Kenneth Turan
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For 1,915 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 10.7 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Lebanon
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
1,915 movie reviews
    • 56 Metascore
    • 70 Kenneth Turan
    Inspired by actual events, Saints and Soldiers benefits by being a small-scale war movie.
    • 58 Metascore
    • 70 Kenneth Turan
    It is only, frankly, the strength of Winslet's performance that rises above conventional surroundings and makes The Reader the experience it should be.
    • 61 Metascore
    • 70 Kenneth Turan
    While many of its elements whet our appetite and make the film well worth seeing, The American doesn't manage to deliver a fully satisfying meal. It's against the film's religion to have us believe too deeply in its characters, and that agnosticism, combined with the plot's sense of predestination, put a noticeable crimp in its grand ambitions.
    • 56 Metascore
    • 70 Kenneth Turan
    Hardwicke has connected so intensely to the Meyer novel that it's hard to imagine anyone else making a better version.
    • 69 Metascore
    • 70 Kenneth Turan
    It seems to be doing everything right but still doesn't manage to leave you with a completely satisfied feeling.
    • 69 Metascore
    • 70 Kenneth Turan
    A serious film with a lot on its mind, is probably the most intelligent treatment of this period we've had.
    • 45 Metascore
    • 70 Kenneth Turan
    A tribute to old-fashioned craftsmanship and skill both on and off the screen, it's as crisp and efficient as its law enforcement protagonists, able to make the best of its traditional genre elements.
    • 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.
    • 52 Metascore
    • 70 Kenneth Turan
    Directed by Olivier Dahan, Isabelle Huppert takes the most familiar type of material and attains impeccable results.
    • 61 Metascore
    • 70 Kenneth Turan
    Stop-Loss is a film that does it right.
    • 68 Metascore
    • 70 Kenneth Turan
    A serious and thoughtful documentary.
    • 88 Metascore
    • 70 Kenneth Turan
    Citizenfour is a formidable viewing experience, but it's not necessarily a problem-free film.
    • 70 Metascore
    • 70 Kenneth Turan
    It is sweet but not saccharine, an intimate film that doesn't stint on the desperation and anxiety that go along with the search for love.
    • 84 Metascore
    • 70 Kenneth Turan
    There's nothing terribly wrong with Milk, it's just that its celebration of a culture and a neighborhood, its valentine to the early days of gay rights activism, is mostly more conventional than compelling.
    • 74 Metascore
    • 70 Kenneth Turan
    An engaging and emotional documentary.
    • 53 Metascore
    • 70 Kenneth Turan
    Perhaps The Heart of Me's greatest success is the way it avoids turning any of its characters into villains. They all act badly at times, but we feel for them just the same; they never lose our sympathy. Weepy or not, that's an accomplishment any kind of film can feel proud of.
    • 61 Metascore
    • 70 Kenneth Turan
    A deeply personal and unexpectedly poetic film.
    • 34 Metascore
    • 70 Kenneth Turan
    10,000 BC is as crazy as it wants to be, plundering the past and other movies with that peculiar Hollywood combination of the earnest and the preposterous that can result in the guiltiest of guilty pleasures.
    • 53 Metascore
    • 70 Kenneth Turan
    Carrying Shooter through its difficulties is, finally, not its crisp action sequences and definitely not the torture. It's Wahlberg's performance, which is the film's most old-fashioned element, and its best.
    • 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.
    • 73 Metascore
    • 70 Kenneth Turan
    Bird has done a stylish and involving job here, turning in an entertaining production that's got considerable visual flair, especially in its action-heavy Imax sections.
    • 75 Metascore
    • 70 Kenneth Turan
    This may sound like a suspect enterprise, a musical gimmick impossible to embrace, but the reality is otherwise. For what the members of this uncanny chorus lack in pure ability they make up for in irrepressible spirits and a desire to simply have fun.
    • 64 Metascore
    • 70 Kenneth Turan
    Though being magical is very much its intention, it never manages to cross the threshold that makes that happen in our hearts.
    • 55 Metascore
    • 70 Kenneth Turan
    In an odd way Pretty Horses has been too faithful to the spirit of this somber, fatalistic, melancholy romance, too much a stubborn ode to stoicism, to light any emotional fires.
    • 67 Metascore
    • 70 Kenneth Turan
    As Pianomania gradually reveals, Knüpfer is able to do this so well because he is as much of a crazed perfectionist as the pianists themselves, maybe even more so.
    • 69 Metascore
    • 70 Kenneth Turan
    Brave simply doesn't feel as much like the Pixar movies we've come to expect.
    • 66 Metascore
    • 70 Kenneth Turan
    Attempts to both explain the situation to audiences and offer some reason to hope for the future. It's an almost impossible task, and though the film does better than anyone might expect, its success is not complete.
    • 72 Metascore
    • 70 Kenneth Turan
    Burton's gifts ensure you won't be able to take your eyes off the screen, but that doesn't necessarily mean you'll be happy with what you're seeing.
    • 82 Metascore
    • 70 Kenneth Turan
    As viewers of his Enron film will testify, Gibney is a scrupulous director, and Taxi to the Dark Side is filled with detailed factual information.
    • 53 Metascore
    • 70 Kenneth Turan
    If you know the name Rezso Kasztner, you won't need any encouragement to see Killing Kasztner: The Jew Who Dealt With Nazis. If you don't, that is even more reason to see this documentary on the strange and compelling life and death of one of the most morally complex figures to come out of the Holocaust.
    • 58 Metascore
    • 70 Kenneth Turan
    For with songs like "You Can Close Your Eyes," "You've Got a Friend" and numerous others on the soundtrack, this is finally a film hard not to enjoy.
    • 55 Metascore
    • 70 Kenneth Turan
    So professionally done you rarely have the luxury of taking your eyes off the screen.
    • 66 Metascore
    • 70 Kenneth Turan
    Captain America is first and foremost an origins story. Almost half of the film's running time elapses before Rogers gets any kind of power at all, and though its elements are awfully familiar, it's the most involving part of the film because it takes advantage of Evans' performance.
    • 64 Metascore
    • 70 Kenneth Turan
    While the anger of Outrage is to be expected, the surprise of the film is how much sadness you take away as well, the sadness of people who feel compelled to pretend to be what they are not.
    • 80 Metascore
    • 70 Kenneth Turan
    Room 237 becomes not a film about "The Shining" or even a film about film. Rather, it is an examination of the nature of obsession, about how we are capable of convincing ourselves — and possibly others — that just about anything might be true.
    • 65 Metascore
    • 70 Kenneth Turan
    Its portrait of the many ways we can complicate our romantic lives may have a few serious moments, but it's intended to go down easy, and that's what it does.
    • 57 Metascore
    • 70 Kenneth Turan
    Beloved is ungainly and hard to follow at times, like the proverbial giant not quite sure how to best use its strength. But that power exists, present and undeniable, and once this film gets its bearings, the unsentimental fierceness of its vision brushes obstacles and quibbles from its path.
    • 59 Metascore
    • 70 Kenneth Turan
    It does move right along and it's enlivened by stronger, more enjoyable acting than this kind of picture usually provides.
    • 51 Metascore
    • 70 Kenneth Turan
    Familiarity and continuity are what the success of this series has always been about. We've been here before, and we like the neighborhood.
    • 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.
    • 60 Metascore
    • 70 Kenneth Turan
    There are hopeful notes here. If you are looking for examples for America's finest hour, it's not our rush to start an optional war but rather that an anti-administration film like this can still be made and still be seen.
    • 65 Metascore
    • 70 Kenneth Turan
    A mildly successful attempt at updating a relic, its appeal depends greatly on an audience's willingness to go along for a familiar ride. [17Nov1995 Pg. F.01]
    • Los Angeles Times
    • 65 Metascore
    • 70 Kenneth Turan
    A slick package all around. Adroitly edited, filled with fine music like Curtis Mayfield's "Pusherman" and more people flashing needles than at a garment worker's convention, this film is less a dispassionate examination than a celebratory infomercial on its central character.
    • 68 Metascore
    • 70 Kenneth Turan
    The most energetic of the prequels, the only one at all worth watching. But that doesn't mean it is without the weaknesses that scuttled its pair of predecessors. Quite the contrary.
    • 83 Metascore
    • 70 Kenneth Turan
    Robert Duvall's performance as a Holy Roller who shakes off his secular life to become a man simply known as “the Apostle” is a masterpiece of emotion.
    • 67 Metascore
    • 70 Kenneth Turan
    Dealing with all these crises and decisions gives Thirteen Days a surprising amount of tension and watchability for a story whose outcome we already know.
    • 45 Metascore
    • 70 Kenneth Turan
    Still effectively creepy and surprisingly unnerving despite the occasional misstep and rumors of a troubled production, the new film illustrates why and how the power of the original story remains undiminished more than half a century after its creation.
    • 55 Metascore
    • 70 Kenneth Turan
    Genially preposterous and pleasantly diverting, it balances calculation against humanity and generally comes out on top.
    • 56 Metascore
    • 70 Kenneth Turan
    An elegant, deliberate film about loneliness and hope, connection and loss.
    • 62 Metascore
    • 70 Kenneth Turan
    Rarest and most impressive of all, Antwone Fisher is a serious drama set in the African American community, one that showcases powerful, confrontational scenes between black actors.
    • 62 Metascore
    • 70 Kenneth Turan
    CSA is rough around the edges, especially where the acting and some of the film's invented characters are concerned. But the way CSA works out its ideas is so provoking that its drawbacks are not difficult to ignore.
    • 77 Metascore
    • 70 Kenneth Turan
    No matter what you've been used to, Idaho is something completely different, a film that manages to confound all expectations, even the ones it sets up itself. [18 Oct 1991]
    • Los Angeles Times
    • 44 Metascore
    • 70 Kenneth Turan
    What results is an intimate, chatty film, both cheeky and thorough, the kind of high-class historical gossip you might get if an eminent Soviet historian like Robert Conquest or Richard Pipes went to work for the National Enquirer.
    • 60 Metascore
    • 70 Kenneth Turan
    What results, against some odds, is an intriguing entertainment. Adjustment Bureau's central concept is certainly ingenious, but the details are a little wonky and don't stand up to too much scrutiny.
    • 59 Metascore
    • 70 Kenneth Turan
    Has noticeable problems with characterization and dialogue. But once that awesome storm, one of the most terrifying ever put on film, gets cranked up, it's hard to remember what those difficulties were, let alone care too much about them.
    • 63 Metascore
    • 70 Kenneth Turan
    Though it is difficult to take Unfaithful as seriously as it takes itself, on its own terms it's quite well done.
    • 78 Metascore
    • 70 Kenneth Turan
    Tarantino's palpable enthusiasm, his unapologietic passion for what he's created, reinvigorates this venerable plot and, mayhem aside, makes it involving for longer than you might suspect. [27 Oct 1992]
    • Los Angeles Times
    • 81 Metascore
    • 70 Kenneth Turan
    Though the film's final break-the-bank action sequence in Venice is worth waiting for, Casino Royale's 2-hour, 24-minute running time is long enough to exhaust all but the series' biggest fans.
    • 67 Metascore
    • 70 Kenneth Turan
    Though this film is as formal and predetermined as a carved palace of ice, it builds interest through the strong performances of its pair of costars, the veteran Catherine Frot and relative newcomer Deborah Francois.
    • 65 Metascore
    • 70 Kenneth Turan
    The skill involved holds us in our seats, the project's inability to transcend its built-in limitations keep it from achieving the kind of overarching impact it is after.
    • 72 Metascore
    • 70 Kenneth Turan
    Brown has expertly captured the exhilarating and terrifying experience of watching surfers attack waves so preposterously large and ridiculously beautiful they defy description.
    • 72 Metascore
    • 70 Kenneth Turan
    Enthusiastically received at Sundance, "Great World" is an intriguing look at our obsession with being successful and famous.
    • 57 Metascore
    • 70 Kenneth Turan
    Always crisp and watchable. But as the film's episodic story gradually reveals itself, it ends up too unconvincing and conventional to consistently hold our attention.
    • 72 Metascore
    • 70 Kenneth Turan
    If Frederick Wiseman's involving new documentary Crazy Horse is any indication, that old rule about how you get to Carnegie Hall - "practice, practice, practice" - applies equally well to that Parisian temple of self-described "nude chic" known to its intimates simply as "Le Crazy."
    • 74 Metascore
    • 70 Kenneth Turan
    Mystifying, intriguing, even infuriating, it shows what happens when an unconventional talent meets straightforward material.
    • Los Angeles Times
    • 84 Metascore
    • 70 Kenneth Turan
    Part of the problem is that Taiwan-born Lee, though he does a more-than-credible job of directing, isn't sharp on the nuances of British behavior.
    • 71 Metascore
    • 70 Kenneth Turan
    Neither flashy nor dishonest, a wizard with restraint, Pearce has a gift for discovering the excitement in honest human behavior, and working from an acute script by Billy Bob Thornton and Tom Epperson, he's able to dramatize the story's essence without forcing the issue.
    • 71 Metascore
    • 70 Kenneth Turan
    An unconventional film about an unconventional man. Part documentary, part expertly staged readings, it focuses on the unquiet life and unforgettable words of screenwriter Dalton Trumbo, someone who, as his son puts it, never had to go looking for trouble because it always came to him.
    • 66 Metascore
    • 70 Kenneth Turan
    Hoffman is so proficient in this role that he just about overmatches Cruise and makes the wait until he speaks again in the second half of the film hard to endure with any patience.
    • 76 Metascore
    • 70 Kenneth Turan
    This is a film with a story we have not seen before, a story about American troops so unusual it needed a German director to ferret it out.
    • 55 Metascore
    • 70 Kenneth Turan
    Surviving Picasso is quite well made and easy enough to watch, but it's not noticeably challenging or involving.
    • 47 Metascore
    • 70 Kenneth Turan
    Blessed with unstoppable energy, an undeniably bawdy sense of fun and Tom Cruise in backless leather pants, it takes songs you may never have loved and turns them into a musical that's easy to enjoy.
    • 66 Metascore
    • 70 Kenneth Turan
    Stumbles in miscalculating how far it needs to go to make this particular romance convincing when, as another romantic comedy character put it, it had us from hello.
    • 65 Metascore
    • 70 Kenneth Turan
    Manages to be both pertinent and dramatically persuasive. Made like it means something (and it does) by first-time writer-director Tanya Hamilton, it demonstrates that social relevance and emotional connection can be compelling fellow travelers.
    • 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.
    • 53 Metascore
    • 70 Kenneth Turan
    A cheerful and smart mock documentary about hairdressing and Hollywood that knows enough not to take itself too seriously.
    • Los Angeles Times
    • 65 Metascore
    • 70 Kenneth Turan
    An unexpectedly emotional, continually disconcerting film.
    • 60 Metascore
    • 70 Kenneth Turan
    Life of Crime has the authentic Leonard snap, crackle and pop.
    • 52 Metascore
    • 70 Kenneth Turan
    Atkinson, somehow managing to be simultaneously delicate and broad, can do things with his face that shouldn't be legal. His delighted and delightful Mr. Pollini is a little taste of comic genius.
    • 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.
    • 56 Metascore
    • 70 Kenneth Turan
    W.
    W. is not a dispassionate biography; it is an interpretation of personality intersecting with history, and as a piece of drama it is persuasive and perfectly creditable.
    • 76 Metascore
    • 70 Kenneth Turan
    With Fassbender's charisma igniting his costar as well as himself, these sparring interchanges, both captivating and entertaining, are where this Jane Eyre finally catches fire.
    • 70 Metascore
    • 70 Kenneth Turan
    Though Training Day doesn't resolve itself as well as it deserves and ends strictly cops-and-robbers style, it's given us some great acting and something to ponder. Not every cop show can lay claim to that.
    • 48 Metascore
    • 70 Kenneth Turan
    Don't look for The Sweeney to win any awards. It's not going to, not even close. But that doesn't stop it from being a briskly involving British crime entertainment of the old school. You've seen the type, and more than once, but the genre still has enough juice to take us for a ride.
    • 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.
    • 45 Metascore
    • 70 Kenneth Turan
    Director Zwick orchestrates everything with welcome gusto, and though the result is not as meaningful as it would have you believe, it is undeniably pleasant to have this kind of production to kick around. [23 Dec 1994]
    • Los Angeles Times
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 60 Kenneth Turan
    A film truly geared to the 6-year-old level. If not younger.
    • 38 Metascore
    • 60 Kenneth Turan
    The kindest thing that can be said about Sandler's sense of humor is that it's unapologetically juvenile.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 60 Kenneth Turan
    As with the DeMille ventures, enjoyment here involves managing expectations and not taking things too seriously.
    • 67 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
    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.
    • 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.
    • 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
    • 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
    • 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.
    • 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.
    • 51 Metascore
    • 60 Kenneth Turan
    Ultimately satisfying and successful version of the opening volume of the celebrated "His Dark Materials" trilogy.
    • 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.
    • 62 Metascore
    • 60 Kenneth Turan
    Even fairy tales could use a bit more substance than this.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Kenneth Turan
    A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 60 Kenneth Turan
    Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 60 Kenneth Turan
    Though Butcher is appealing, Saint Ralph is anchored by Scott's persuasive work as a model of intelligent decency.
    • 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
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 60 Kenneth Turan
    Problematic but involving, Child 44 offers a picture of what individuals did to survive in a world turned upside down. The film's singular premise allows it to survive its various shortcomings, but it is a near-thing.
    • 44 Metascore
    • 60 Kenneth Turan
    Its story line and performances are no more than serviceable, but those terrible twisters are state of the art.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 60 Kenneth Turan
    The uncomfortable reality remains that although this movie is effective moment to moment, very little of it lingers in the mind afterward. The ideal vehicle for our age of immediate sensation and instant gratification, it disappears without a trace almost as soon as it's consumed.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 60 Kenneth Turan
    If I Stay takes time to find its footing amid miscalculations and awkward moments.
    • 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."
    • 59 Metascore
    • 60 Kenneth Turan
    With what we see on screen weighted too much toward pain and too little toward redemption, this is a film we respect more than love, and that is something of a wasted opportunity.
    • 59 Metascore
    • 60 Kenneth Turan
    Though originality is not one of its accomplishments, Anastasia is generally pleasant, serviceable and eager to please.
    • 60 Metascore
    • 60 Kenneth Turan
    Strongly acted by a highly competent ensemble.
    • 49 Metascore
    • 60 Kenneth Turan
    What makes the story worthwhile is the candor and personality of the band members.
    • 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.
    • 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.
    • 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.
    • 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."
    • 67 Metascore
    • 60 Kenneth Turan
    A Wolf at the Door is undoubtedly effective and well-crafted, but its tale of reckless obsession and its inevitably unhappy ending are finally too unsavory for its own good.
    • 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.
    • 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
    • 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.
    • 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."
    • 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.
    • 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
    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
    • 48 Metascore
    • 60 Kenneth Turan
    Feels out of shape and self-satisfied, as if it knew it didn't have to try very hard.
    • 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.
    • 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.
    • 76 Metascore
    • 60 Kenneth Turan
    A solid, often engrossing film that doesn't engage us overall the way Denzel Washington's work does.
    • 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
    • 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.
    • 81 Metascore
    • 60 Kenneth Turan
    A one-trick pony, a movie that has a gift only for making audiences squirm.
    • 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.
    • 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.
    • 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
    • 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.
    • 60 Metascore
    • 60 Kenneth Turan
    Though Overnight seems to be cautioning us about the excesses of filmmaker ego, it isn't always consistent.
    • 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.
    • 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."
    • 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."
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 60 Kenneth Turan
    Like the television medium it genially satirizes, EDtv is a grab bag that's both amusing and frustrating.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Kenneth Turan
    Stays remarkably close to its predecessor in all the ways that count.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 60 Kenneth Turan
    The result is solid and efficient, if unadventurous, illustrating both the lure and the limitations of comic book extravaganzas.
    • 50 Metascore
    • 60 Kenneth Turan
    A brisk and violent action programmer that can't help being unintentionally silly at 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
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 60 Kenneth Turan
    So meticulous in its craftsmanship and so earnest in its storytelling that it feels both physically and spiritually airbrushed.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 60 Kenneth Turan
    One overstuffed movie, but it's by no means a turkey.
    • 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.
    • 68 Metascore
    • 60 Kenneth Turan
    We have a right to yawn, but we don't, and Sarah Polley is the reason.
    • 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.
    • 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
    • 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.
    • 69 Metascore
    • 60 Kenneth Turan
    This film feels completely haphazard, thrown together without much concern for organizing intelligence.
    • 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.
    • 71 Metascore
    • 60 Kenneth Turan
    A forced march toward certain disaster, a scenario only passionate believers in predestination are likely to savor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 60 Kenneth Turan
    Bardem's performance is so good it tends to mask how lacking much of what surrounds it is.
    • 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
    Genuinely moving at times, Philadelphia is trying, perhaps too hard, to break America's heart. [22 Dec 1993, p.1]
    • Los Angeles Times
    • 60 Metascore
    • 60 Kenneth Turan
    Tentpoles are rarely guilty of overreaching, but Tomorrowland has a tendency to feel out of control, a film that is finally more ambitious than accomplished.
    • 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.
    • 44 Metascore
    • 60 Kenneth Turan
    This Walking Tall does have the Rock, and that, both physically and metaphorically, is no small thing.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 60 Kenneth Turan
    A sweet and somber film that works hard to overcome its limitations.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 48 Metascore
    • 60 Kenneth Turan
    Frustrating though it can be, Spanglish still proves to be as resilient as its characters.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Kenneth Turan
    Unfortunately, although Gilliam has always had a taste for the outre, he has allowed it to get out of hand here and swallow the picture whole. There's an excessiveness, an unwelcome too-muchness to "Grimm's" creepy moments.
    • 63 Metascore
    • 50 Kenneth Turan
    Does benefit from Gibson's charisma...Whether it is quite good enough is another question.
    • 48 Metascore
    • 50 Kenneth Turan
    A warmhearted horror show that puts cliched movie people into a realistic situation, the signals it sends out are nothing but mixed.
    • 58 Metascore
    • 50 Kenneth Turan
    Isn't good and isn't bad, it just isn't. A lethargic would-be entertainment as well as a dispiriting vanity project, it is such a misfire that it makes it hard to remember what was special about its predecessor.
    • 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.
    • 56 Metascore
    • 50 Kenneth Turan
    What results is a film with some bright spots but whose effect is finally as muddled and wearying as the event itself sometimes is.
    • 64 Metascore
    • 50 Kenneth Turan
    Harron has said she was determined to be nonjudgmental about Page, to do justice to the woman's "mystery and ambiguity." In practice, however, that attitude plays as coldness, and Page, for all her remarkable zest, comes off as a not terribly interesting person we're given no incentive to become involved with.
    • 55 Metascore
    • 50 Kenneth Turan
    Its heart is so much in the right place it is difficult to get really peeved at it.
    • 53 Metascore
    • 50 Kenneth Turan
    The film is well intentioned and mildly diverting, but in attempting to modernize its story it has lost many of the things that make the original so memorable and not gained much in return.
    • 48 Metascore
    • 50 Kenneth Turan
    Unfortunately, absent a more objective context, Trudell's gnomic utterances do little to support those sentiments. By preaching so relentlessly to the choir, this film misses an opportunity to show what got them to sing in the first place.
    • 42 Metascore
    • 50 Kenneth Turan
    A reasonably diverting albeit frequently improbable thriller.
    • 57 Metascore
    • 50 Kenneth Turan
    Thor has its strengths, but it is finally something of a mishmash with designs on being more interesting than it manages to be.
    • 48 Metascore
    • 50 Kenneth Turan
    It does not have as much invigorating freshness as audiences have come to expect in computer animation.
    • 72 Metascore
    • 50 Kenneth Turan
    Not without its funny moments, much of Birdcage seems pro forma and predictable. What felt original in 1978 is no longer half so inspired.
    • 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.
    • 63 Metascore
    • 50 Kenneth Turan
    Above all this is a film for gluttons for punishment, for those who never ever can get enough of Sylvester Stallone. Everyone else, please leave the building.
    • 34 Metascore
    • 50 Kenneth Turan
    It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
    • 56 Metascore
    • 50 Kenneth Turan
    Though it is always pleasant and agreeable, this film has the bland and undemanding texture that characterizes movies made for network TV.
    • 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.
    • 38 Metascore
    • 50 Kenneth Turan
    Like "The Addams Family" before it, this is one of those clever, lively and ultimately wearying pieces of showy Hollywood machinery where a glut of creativity has gone into the visuals with only scraps left over for the plot and the dialogue. [27 May 1994 Pg.F1]
    • Los Angeles Times
    • 45 Metascore
    • 50 Kenneth Turan
    A motion picture with one foot in artistic expression and one in pulp fiction and commercialized violence. It wants the respect that goes with a quality production, but it can't resist providing the brutality and exploitation the film's core audience expects.
    • 44 Metascore
    • 50 Kenneth Turan
    Watching it is like being in a room with a couple locked in a torrid embrace. It might be fun for them, but what's in it for everyone else?
    • 68 Metascore
    • 50 Kenneth Turan
    A film whose reach exceeds its grasp. Hugely ambitious and not without moments of success, this indulgent 2 hour and 40 minute epic ends up as unwieldy as its elongated title. It's a movie in love with itself, and few things are more fatal than that.
    • 81 Metascore
    • 50 Kenneth Turan
    The Wrestler doesn't add up. It's constructed with great care around a lead performance that is everything it could possibly be, but the picture itself is off-putting and disappointing.
    • 58 Metascore
    • 50 Kenneth Turan
    The result is a film that is solid and acceptable instead of soaring and exceptional, one unnecessarily hampered in its quest to reach the magical heights of the trilogy.

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