Kenneth Turan
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For 1,865 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 10.9 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Battle of Algiers (re-release)
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,865 movie reviews
    • 53 Metascore
    • 70 Kenneth Turan
    It's a cautionary tale of sorts, but the story is so strange it is often not clear exactly what it's cautioning us against.
    • 54 Metascore
    • 70 Kenneth Turan
    The result inevitably pushes too hard at times and can't help but stray into melodrama, yet the film does an admirable job of transplanting the novel's thoughtful concerns into a fast-moving suspense context.
    • 62 Metascore
    • 70 Kenneth Turan
    Kon-Tiki features a protagonist who was determination itself, a filmmaking style that is square as opposed to cutting edge, and a story that is strong enough to involve us despite its earnest underpinnings.
    • 55 Metascore
    • 70 Kenneth Turan
    A lively, clever, fast-moving film that isn't overly reverential about its subject.
    • 62 Metascore
    • 70 Kenneth Turan
    Black and company throw all kinds of stuff at the audience, and though it doesn't all work, a lot of it does and the attempt to be different and create unguessable twists is always appreciated.
    • 76 Metascore
    • 70 Kenneth Turan
    The Last of the Mohicans comes at you like a tomahawk. Hard, fast and brutal, it slashes at your throat and just about leaves you for dead. Undeniably exciting as this definitely is, however, its impact comes at the expense of some of the gentler virtues, qualities that even top-drawer barn-burners really shouldn't ignore.
    • 78 Metascore
    • 70 Kenneth Turan
    It feels like a blessing to have this production at all and we are fortunate it turned out as well as it did.
    • 63 Metascore
    • 70 Kenneth Turan
    It's fun to see this kind of familiar material done with intelligence and skill.
    • 58 Metascore
    • 70 Kenneth Turan
    The film's formula of following these four from three weeks before the start of things right through the competition is a tried and true one that can't help but have success.
    • 52 Metascore
    • 70 Kenneth Turan
    White House Down is a hoot and a half, a shameless popcorn entertainment that is preposterous and diverting in just about equal measure.
    • 72 Metascore
    • 70 Kenneth Turan
    Though not among Melville's classics, Un Flic is a pleasure to experience.
    • 58 Metascore
    • 70 Kenneth Turan
    As a filmmaker, [Johnston] doesn't always trust his audience as much as he should, opting for overly insistent music and voice-over and withholding information in key areas. But he knew a good story when he saw one, and we can all be grateful for that.
    • 50 Metascore
    • 70 Kenneth Turan
    Trim and effective though Closed Circuit mostly is, it does fall prey to excessive contrivance from time to time, as most thrillers do. But the fact that its fictional premise dovetails nicely with what we've come to know is true is enough to hold us in our seats.
    • 57 Metascore
    • 70 Kenneth Turan
    The less seriously the genial French comedy Populaire takes itself, the more amusing it is. Fortunately, with small exceptions, this film doesn't take itself very seriously at all.
    • 81 Metascore
    • 70 Kenneth Turan
    While the uniqueness of the film's Riyadh setting and the disturbing nature of Wadjda's depictions of life for women behind the Saudi curtain are thoroughly involving, the actual plotline of a 10-year-old girl's determination to own a bicycle can be as standard as it sounds.
    • 68 Metascore
    • 70 Kenneth Turan
    Documentaries by their nature are prisoners of their moment in time. If they are fortunate, as the makers of Red Obsession are, that moment, even if it's brief, will be able to hold our interest.
    • 75 Metascore
    • 70 Kenneth Turan
    Though one enjoys and appreciates Rush for what it is, it does not thrill the blood the way we have the right to expect a film like this to do.
    • 72 Metascore
    • 70 Kenneth Turan
    Wolf Children is rather an odd story, told in a one-of-a-kind style that feels equal parts sentimental, somber and strange.
    • 65 Metascore
    • 70 Kenneth Turan
    What raises this film to a more interesting level is that in addition to the food, each segment presents a personal drama that extends beyond the table.
    • 51 Metascore
    • 70 Kenneth Turan
    Its strong special effects make its simulated battles effective and, echoing the book, its story line touches on a number of intriguing issues.
    • 81 Metascore
    • 70 Kenneth Turan
    An involving portrait of what's called "one of the world's most powerful knowledge-producing institutions" and an examination on how that institution is coping with a significant financial crisis.
    • 76 Metascore
    • 70 Kenneth Turan
    Dench is not the only reason to see this unapologetic crowd-pleaser, but she is the best one.
    • 60 Metascore
    • 70 Kenneth Turan
    It is the incendiary work of British actors Idris Elba and Naomie Harris as the couple in question that elevates our involvement in this authorized film version of Nelson Mandela's autobiography.
    • 65 Metascore
    • 70 Kenneth Turan
    Saving Mr. Banks does not strictly hew to the historical record where the eventual resolution of this conflict is concerned, but it is easy to accept this fictionalizing as part of the price to be paid for Thompson's engaging performance.
    • 54 Metascore
    • 70 Kenneth Turan
    Stiller's sensibility creates a movie that's smarter than you think it will be.
    • 56 Metascore
    • 70 Kenneth Turan
    Non-Stop is a crisp, efficient thriller that benefits greatly from the intangibles Neeson can be counted on to supply.
    • 57 Metascore
    • 70 Kenneth Turan
    With performers this engaging, we never want to stop watching, even as events go from grim to grimmer over four long and bitter years.
    • 42 Metascore
    • 70 Kenneth Turan
    An ambitious and provocative piece of work that is intriguingly balanced between being a warning and a celebration.
    • 56 Metascore
    • 70 Kenneth Turan
    You can see the stuff Million Dollar Arm throws at you from miles away, but that doesn't stop this baseball movie from being genially enjoyable.
    • 65 Metascore
    • 70 Kenneth Turan
    Not particularly nuanced or fine-tuned, The Client, like its source material, is both gimmicky and involving, a fast-moving comic-book version of a comic-book novel. And while Schumacher has not been known as an actor's director, The Client is beefed up by a pair of satisfying star performances.
    • 65 Metascore
    • 70 Kenneth Turan
    This film throws an enormous amount of information at us both in terms of original interviews and archival footage from more than 100 sources, but it's too sophisticated to suggest that any one-size-fits-all solution is lurking just over the horizon.
    • 79 Metascore
    • 70 Kenneth Turan
    Lapid's filmmaking skill helps keep us involved, as does Policeman's philosophical underpinnings.
    • 54 Metascore
    • 70 Kenneth Turan
    Eastwood, as always, has simply done things his own way, and the result is a leisurely old-school entertainment with a bit more edge than you may be expecting.
    • 79 Metascore
    • 70 Kenneth Turan
    "Dawn's" vision of masses of intelligent apes swarming the screen as masters of all they survey is even more impressive than it was the last time around and reason enough to see the film all by itself.
    • 48 Metascore
    • 70 Kenneth Turan
    If you ignore the slicker aspects of the dialogue (and with a little effort you mostly can), it's satisfying to find a film that is as innocent and as much visual fun as this one is.
    • 54 Metascore
    • 70 Kenneth Turan
    With its indefinable, almost indescribable combination of whimsy, sentiment and strangeness, "Mood Indigo" (co-written by Gondry and Luc Bossi) will not be to all tastes at all times. But frame for frame, the amount of invention going on here can't be believed unless it's seen.
    • 60 Metascore
    • 70 Kenneth Turan
    Life of Crime has the authentic Leonard snap, crackle and pop.
    • 67 Metascore
    • 70 Kenneth Turan
    This is not great filmmaking, but their story is so involving that it doesn't matter as much as it might.
    • 55 Metascore
    • 70 Kenneth Turan
    Life's a Breeze is a small film with a considerable amount of charm. Comic and idiosyncratic, it takes a warmhearted view toward its protagonists while still seeing them for exactly who they are.
    • 57 Metascore
    • 70 Kenneth Turan
    A tense thriller that also has more on its mind than the familiar genre constraints it operates under.
    • 60 Metascore
    • 70 Kenneth Turan
    This pulpy, energetic film is a fast-moving and entertaining tale.
    • 48 Metascore
    • 70 Kenneth Turan
    However unwieldy the final result, Dobkin and company deserve credit for helping Duvall and Downey create vibrant, dramatic characters that involve the performers in rousing, stem-winder ways.
    • 88 Metascore
    • 70 Kenneth Turan
    Citizenfour is a formidable viewing experience, but it's not necessarily a problem-free film.
    • 72 Metascore
    • 70 Kenneth Turan
    Elements of its plot have the standard quality of a Hallmark production, and the work of some of the film's costars is a bit too on the nose. But, with Moore and Stewart on the case, we feel the presence of something real here, something that can't be shrugged off or ignored.
    • 58 Metascore
    • 70 Kenneth Turan
    As far as conspiracy thrillers go, Pioneer is as paranoid as they come.
    • 71 Metascore
    • 60 Kenneth Turan
    A forced march toward certain disaster, a scenario only passionate believers in predestination are likely to savor.
    • 38 Metascore
    • 60 Kenneth Turan
    The kindest thing that can be said about Sandler's sense of humor is that it's unapologetically juvenile.
    • 38 Metascore
    • 60 Kenneth Turan
    The film sacrifices playfulness and humor to concentrate on a relentless display of elaborate but ho-hum gadgets and gizmos.
    • 48 Metascore
    • 60 Kenneth Turan
    This is a work of excess and passion, an untidy sprawl of a motion picture that is sometimes ragged, occasionally uncertain, but -- and this is what's important -- always warm, accessible and rich in emotional life.
    • 46 Metascore
    • 60 Kenneth Turan
    One overstuffed movie, but it's by no means a turkey.
    • 48 Metascore
    • 60 Kenneth Turan
    The problem with High Crimes, acceptable though it is, is that it's not close to anyone's best work.
    • 59 Metascore
    • 60 Kenneth Turan
    Grainy as it looks in its massive Imax blowup, Mickey's misadventures with water and a broom still have the kind of magic even modern technology can't always manage.
    • 71 Metascore
    • 60 Kenneth Turan
    It's an interesting take, and it always holds our interest, but it's finally too ham-fisted to be a completely winning one.
    • 56 Metascore
    • 60 Kenneth Turan
    The problem with Anna and the King is that it's caught halfway between then and now--- the film tries to throw in notions of cultural relativism and big power imperialism, but can't do without corny shtick.
    • 47 Metascore
    • 60 Kenneth Turan
    So meticulous in its craftsmanship and so earnest in its storytelling that it feels both physically and spiritually airbrushed.
    • 49 Metascore
    • 60 Kenneth Turan
    As a director, Moore is like an energetic puppy who's all over you all at once. You admire his energy, and it's awfully hard to get angry at such high spirits, but you can't help but wish he'd calm down just a bit.
    • 74 Metascore
    • 60 Kenneth Turan
    In its determination to overdo sure-fire material, Billy Elliot becomes as impossible to wholeheartedly embrace as it is to completely reject.
    • 62 Metascore
    • 60 Kenneth Turan
    Those who enjoy the old-fashioned Hollywood pleasure of seeing divergent threads neatly pulled together will be more than satisfied.
    • 52 Metascore
    • 60 Kenneth Turan
    Unashamedly silly, inevitably erratic, it has so much fun sending up the world of exploitation filmmaking that even the most serious film student won't be able to suppress a laugh or two. Maybe even more.
    • 73 Metascore
    • 60 Kenneth Turan
    Comes off as convincing but never compelling. There's a ponderous quality to it, as if it's forever clearing its throat to say something of value that doesn't quite get articulated.
    • 62 Metascore
    • 60 Kenneth Turan
    Even fairy tales could use a bit more substance than this.
    • 65 Metascore
    • 60 Kenneth Turan
    It's a gritty story made in the director's more elegiacal mode, a confusion of style and content that is not in the film's best interests.
    • 48 Metascore
    • 60 Kenneth Turan
    Like the television medium it genially satirizes, EDtv is a grab bag that's both amusing and frustrating.
    • 54 Metascore
    • 60 Kenneth Turan
    While the film glistens a bit now and again, a closer look reveals you've been diverted not by a diamond but by a genuine synthetic zircon.
    • 78 Metascore
    • 60 Kenneth Turan
    Though it has its charms, Monsters, Inc. does not measure up. As a childhood entertainment it is certainly fine, but Pixar's celebrated lure for adults is largely absent.
    • 59 Metascore
    • 60 Kenneth Turan
    Does have a large and capable cast and, in James Foley, a director with a taste for visual flourishes. They all so fell in love with the script by Doug Jung they didn't notice how much a derivative retread it is of superior material like "The Grifters" and even "The Sting."
    • 63 Metascore
    • 60 Kenneth Turan
    What Spy Game turns out to be is the old reliable family car spruced up around the edges in an attempt to convince a new generation of buyers that it's a hot number.
    • 47 Metascore
    • 60 Kenneth Turan
    Light and frothy though all this is, there is an off-putting element to "Josie," and it's what must be the film's world record number of product placements.
    • 59 Metascore
    • 60 Kenneth Turan
    Shyamalan's great gift is the creation of atmosphere, the conjuring of spooky, unseen menace. When he gets around to doing this in Signs, all is well, but it's a tossup as to whether the film offers enough of a payoff considering how long it takes to get where it's going.
    • 45 Metascore
    • 60 Kenneth Turan
    Ends up insisting on pat and overly tidy resolutions that are at variance with the emotional chaos it's nominally attempting to convey. [12 March 1999, Calendar, p.F-1]
    • Los Angeles Times
    • 63 Metascore
    • 60 Kenneth Turan
    The film's scary moments are too monstrous and its happy times have too much idiotic beaming, making the film feel like the illegitimate offspring of "Alien" and "The Absent-Minded Professor."
    • 44 Metascore
    • 60 Kenneth Turan
    As enjoyable as this film is in parts, it's not nearly as successful as a whole. Enormously engaging in its opening segments, it's unable to sustain that good feeling over the long haul.
    • 49 Metascore
    • 60 Kenneth Turan
    What makes the story worthwhile is the candor and personality of the band members.
    • 69 Metascore
    • 60 Kenneth Turan
    This film feels completely haphazard, thrown together without much concern for organizing intelligence.
    • 81 Metascore
    • 60 Kenneth Turan
    A one-trick pony, a movie that has a gift only for making audiences squirm.
    • 61 Metascore
    • 60 Kenneth Turan
    This is a film without a center, a film whose young protagonist should have more texture, more of a compelling voice than she does. Through no real fault of the acting, young Astrid does not compel our attention the way she must if White Oleander is to succeed completely on the screen.
    • 30 Metascore
    • 60 Kenneth Turan
    Chan is still able to project the boyishness and insecurity of the new kid on the block. But even those aren't enough to make Tuxedo a black-tie affair.
    • 55 Metascore
    • 60 Kenneth Turan
    At once too neat and too messy, but films like this are too rare to leave it at that. Ragged but ambitious, it retains a core of genuine emotion -- this picture is doing the best it can, and although that may not be everything, it ought to count for something.
    • 69 Metascore
    • 60 Kenneth Turan
    Exhilarating and frustrating at the same time... the Coens' skill is such that you're not averse to following them anywhere, but every once in a while you can't help wishing they weren't so dead set against throwing the rest of us at least a hint of what's on their minds. [21 Aug 1991]
    • Los Angeles Times
    • 45 Metascore
    • 60 Kenneth Turan
    The movie itself is a live-action cartoon, a fast-moving and cheerfully simplistic 88 minutes of exaggerated action put together with the preteen boy in mind.
    • 58 Metascore
    • 60 Kenneth Turan
    K-19's determination to push hard for self-congratulatory morals and convenient resolutions undercut the film's strengths and make it more conventional.
    • 57 Metascore
    • 60 Kenneth Turan
    Sensitively directed by Ron Shelton and helped by what just might be the best performance of Kurt Russell's career, Dark Blue is as interesting and successful as it can be within its limits, but those limits make this a more generic film than its makers intended.
    • 67 Metascore
    • 60 Kenneth Turan
    A glum and unpleasant experience, caught between what it wants to do and how it has chosen to do it.
    • 62 Metascore
    • 60 Kenneth Turan
    If a concept is to sustain itself over a multipart story, it must make an emotional connection, and this "Reloaded," especially with stars cast for their lack of affect and affinity for blankness, cannot do that.
    • 59 Metascore
    • 60 Kenneth Turan
    While it's futile to pretend that Life Is Beautiful completely triumphs--it's simply too tough a concept to sustain--what is surprising about this unlikely film is that it succeeds as well as it does.
    • 64 Metascore
    • 60 Kenneth Turan
    Like an aging athlete who knows how to husband strength and camouflage weaknesses, it makes the most of what it does well and hopes you won't notice its limitations.
    • 86 Metascore
    • 60 Kenneth Turan
    Even when Griffin has a heart of stone, Tim Robbins is lacking in the knid of ice-cold magnetism that allows a thorough bastard to hold the screen like nobody's business. [10 Apr 1992]
    • Los Angeles Times
    • 94 Metascore
    • 60 Kenneth Turan
    The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities. [14 Oct 1994]
    • Los Angeles Times
    • 79 Metascore
    • 60 Kenneth Turan
    A potent and unexpected mixture of authenticity and flash -- even if this is what happened on the ground, making it worth our time on screen is just beyond the contortionist abilities of even this most acrobatic of films.
    • 65 Metascore
    • 60 Kenneth Turan
    What's surprising about this traditional thriller, moderately successful but not completely satisfying, is exactly how genteel and unsurprising the execution turns out to be.
    • 48 Metascore
    • 60 Kenneth Turan
    Feels out of shape and self-satisfied, as if it knew it didn't have to try very hard.
    • 72 Metascore
    • 60 Kenneth Turan
    There is more to admire in A Beautiful Mind than you might suspect, but less than its creators believe. When the film does succeed, it almost seems to do so despite itself.
    • 28 Metascore
    • 60 Kenneth Turan
    Essentially a late-'90s MTV version of "The Exorcist," a half-serious, half-silly piece of business that keeps us involved despite (or maybe because of) being more than a little overdone.
    • 52 Metascore
    • 60 Kenneth Turan
    Story line and characterization are decidedly old-fashioned, and a curious decision about production design gives this wide-screen cartoon some of the look and feel of a Saturday morning TV cartoon series
    • 59 Metascore
    • 60 Kenneth Turan
    What's on screen is too honest and from the heart to totally dismiss but too slick and contrived to completely embrace. This is a film that cares about genuine emotion but also wants to tame it, to tidy it up and keep it confined to quarters.
    • 52 Metascore
    • 60 Kenneth Turan
    Despite its good intentions, Spirit is more self-conscious and uninspiring from a dramatic point of view than one might have wished. Still, whenever it threatens to get bogged down in earnest dramaturgy, a stirring visual sequence -- rouses us.
    • 48 Metascore
    • 60 Kenneth Turan
    As insistent as it is skillful -- and it is very skillful -- it does all it can to pound you into enjoying yourself. The result is rather like being force-fed a meal of your favorite foods by the Terminator.
    • 60 Metascore
    • 60 Kenneth Turan
    There's no freshness here, no sense of newness or discovery. In its place, there's an earnest desire not to drop the ball, a determination to risk as little as possible in keeping this golden egg from cracking wide open.
    • 48 Metascore
    • 60 Kenneth Turan
    Chomsky deserves a more thoughtful documentary than Power and Terror, and in fact he got it in 1993's "Manufacturing Consent: Noam Chomsky and the Media" --The film's main flaw is the absence of other voices -- From a cinematic point of view, two sides of an issue are always better than one.
    • 60 Metascore
    • 60 Kenneth Turan
    The remarkable things about the new film, adapted by Vicente Leñero and directed by Carlos Carrera, are how smoothly it has been transposed to today's Mexico and how far good acting and skillful directing have gone toward tempering those melodramatic roots.
    • 42 Metascore
    • 60 Kenneth Turan
    The sheer physical presence of these creatures is much more believable and convincing than what can be generously characterized as the film's plot.
    • 50 Metascore
    • 60 Kenneth Turan
    A Perfect Murder begins better than it ends, and the pleasures it offers turn out to be more of a transitory nature.
    • 55 Metascore
    • 60 Kenneth Turan
    There is often not enough space for all these personalities to truly play out. They tend to become types rather than people, representatives of classes and points of view more than individual human beings.
    • 47 Metascore
    • 60 Kenneth Turan
    After a summer of numbing mindlessness, there is something frankly refreshing about a movie that deals even superficially with as significant a figure as the rebellious 16th century theologian Martin Luther, one of the founders of Protestantism and the man who put the reform in the Reformation.
    • 64 Metascore
    • 60 Kenneth Turan
    A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
    • 56 Metascore
    • 60 Kenneth Turan
    Aside from Paltrow's performance, Sylvia is neither a film so spectacular it shouldn't be missed nor something so tepid you have to stay away.
    • 48 Metascore
    • 60 Kenneth Turan
    Does have a satisfying ending and it's nice to see a G-rated film without bathroom humor, but there is too much formula and not enough reason to pay attention here.
    • 55 Metascore
    • 60 Kenneth Turan
    Though it would be dishonest to call this an unqualified success, it would be churlish not to tip the hat to Love Actually's genuine charm.
    • 52 Metascore
    • 60 Kenneth Turan
    Though it has loftier aims, it is in reality strictly a film made by believers for believers. It's like the Discovery Channel version of the Greatest Story Ever Told, an earnest, not particularly distinguished piece of work that has none of the touch of the poet that made Pasolini's "The Gospel According to St. Matthew" such a triumph.
    • 51 Metascore
    • 60 Kenneth Turan
    A film truly geared to the 6-year-old level. If not younger.
    • 82 Metascore
    • 60 Kenneth Turan
    It's a nervy, quasi-documentary scheme that's often successful, perhaps more so than you'd expect for this kind of a hybrid endeavor. But Macdonald's technique eventually turns out to be as distancing as it is involving, paradoxically undercutting the reality as often as it enhances it.
    • 57 Metascore
    • 60 Kenneth Turan
    The film's drawback, and it is a serious one, is that few of its characters wear very well. The more we see them, the less they involve us and hold our interest, a situation not helped by the bombastic, theatrical style of acting a few of the performers have felt free to employ.
    • 40 Metascore
    • 60 Kenneth Turan
    The latest in Hollywood's almost biblical procession of disaster films, Deep Impact tries with moderate success to be more than just the sum of its special effects.
    • 65 Metascore
    • 60 Kenneth Turan
    Robert Redford, who for the first time stars in a movie he's also directed, has taken this soap opera material and treated it like something inscribed on yak vellum by the Dalai Lama.
    • 63 Metascore
    • 60 Kenneth Turan
    What saved "Schindler's List" from this self-conscious nobility was the ambiguity of Oskar Schindler's personality and Spielberg's willingness to treat incendiary material coolly. The lesson he seemed to have learned there, that the strongest stories call for the greatest restraint, is one he has at least partially forgotten here.
    • 48 Metascore
    • 60 Kenneth Turan
    Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
    • 59 Metascore
    • 60 Kenneth Turan
    Though originality is not one of its accomplishments, Anastasia is generally pleasant, serviceable and eager to please.
    • 44 Metascore
    • 60 Kenneth Turan
    This Walking Tall does have the Rock, and that, both physically and metaphorically, is no small thing.
    • 71 Metascore
    • 60 Kenneth Turan
    Mulan has its accomplishments, but unlike the best of Disney's output, it comes off as more manufactured than magical.
    • 33 Metascore
    • 60 Kenneth Turan
    That rare comic book movie that actually feels like a comic book. Which turns out to be mostly, but not entirely, a good thing.
    • 51 Metascore
    • 60 Kenneth Turan
    An acceptable star vehicle, no better or worse than it should be, a well-worn standard diversion that gets the job done without eliciting either howls of fury or paroxysms of delight.
    • 60 Metascore
    • 60 Kenneth Turan
    With its shrewd mixture of paranoia and the paranormal, the way its elaborate mythology combines enigmatic phenomena with potent cabals intent on running the world, The X-Files experience resembles "Twin Peaks" crossed with "The Twilight Zone."
    • 67 Metascore
    • 60 Kenneth Turan
    Genial and entertaining if not notably inspired. But its most interesting aspect turns out to be fantasies of another kind, pipe dreams about the American political system and where it could theoretically be headed.
    • 56 Metascore
    • 60 Kenneth Turan
    Veteran director Roger Spottiswoode has tried to pep the old warhorse up, but the combined inertia of all those pictures over 35 years proves hard to budge.
    • 45 Metascore
    • 60 Kenneth Turan
    Though enlivened by occasional touches, "Smilla's" is like the food at Taco Bell: exotic only to someone who hasn't experienced the real thing.
    • 60 Metascore
    • 60 Kenneth Turan
    Directed in bold, energetic strokes by Taylor Hackford, "Devil" is fine disreputable fun at first, a stylish and watchable hoot. But then its tone changes, the plot goes gimmicky and bombastic speeches about the nature of good and evil clutter the airwaves and confuse the issue.
    • 72 Metascore
    • 60 Kenneth Turan
    As frigid as its name. Burdened with a story of some of the world's least interesting people going through a holiday crisis, director Ang Lee and screenwriter James Schamus get as close as any creative team could to making matters involving, but the task is finally too much for them.
    • 64 Metascore
    • 60 Kenneth Turan
    Yes, it's inventive, yes, it's out-there and audacious, but no, it's not always as funny as those good things would lead you to hope.
    • 43 Metascore
    • 60 Kenneth Turan
    What The Peacemaker doesn't do well, though it tries, is bring much in the way of emotion or character development to the table.
    • 52 Metascore
    • 60 Kenneth Turan
    Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
    • 60 Metascore
    • 60 Kenneth Turan
    Though Overnight seems to be cautioning us about the excesses of filmmaker ego, it isn't always consistent.
    • 65 Metascore
    • 60 Kenneth Turan
    Despite involved acting and Nichols' impeccable professionalism as a director, the end result is, to quote one of the characters, "a bunch of sad strangers photographed beautifully."
    • 48 Metascore
    • 60 Kenneth Turan
    Frustrating though it can be, Spanglish still proves to be as resilient as its characters.
    • 50 Metascore
    • 60 Kenneth Turan
    For the future, the Saint is such an unpleasant and predatory manipulator, it's difficult to root for romance. And when Kilmer's mightily convincing Ice King begins to melt, it's so out of character with what's gone before that its believability is touch and go.
    • 47 Metascore
    • 60 Kenneth Turan
    It's an intriguing film, one of the year's most interesting, but involving as much of it is, it leaves an unsatisfied taste when it's over.
    • 52 Metascore
    • 60 Kenneth Turan
    It would be dishonest to deny that Jade Scorpion has amusing moments, but it never gets better than that and often settles for less.
    • 68 Metascore
    • 60 Kenneth Turan
    We have a right to yawn, but we don't, and Sarah Polley is the reason.
    • 62 Metascore
    • 60 Kenneth Turan
    The film's plot...is more contrived than creditable, motivations are not always clear, and some characters, for instance Kiefer Sutherland as a praise the lord and pass the ammunition Marine, are not very convincingly acted. [11 Dec 1992]
    • Los Angeles Times
    • 77 Metascore
    • 60 Kenneth Turan
    Self-conscious about its heroism with portrayals that lean toward the glib and the professionally uplifting, the film milks our sympathies too readily to be emotionally convincing.
    • 60 Metascore
    • 60 Kenneth Turan
    Strongly acted by a highly competent ensemble.
    • 47 Metascore
    • 60 Kenneth Turan
    Starring Wesley Snipes as the suave Regis, Murder at 1600 is the modern equivalent of the routine B-picture, diverting in a small potatoes kind of way, though its budget and stars are big league.
    • 62 Metascore
    • 60 Kenneth Turan
    Intent as it is on being both artistically and politically involving, The Great Water periodically miscalculates its effects, coming on stronger than it intends.
    • 35 Metascore
    • 60 Kenneth Turan
    A slick piece of summer entertainment that is counting on elaborate special effects to make its derivative, convoluted story line all but irrelevant.
    • 51 Metascore
    • 60 Kenneth Turan
    Though Butcher is appealing, Saint Ralph is anchored by Scott's persuasive work as a model of intelligent decency.
    • 49 Metascore
    • 60 Kenneth Turan
    A typically energetic urban action melodrama, offering car chases, beatings, murders, a dog mauling, attempted arson, frequent double-crosses and pitched street battles worthy of Fallouja.
    • 35 Metascore
    • 60 Kenneth Turan
    Director Paul Anderson, whose last film was "Mortal Kombat," well knows how to build suspense and increase tension. But counterbalancing all of that is Event Horizon's position as a sci-fi splatter film, intent on drenching the screen in blood and gore whenever possible. [15Aug1997 Pg 16]
    • Los Angeles Times
    • 83 Metascore
    • 60 Kenneth Turan
    Corpse Bride has more warmth and appeal than its title would indicate, but it is finally more grotesque than good-humored. And, even at 75 minutes, it feels longer than its content can comfortably support.
    • 64 Metascore
    • 60 Kenneth Turan
    The film's greatest asset and strongest selling point is the former senator from South Dakota himself, thoughtful and articulate at age 83, who talks candidly, even eloquently, about his political career.
    • 72 Metascore
    • 60 Kenneth Turan
    But bearing witness can be a complex thing and in its concern to illuminate Sarajevo is prone to overkill, to trying too hard to squeeze in every troubling wartime incident.
    • 54 Metascore
    • 60 Kenneth Turan
    Oblivious to niceties like subtlety, plausibility and discretion, it rushes heedlessly toward its destination of audience arousal. Like a flood, the impact is undeniable but it's not something everyone will want to get in the way of. [24Jul1996 Pg. F.01]
    • Los Angeles Times
    • 58 Metascore
    • 60 Kenneth Turan
    Directed by Mike Gabriel and Eric Goldberg, Pocahontas is on the formulaic side, a copy that duplicates what its predecessors have done, only a little less adroitly and with a little less style. [16Jun1995 Pg. F.01]
    • Los Angeles Times
    • 68 Metascore
    • 60 Kenneth Turan
    To see this overly schematic movie, is to be made to feel -- inaccurately as it turns out -- that the whole thing is a hopelessly exaggerated fabrication. The taint of the melodramatic techniques used in key segments infects the entire movie and makes us question the truth of a significant historical reality.
    • 58 Metascore
    • 60 Kenneth Turan
    Yet with so much going for it, the film's creators have made the classic Hollywood choice and treated its actresses like flesh-and-blood special effects. If you've got talent like this, or so the theory goes, a coherent story is a luxury that can be dispensed with.
    • 47 Metascore
    • 60 Kenneth Turan
    Not as satisfying as the old and unimproved version. In a zealous attempt to broaden its appeal, the Zorro franchise has drifted from the qualities that made the previous film so successful.
    • 47 Metascore
    • 60 Kenneth Turan
    Plays like the setup for a movie that never materializes. It has all the elements for a successful comedy, but once the premise is presented, the film doesn't know how to deliver on its promise. That doesn't mean there is no fun in "Fun."
    • 66 Metascore
    • 60 Kenneth Turan
    As the only Austen work to be named after its heroine, Emma must have an engaging performance in the title role to succeed at all, and fortunately Gwyneth Paltrow, after a slow start, completely wins us over.
    • 68 Metascore
    • 60 Kenneth Turan
    Though comedy is an intrinsic part of the play, director Zaks has not found a way to translate it effectively on screen.
    • 46 Metascore
    • 60 Kenneth Turan
    While the story plays better on the page than the screen and some of the film's elements work better than others, a proficient Ron Howard version of things is certainly competent if only occasionally thrilling.
    • 72 Metascore
    • 60 Kenneth Turan
    Star Routh's presence and the joys of flight keep Superman Returns alive, but all those missteps dog its heels, holding it back like little touches of Kryptonite in the night.
    • 62 Metascore
    • 60 Kenneth Turan
    This overly derivative motion picture thinks it is doing and saying more than it is. Instead, it ends up as little more than a reasonable facsimile of the real thing, despite a subtle and effective performance by Ben Affleck, of all people.
    • 62 Metascore
    • 60 Kenneth Turan
    Director Taylor Hackford brings an appropriate level of pulpy energy to the telling, and star Kathy Bates... gives a better performance than the film deserves as the grumpy and possibly homicidal title character.
    • 59 Metascore
    • 60 Kenneth Turan
    In a sense it's a shame that Cocaine Cowboys is so obsessed by violence, because the film has interesting points to make.
    • 66 Metascore
    • 60 Kenneth Turan
    Genuinely moving at times, Philadelphia is trying, perhaps too hard, to break America's heart. [22 Dec 1993, p.1]
    • Los Angeles Times
    • 64 Metascore
    • 60 Kenneth Turan
    As sanctimonious as it is sincere, this is a well-meaning picture that is seriously stuck on itself, that can't hide its air of self-satisfaction. [25 Dec 1991]
    • Los Angeles Times
    • 54 Metascore
    • 60 Kenneth Turan
    Despite a weakness for trying to tie things up with melodramatic violence, Singleton remains a fluid filmmaker who works well with actors. He may not be there yet, but he is on the road.
    • 53 Metascore
    • 60 Kenneth Turan
    If The Hudsucker Proxy is a triumph, it is a zombie one. Too cold, too elegant, too perfect, more an exhibit in a cinema museum than a flesh-and-blood film, "Proxy's" highly polished surface leaves barely any space for an audience's emotional connection. [11 Mar 1994, p.1]
    • Los Angeles Times
    • 47 Metascore
    • 60 Kenneth Turan
    Impressive but uninviting, Wyatt Earp is easier to admire from a distance than pull up a chair and enjoy close-up. A self-conscious attempt at epic filmmaking that feels orchestrated as much as directed, it has noticeable virtues but chooses not to wear them lightly. And at three hours plus, it finally encourages audiences to feel as trail weary and exhausted as any of its characters. [24 Jun 1994, p.1]
    • Los Angeles Times
    • 65 Metascore
    • 60 Kenneth Turan
    With characters this alive, it's a pity that no one was able to build a more convincing film around them, instead of leaving everyone more or less out there on their own. [13 May 1994, p.1]
    • Los Angeles Times
    • 48 Metascore
    • 60 Kenneth Turan
    Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]
    • Los Angeles Times
    • 50 Metascore
    • 60 Kenneth Turan
    It is a laconic, enigmatic piece of work, displaying the grace with spoken language that marked "Glengarry Glen Ross" but troublesome in terms of structure and character development.
    • Los Angeles Times
    • 62 Metascore
    • 60 Kenneth Turan
    Better than the fiasco that was "Ocean's Twelve" (how could it not be?) but not as engaging as "Ocean's Eleven."
    • 68 Metascore
    • 60 Kenneth Turan
    Loving and well-intentioned though this film is, it never convinces you that its subject matter merits this kind of idealized, worshipful attention. [09 Oct 1992]
    • Los Angeles Times
    • 56 Metascore
    • 60 Kenneth Turan
    THE Kingdom has some power but not enough sense. A ripped-from-today's-headlines thriller, it wants us to feel as if we're watching something relevant when what's really going on is a slick excuse for efficient mayhem that's not half as smart as it would like to be.
    • 63 Metascore
    • 60 Kenneth Turan
    Things are sporadically troublesome about the film. The story goes in and out of being self-consciously earnest and ponderous, a situation that numerous tight close-ups of people's eyes does nothing to help.
    • 51 Metascore
    • 60 Kenneth Turan
    Ultimately satisfying and successful version of the opening volume of the celebrated "His Dark Materials" trilogy.
    • 61 Metascore
    • 60 Kenneth Turan
    The Kite Runner is a house divided against itself. The Marc Forster-directed version of the Khaled Hosseini novel does one part of the story so well that its success underlines what's lacking in what remains.
    • 59 Metascore
    • 60 Kenneth Turan
    This is a film bound and determined to do whatever it takes to be your Valentine. If it had trusted itself more, it might even have succeeded.
    • 67 Metascore
    • 60 Kenneth Turan
    A sweet and somber film that works hard to overcome its limitations.
    • 62 Metascore
    • 60 Kenneth Turan
    Though Girls Rock! is nothing if not well meaning, it doesn't always feel like the best possible film on the subject.
    • 79 Metascore
    • 60 Kenneth Turan
    Though Iron Man is diverting enough in the comic-book-movie mode, there is one thing it doesn't have, and that is dramatic unity. Unlike the irreducible element that is its namesake, Iron Man the movie is an alloy, a combination of several different and disconnected components that don't manage to unite to make a coherent whole.
    • 72 Metascore
    • 60 Kenneth Turan
    What Surfwise reveals is that the dark side of the surfing doctor was that he could be a terrible tyrant, someone whose controlling, self-centered rigidity limited his children in ways large and small as much as it gave them richer lives.
    • 61 Metascore
    • 60 Kenneth Turan
    The result is solid and efficient, if unadventurous, illustrating both the lure and the limitations of comic book extravaganzas.
    • 70 Metascore
    • 60 Kenneth Turan
    Bardem's performance is so good it tends to mask how lacking much of what surrounds it is.
    • 56 Metascore
    • 60 Kenneth Turan
    Snyder stands revealed here as more of a beginner than a visionary in his uncertain approach to making an on-screen world come alive.
    • 64 Metascore
    • 60 Kenneth Turan
    The two men collaborate so well, in fact, that the real love match of Appaloosa is between the two of them and no one else.
    • 50 Metascore
    • 60 Kenneth Turan
    A brisk and violent action programmer that can't help being unintentionally silly at times.
    • 58 Metascore
    • 60 Kenneth Turan
    A self-satisfied film about insecure people, a quirky and episodic comic drama that squanders its genuine assets and ends up not as special as it tries to be.
    • 44 Metascore
    • 60 Kenneth Turan
    Constrained by the plot of the novel, the film keeps the two lovers apart for quite a spell, robbing the project of the crazy-in-love energy that made "Twilight," the first entry in the series, such a guilty pleasure.
    • 56 Metascore
    • 60 Kenneth Turan
    All this is good as far as it goes, but the problem is the good parts don't last long enough.
    • 46 Metascore
    • 60 Kenneth Turan
    It's hardly a perfect film, not even close, but it is the most entertaining made-for-adults studio movie of the summer, and one of the reasons it works at all is the great skill and commitment Cruise brings to the starring role.
    • 45 Metascore
    • 60 Kenneth Turan
    If you want to see old-fashioned nonstop mayhem with stars so venerable that "The Leathernecks" (and I don't mean Marines) might be an alternative title, reviews are going to be superfluous. If you don't want to go, no review can change your mind.
    • 58 Metascore
    • 60 Kenneth Turan
    Overall, these brief sections, which feature both authors on camera, come off more like self-congratulatory infomercials than they should.
    • 61 Metascore
    • 60 Kenneth Turan
    Secretariat shows no fear of the sentimental, and that's putting it mildly. This is an old-fashioned, super-genteel family movie that opens with an equine quote from the Book of Job and makes ample use of the Edwin Hawkins Singers' gospel song "Oh Happy Day."
    • 56 Metascore
    • 60 Kenneth Turan
    If Leaving is a romantic parable, it is a dark and depressing one, emphasizing not the sensuality of attraction but rather the obsessive side of romantic behavior. This is mad love for sure, and that is not usually a pretty picture.
    • 57 Metascore
    • 60 Kenneth Turan
    Rachel McAdams gives the kind of performance we go to the movies for. The rest of the film isn't always up to her level, but it does provide genial entertainment until it runs out of steam.
    • 76 Metascore
    • 60 Kenneth Turan
    A tragedy devastating to experience can feel generic when transferred to the screen, and that, despite everyone's best intentions and an outstanding performance by Nicole Kidman, is what happens with Rabbit Hole.
    • 72 Metascore
    • 60 Kenneth Turan
    This melding of two cinematic sensibilities, though effective at moments, is finally not as exciting or involving as it we'd like it to be.
    • 39 Metascore
    • 60 Kenneth Turan
    More science-fiction space opera than superhero epic, it works in fits and starts as its disparate parts go in and out of effectiveness, but the professionalism of the production make it watchable in a comic book kind of way.
    • 71 Metascore
    • 60 Kenneth Turan
    It shows promise but finally hits things so hard, both literally and metaphorically, that it's hard not to feel pummeled yourself by the time it's over.
    • 78 Metascore
    • 60 Kenneth Turan
    Drive is a Los Angeles neo-noir, a neon-lit crime story made with lots of visual style. It's a film in love with both traditional noir mythology and ultra-modern violence, a combination that is not ideal.
    • 58 Metascore
    • 60 Kenneth Turan
    Stays remarkably close to its predecessor in all the ways that count.
    • 66 Metascore
    • 60 Kenneth Turan
    The result is that "Spider-Man" goes in and out of focus. This is a film that is memorable in pieces but not as a whole.
    • 50 Metascore
    • 60 Kenneth Turan
    Rude, rowdy and raunchy, The Campaign gleefully skewers the current sad state of American politics. With a target that tempting, it's not surprising that this cynical and funny film hits more often than it misses.
    • 76 Metascore
    • 60 Kenneth Turan
    A solid, often engrossing film that doesn't engage us overall the way Denzel Washington's work does.
    • 55 Metascore
    • 60 Kenneth Turan
    Hitchcock puts major league star power at the service of its peek-behind-closed-doors premise. But whatever that relationship was like in real life, this is one cinematic portrait of a marriage we could have lived without.
    • 69 Metascore
    • 60 Kenneth Turan
    The Underneath doesn't add up. Made with polish and assurance, capably acted and intricately constructed, its overall impact is less than these parts would indicate. It is good but, against all logic, it is not good enough.
    • 44 Metascore
    • 60 Kenneth Turan
    Sometimes sweet, sometimes scary, sometimes sour, Oz the Great and Powerful is a film that doesn't know its own mind. A partially effective jumble whose elements clash rather than cohere, this solid but not spectacular effort stubbornly refuses to catch fire until it's almost too late.
    • 55 Metascore
    • 60 Kenneth Turan
    Going boldly where no one has gone before is not what it used to be. Contentedly settled into a prosperous middle age, the "Star Trek" series now seems more comfortable retracing its own footsteps, carefully offering its horde of fans interludes that aspire to do no more than fit snugly into the patterns of the past.
    • 62 Metascore
    • 60 Kenneth Turan
    42
    Robinson's combination of fortitude, restraint and passion for the game was stunning. You can't help getting caught up in this story, even as you are wishing the telling was sharper than it is.
    • 40 Metascore
    • 60 Kenneth Turan
    It's a solid, efficient comic book movie that is content to provide comic book satisfactions of the action and violence variety.
    • 52 Metascore
    • 60 Kenneth Turan
    For very much like Peter, it has clearly gotten harder for this director to break free of the lure of material things and believe in simple magic. And whatever problems his Hook has, there are none that making the film on half of its budget wouldn't have cured.
    • 35 Metascore
    • 60 Kenneth Turan
    It may be standard-issue stuff, but it looks great and it almost makes you nostalgic for the days when stuntmen reigned supreme and mayhem and computers never knew how much they had in common.
    • 60 Metascore
    • 60 Kenneth Turan
    The Wolverine is an erratic affair, more lumbering than compelling, an ambitious film with its share of effective moments that stubbornly refuses to catch fire.
    • 61 Metascore
    • 60 Kenneth Turan
    Although the pulp energy that Blomkamp brings to this material makes it consistently watchable, the film doesn't feel as singular as we would have hoped.
    • 66 Metascore
    • 60 Kenneth Turan
    Daniels' pulp instincts do lead to vivid sequences...but this is one significant film where less would have been a whole lot more.
    • 49 Metascore
    • 60 Kenneth Turan
    For a disorganized film that has trouble deciding what it's about, When Comedy Went to School can be a lot of fun.
    • 40 Metascore
    • 60 Kenneth Turan
    Salerno, as if he's unsure of what he's got, goes to great lengths to heighten the drama with crisp editing, a strong score, frequent sound effects and snappy visuals.
    • 49 Metascore
    • 60 Kenneth Turan
    Whenever The Fifth Estate leaves the involving one-on-one drama between Assange and Domscheit-Berg, you wish it wouldn't.
    • 71 Metascore
    • 60 Kenneth Turan
    "Breakdown" gets the music right and has the benefit of strong acting, but its unapologetically melodramatic plot has a tendency to throw everything at you but the kitchen sink.
    • 31 Metascore
    • 60 Kenneth Turan
    Because it is fearlessly sincere and not totally successful, Winter's Tale is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures.
    • 48 Metascore
    • 60 Kenneth Turan
    It's an acceptable, play-it-safe version of the first volume in the hugely popular Veronica Roth-written trilogy.
    • 54 Metascore
    • 60 Kenneth Turan
    This is an earnest and way-contrived endeavor that manages, due largely to Costner's efforts, to be genially diverting in a gee-whiz kind of way.
    • 67 Metascore
    • 60 Kenneth Turan
    Though amusing enough to avoid absolutely drowning in schmaltz, it's sad to see a film with potential lose its way in the late innings.
    • 62 Metascore
    • 60 Kenneth Turan
    Even if Dan and Gretta charm each other more than they charm us, the music they make is harder to resist than they are.
    • 44 Metascore
    • 60 Kenneth Turan
    Its story line and performances are no more than serviceable, but those terrible twisters are state of the art.
    • 46 Metascore
    • 60 Kenneth Turan
    If I Stay takes time to find its footing amid miscalculations and awkward moments.
    • 66 Metascore
    • 60 Kenneth Turan
    Stewart acquits himself solidly, though not thrillingly, as a beginning director, doing especially well in the film's involving central section dealing with Bahari's time in prison, where the filmmaking is as compelling as the feature's intentions are admirable.
    • 64 Metascore
    • 60 Kenneth Turan
    Though everyone tries her or his hardest to make it otherwise, this is by definition a place-holder film that exists not so much for itself but to smooth the transition from its hugely successful predecessors to a presumably glorious finale one year hence.
    • 52 Metascore
    • 60 Kenneth Turan
    As with the DeMille ventures, enjoyment here involves managing expectations and not taking things too seriously.
    • 45 Metascore
    • 50 Kenneth Turan
    A movie we might like to buy into if left to our own devices, but that idea is anathema to Turteltaub, intent on pushing us so hard that we end up pushing back.
    • 48 Metascore
    • 50 Kenneth Turan
    It's not the story that's the story here, it' the film' bravura visual look.
    • 49 Metascore
    • 50 Kenneth Turan
    A pleasant enough entertainment raised above its station by the quality of its acting.
    • 34 Metascore
    • 50 Kenneth Turan
    It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
    • 37 Metascore
    • 50 Kenneth Turan
    Wants to be an honest look at the problems that can beset a modern marriage, and be funny at the same time, but it doesn't have the skills or the temperament to pull all that off.
    • 44 Metascore
    • 50 Kenneth Turan
    With its capacity to surprise, the film comes to life when you don't expect it to, in tiny but wonderfully off-center moments.
    • 52 Metascore
    • 50 Kenneth Turan
    This energetic and diverting sports soap opera throws a few head fakes in the direction of an iconoclastic examination of the dark side of professional football.
    • 53 Metascore
    • 50 Kenneth Turan
    Has little to occupy us once its battle scenes recede. One of those goofy movies where devil-may-care Russian soldiers unwind by playing the balalaika far into the night, it takes itself far more seriously than anyone else will be able to manage.
    • 52 Metascore
    • 50 Kenneth Turan
    This single cautionary tale of how drug innocence gives way to woeful, hung-over experience proves to be way too predictable to effectively caution or even involve anyone.
    • 42 Metascore
    • 50 Kenneth Turan
    A reasonably diverting albeit frequently improbable thriller.
    • 38 Metascore
    • 50 Kenneth Turan
    The film's underlying concept is so irredeemably screwy and far-fetched that no amount of fine work can hope to make it convincing.
    • 61 Metascore
    • 50 Kenneth Turan
    The other, unintentional lesson taught here is that it's easier to make a mouse talk than to come up with something interesting for him to say.
    • 47 Metascore
    • 50 Kenneth Turan
    A peppy affair that works in fits and starts but is unable to put its successful moments together in any consistently satisfying way.
    • 73 Metascore
    • 50 Kenneth Turan
    A measured, decorous, at times pat film that manages to be quietly moving because it touches on something real.
    • 49 Metascore
    • 50 Kenneth Turan
    It is Australian Crowe, a previous non-skater, who gives the film's standout performance.
    • 45 Metascore
    • 50 Kenneth Turan
    An ambitious film that aims to examine the human equations behind the abductions. But for all its good intentions, it's not as subtle as it might be, and it's finally pitched too broadly to achieve the level of emotional truth it aims for.
    • 45 Metascore
    • 50 Kenneth Turan
    Passable, moderately diverting dramatic entertainment.
    • 42 Metascore
    • 50 Kenneth Turan
    If Welles was unhappy at the prospect of the human race splitting in two, he probably wouldn't be too crazy with his great-grandson's movie splitting up in pretty much the same way.
    • 62 Metascore
    • 50 Kenneth Turan
    It would be foolish to deny that Unbreakable has scenes that make you jump, but without anything resonant to apply that skill to, the film has no option except squandering its technique.
    • 70 Metascore
    • 50 Kenneth Turan
    Dances on the edge of flat-lining just like the DOAs that are Frank's stock-in-trade.
    • 48 Metascore
    • 50 Kenneth Turan
    Drags its uninspiring action out too long for anyone's good.
    • 76 Metascore
    • 50 Kenneth Turan
    Shallow where it would be meaningful, demanding leaps of faith it has not earned, this film's marriage of arresting technique to empty thinking is not unique, only frustrating.
    • 51 Metascore
    • 50 Kenneth Turan
    Not all it might have been, an oddly old-fashioned film from a director who's usually anything but.
    • 39 Metascore
    • 50 Kenneth Turan
    Though the cast ends up looking good, the film's unwillingness or inability to have things add up hurts everyone's efforts.
    • 58 Metascore
    • 50 Kenneth Turan
    Unfortunately for Man on the Moon, Kaufman is definitely a person more interesting to hear about than to experience, an acquired taste few will be tempted to acquire.
    • 39 Metascore
    • 50 Kenneth Turan
    Though Reign of Fire's concept of a humans-versus-dragons smackdown is a good one, the way it's worked out on screen is more silly than compelling.
    • 61 Metascore
    • 50 Kenneth Turan
    Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
    • 40 Metascore
    • 50 Kenneth Turan
    Began life as a comic book, and screenwriters Ethan Reiff and Cyrus Voris, ever respectful of that lineage, have not allowed the film's dialogue or plot points to rise above their cartoonish origins.
    • 48 Metascore
    • 50 Kenneth Turan
    A practiced piece of Hollywood hokum, way too calculated and contrived, especially for a film that nominally celebrates the chaos and creativity of the 1960s.
    • 75 Metascore
    • 50 Kenneth Turan
    Director Wes Anderson, who also co-wrote the "Royal" script with actor Owen Wilson, unquestionably has one of America's most distinctive filmmaking sensibilities, but that is part of the problem. As my mother used to say, too good is no good.
    • 48 Metascore
    • 50 Kenneth Turan
    If The Core finally has to be classified as a mess, it is an enjoyable one if you're in a throwback mood. After all, a film that comes up with a rare metal called Unobtainium can't be dismissed out of hand.
    • 76 Metascore
    • 50 Kenneth Turan
    A more impartial filmmaker might have understood the need for other voices to balance against all that attitude, might have understood how hungry the film makes us for even a single non-adulatory moment.
    • 44 Metascore
    • 50 Kenneth Turan
    Has to fight to hold our attention and it doesn't always succeed.
    • 47 Metascore
    • 50 Kenneth Turan
    A pleasant diversion, a lightly amusing criminal comedy with a plot so complicated even the people in it can't quite believe what's happening.
    • 47 Metascore
    • 50 Kenneth Turan
    A middling, so-so thriller about a murder investigation on an Army base, it falls to Earth somewhere between failure and success, inconclusive to the end.
    • 49 Metascore
    • 50 Kenneth Turan
    All these intriguing good intentions, however, have largely gone for naught because of a variety of missteps, starting with an increasing implausible plot as well as the fact that Ledger's Harry looks about as likely to pass for an Arab as the Mahdi is to pass for Queen Victoria.
    • 55 Metascore
    • 50 Kenneth Turan
    Neither the script nor the direction nor the acting has been able to make these characters into ones we want to invest ourselves in. The Truth About Charlie is one very busy film, but it's really not going anywhere.
    • 48 Metascore
    • 50 Kenneth Turan
    May make you weep, but not in the way anyone intended. Handsomely made, well-meaning but finally frustrating and unsatisfying, this perplexing film is an example of a previously unseen hybrid, the socially conscious, humanitarian action movie. It doesn't appear to be a genre with much of a future.
    • 41 Metascore
    • 50 Kenneth Turan
    Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
    • 55 Metascore
    • 50 Kenneth Turan
    Its heart is so much in the right place it is difficult to get really peeved at it.
    • 49 Metascore
    • 50 Kenneth Turan
    With preposterously convoluted plot twists, not even Grant is enough to make us smile all the way through the end.
    • Los Angeles Times
    • 48 Metascore
    • 50 Kenneth Turan
    xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
    • 48 Metascore
    • 50 Kenneth Turan
    A shrewd, pulpy crowd-pleaser.
    • 48 Metascore
    • 50 Kenneth Turan
    Intermittently appealing movie romance.
    • 35 Metascore
    • 50 Kenneth Turan
    Simultaneously jokey and scary, sentimental and ruthless, tediously everyday and grotesquely out of the ordinary.
    • 49 Metascore
    • 50 Kenneth Turan
    It's well crafted by director Michael Hoffman, not painful to sit through, and even contains some 21st century plot twists -- But unless you have a predisposition toward this kind of thing, none of that is going to matter much.
    • 50 Metascore
    • 50 Kenneth Turan
    Has trouble seeming real. Its back story, involving the sins of Detective LaMarca's own father, feels contrived and the eventual resolution is simultaneously shaky and too pat.
    • 50 Metascore
    • 50 Kenneth Turan
    It's the angriest film an unfailingly angry filmmaker has yet made, skewering almost everyone in it, both black and white.
    • 52 Metascore
    • 50 Kenneth Turan
    Though what he does here pretty much defines coasting, Nicholson just fooling around adds an energy to even the kind of hopelessly contrived material that lets you know that the lowest common denominator just got lower.
    • 69 Metascore
    • 50 Kenneth Turan
    Its warped, disconnected sensibility makes for an oddly distant piece of work.
    • Los Angeles Times
    • 41 Metascore
    • 50 Kenneth Turan
    Though audiences will leave theaters with an increased appreciation of this pair's talents, they will also leave pondering the perennial Hollywood question: How come so little of interest could be found for performers who are capable of so much more?
    • 59 Metascore
    • 50 Kenneth Turan
    Guilty of squandering resources. Amusing as it goes about setting up its premise, in Witherspoon, the gifted veteran of "Election" and "Pleasantville," it has an actress willing to throw herself completely into the part to excellent effect.
    • 57 Metascore
    • 50 Kenneth Turan
    Certainly acceptable. But no one seeing it is going to feel as spooked as executive producer Roy Lee. To make an audience feel that intensely, you need a different kind of director and a different kind of film.
    • 48 Metascore
    • 50 Kenneth Turan
    A pleasure to look at. It's filled with fine, imaginative moves and an overarching sense of visual freedom, a feeling of play that entices us into enjoyment. But, when it comes to dialogue and story, this Sinbad apparently used up all its initiative changing its hero's ethnicity to generic Greco-Roman.
    • 52 Metascore
    • 50 Kenneth Turan
    A potato chip of a movie. Tasty and lightweight, it's fine for a cinematic snack, if that's what you're looking for. Making it an entire meal, however, really isn't advisable.
    • 49 Metascore
    • 50 Kenneth Turan
    The film's plot gets so convoluted no nongamer older than 14 will be able to follow it all.
    • 62 Metascore
    • 50 Kenneth Turan
    For all its surface verisimilitude and for all its focus on a problem that couldn't be more current, this film can't manage to feel more than sporadically real.
    • 43 Metascore
    • 50 Kenneth Turan
    As (DiCaprio's) character heads for The Beach's predictable heart of darkness denouement, only die-hard fans will have the heart to tag along.
    • 61 Metascore
    • 50 Kenneth Turan
    This is a chance to see Shakespeare with mud wrestling, something the Bard surely would have put in if only he'd thought of it himself… Though the actors have no major problems handling the language, the whole venture is listless when it should be sparkling. Shakespeare, even with mud wrestling, needn't be quite so much of a slog. [14 May 1999, Calendar, p.F-6]
    • Los Angeles Times
    • 34 Metascore
    • 50 Kenneth Turan
    So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
    • 51 Metascore
    • 50 Kenneth Turan
    While the new film is certainly serviceable, it's noticeably lacking in warmth and humor, and though its visual strengths are real and considerable, from a dramatic point of view it's ponderous and plodding.
    • 53 Metascore
    • 50 Kenneth Turan
    Only a teenage boy could find this kind of stuff continually diverting, and only a teenage boy would not notice flimsy emotions and underdeveloped acting. It seems George Lucas, like Peter Pan, has never really grown up.
    • 80 Metascore
    • 50 Kenneth Turan
    Paradoxically, it is Shawshank's zealousness in trying to cast a rosy glow over the prison experience that makes us feel we're doing harder time than the folks inside. [23 Sept 1994]
    • Los Angeles Times
    • 42 Metascore
    • 50 Kenneth Turan
    Unfortunately, Garner doesn't have as much screen time as her prominence in the advertising would indicate: Daredevil has a hard time staying alive when she's not on the scene.
    • 58 Metascore
    • 50 Kenneth Turan
    It has the awkwardness that characterizes many first features and, as befits a culture that does not always prize refinement, some of its performances and situations are not as subtle as they should be.
    • 45 Metascore
    • 50 Kenneth Turan
    Though the film's second half has some good action moments, it never fulfills the promise of its earliest scenes.
    • 57 Metascore
    • 50 Kenneth Turan
    Creepy and grotesque rather than terrifying. It's more distasteful than anything stronger, a sour bottle of a celebrated vintage that a gourmet like Lecter wouldn't hesitate to send back with the sommelier.
    • 68 Metascore
    • 50 Kenneth Turan
    All the imagination and effort (including 18 months of pre-production) that went into making the dinosaurs state-of-the-art exciting apparently left no time to make the people similarly believable or involving. In fact, when the big guys leave the screen, you'll be tempted to leave the theater with them. [11 June 1993, Calendar, p.F-1]
    • Los Angeles Times
    • 86 Metascore
    • 50 Kenneth Turan
    You can't have Rushmore without Max, and though Anderson obviously planned it this way, the kid is finally too off-putting to tolerate.
    • 52 Metascore
    • 50 Kenneth Turan
    A blithe and unapologetic fairy tale about affairs of the heart, it's a spun-sugar confection that's so light and airy it threatens to simply float away.
    • 62 Metascore
    • 50 Kenneth Turan
    The only thing that won't make you laugh, unless you've got a 12-year-old's sense of humor, is the film's tireless parade of gross-out gags and scatological verbal jests. Myers gets a charge out of this material--it wouldn't be here if he didn't--but so much of it is so tedious it's difficult to believe an adult actually sat down and wrote it.

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