    • 69 Metascore
    • 80 Ken Tucker
    One of the wonderful things about Thumbsucker is that, unlike so many movies in which a character changes in order to propel the plot forward, this one stops to follow up on the consequences of those changes.
    • 74 Metascore
    • 80 Ken Tucker
    A sci-fi saga that manages to be at once stirring and screwball, gut-busting and gut-wrenching, and more fun than you had at any bigger-budget movie this past summer.
    • 60 Metascore
    • 80 Ken Tucker
    When superb craftsmanship, discipline, and risk-taking (toning down Diaz and MacLaine; treating Collette as a desirous leading lady) are applied to accessible, even frivolous material, the results can be deeply pleasurable. In Her Shoes isn’t a masterpiece, but it’s the best Saturday-night movie millions of people are going to go to.
    • 74 Metascore
    • 80 Ken Tucker
    Operates as stealth art: stately, moving, beautifully acted, and urgently subversive to our own status quo.
    • 65 Metascore
    • 80 Ken Tucker
    Closer is marred by some drippy music courtesy of Damien Rice and a small-surprise ending that feels like gimmicky irony. But the film's core idea is compelling.
    • 82 Metascore
    • 70 Ken Tucker
    If only Knightley had a co-star equal to her here: The 1995 edition of Colin Firth, come to think of it, would have been perfect.
    • 57 Metascore
    • 70 Ken Tucker
    Jackson's wonderfully nuanced, witty performance, and a few unexpected plot turns, give Coach Carter a subtext that helps complicate such knee-jerk oversimplifications, redeeming the role with energetic humor and a loose-limbed grace.
    • 54 Metascore
    • 70 Ken Tucker
    It's simply an astringent action flick that uses the wounded sensitivity of Ethan Hawke and Fishburne's witty hauteur to give the shoot-'em-up scenes some juice.
    • 62 Metascore
    • 70 Ken Tucker
    Penn is terrific in his low-key doggedness.
    • 66 Metascore
    • 70 Ken Tucker
    Fortunately, director Ken Kwapis, who's done a lot of briskly unsentimental TV work with young people--"Malcolm in the Middle," most notably--knows how to avoid mawk, keeps the squawk to a minimum, and gets wonderful performances out of at least two of the sisterhood, "Gilmore Girls'" Alexis Bledel as the modest Lena, and America Ferrera ("Real Women Have Curves") as the stubborn Carmen.
    • 87 Metascore
    • 70 Ken Tucker
    A pungent delight.
    • 62 Metascore
    • 70 Ken Tucker
    Danes gives a marvelously quiet, poignant performance.
    • 71 Metascore
    • 70 Ken Tucker
    The terseness of a thriller, the clarity of a documentary, and a mixture of high drama and low humor.
    • 39 Metascore
    • 70 Ken Tucker
    As one of the few movies around not pushing state-of-the-art animation or Jude Law, Alexander is a damn good date movie.
    • 81 Metascore
    • 70 Ken Tucker
    May be at once too gimmicky and too sincere. But it still exerts an uncanny power: Like the best of Almodóvar’s work, it throws you a first-love sucker punch that will stagger your heart, mind, and soul.
    • 58 Metascore
    • 70 Ken Tucker
    So fizzy it nearly fizzles out.
    • 88 Metascore
    • 60 Ken Tucker
    Aside from yet another solid performance from Catherine Keener-playing a Harper Lee just preparing to publish "To Kill a Mockingbird," and here to act as Capote's unheeded moral conscience-that's the ONLY reason to see Capote.
    • 72 Metascore
    • 60 Ken Tucker
    It turns out that Charlie and the Chocolate Factory is half goofy-great, and half just a goof.
    • 80 Metascore
    • 60 Ken Tucker
    Clooney may be a specialist in embattled camaraderie--he helped revive "Ocean's Eleven," after all--but as in that caper remake, there's no depth to these characterizations, and Downey and Clarkson are squandered in a goes-nowhere subplot about their secret marriage.
    • 58 Metascore
    • 60 Ken Tucker
    As a result, Jarhead is utterly predictable (boys endure tough training; boys encounter another culture and are baffled), studded with first-rate performances.
    • 72 Metascore
    • 60 Ken Tucker
    There are too many musical performances in this movie, even for a country fan such as myself, to keep the city slickers engaged. This bespeaks great faith in the charisma of the stars, who merit it. They also, however, deserved a better script.
    • 54 Metascore
    • 50 Ken Tucker
    When are we going to get a generation of actors who will finally decline to succumb to The Woody Mystique, and refuse to accept a proffered role without first deciding whether the entire damn project is worthwhile?
    • 68 Metascore
    • 50 Ken Tucker
    Lucas is a brilliant technician but a poor philosopher, and his lurchingly thought-out rendering of futuristic politics prevents the entire series from achieving the greatness to which it aspires. (You don’t make anything this big, for this long, without aiming for the planet Masterpiece.)
    • 70 Metascore
    • 50 Ken Tucker
    Begins, at two-hours-plus, is a nonstarter.
    • 48 Metascore
    • 50 Ken Tucker
    John Travolta finds no artistic breathing-room in A Love Song for Bobby Long.
    • 63 Metascore
    • 50 Ken Tucker
    Penn is mostly in "I Am Sam mode" here, doing a lot of shoe-gazing and mumbly-talk, but not without adding an edge of bitter intelligence to his character; he's just too good an actor to merely repeat himself, even when the material encourages him to.
    • 37 Metascore
    • 40 Ken Tucker
    A hapless comedy that already seems about ten years out of date, Be Cool is a curious failure.
    • 47 Metascore
    • 40 Ken Tucker
    The time shifts are awkward, and Egoyan displays little of the deftness of characterization he evinced in such movies as "Exotica" (1994) and "The Sweet Hereafter" (1997); the result is a cold scold of a movie.
    • 70 Metascore
    • 30 Ken Tucker
    Gunner Palace too often makes the grunts look like mean slackers -- precisely the opposite, one presumes, of what was intended.
    • 53 Metascore
    • 30 Ken Tucker
    Mostly stiff acting and intentionally flat, banal dialogue.
    • 34 Metascore
    • 30 Ken Tucker
    Kidman is stuck in this pomo movie about the making of a TV-show remake. It’s "Being John Malkovich for Morons."