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
    • 71 Metascore
    • 50 Kenneth Turan
    Ross' missive is earnest and well-intentioned, but it's difficult not to feel that his film both runs on too long and overreaches its dramatic resources in its attempt to deliver it.
    • 45 Metascore
    • 50 Kenneth Turan
    Though Vanilla Sky is smoothly and professionally done, even audiences who haven't seen the original will sense there is something off in the translation.
    • 64 Metascore
    • 50 Kenneth Turan
    Not only does it feel like an exclusive party at which there is definitely no room for the uninitiated, its waves of idolization barely leave room for the band itself. Good as they are, They Might Be Giants deserve a better film.
    • 55 Metascore
    • 50 Kenneth Turan
    Has a good deal of the appeal, and the drawbacks, of a high school play. It can be pokey and overly earnest and its dramatics are not always polished, but, on the other hand, would you want them to be?
    • 59 Metascore
    • 50 Kenneth Turan
    For much of the film, Berg is content to act like a Michael Bay wannabe, orchestrating large action set pieces that get increasingly tiresome and WWE-like as individuals get mindlessly slammed into the dust.
    • 37 Metascore
    • 50 Kenneth Turan
    If you're in the mood for a hip-hop film with more happy faces than "The Partridge Family," Honey will divert you.
    • 45 Metascore
    • 50 Kenneth Turan
    Films can't just sound good on paper; they have to be effective on the screen, and in that form, The Statement is disappointing.
    • 62 Metascore
    • 50 Kenneth Turan
    Does have its pleasures, but the feeling is inescapable that the person most pleased is Bertolucci himself. In essence he is the dreamer of the title, as eager to retreat into this hermetic world of his own creation as his characters are into theirs. Fair enough, but why does he have to drag us along with him?
    • 72 Metascore
    • 50 Kenneth Turan
    Brief enough, clocking in at 83 minutes, but its story is too predictable to make an impact even in such a short space. Unlike "Toy Story," the dialogue here, written by Todd Alcott and Chris & Paul Weitz, is pro forma all the way.
    • 47 Metascore
    • 50 Kenneth Turan
    In effect, aspects of Gibson's creative makeup -- his career-long interest in martyrdom and the yearning for dramatic conflict that make him an excellent actor, coupled with his belief in the Gospels' literal truth -- have sideswiped this film. What is left is a film so narrowly focused as to be inaccessible for all but the devout.
    • 43 Metascore
    • 50 Kenneth Turan
    Clocking in at a self-important two hours and 59 minutes, this elongated romantic fable is impossible to sustain at a running time better suited to the fall of the Roman empire.
    • 70 Metascore
    • 50 Kenneth Turan
    It once again confuses a kind of juvenile titillation with insight and treats the ability to make audiences squirm as a pinnacle of film art.
    • 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?
    • 50 Metascore
    • 50 Kenneth Turan
    What it really is is an unapologetic cartoon, a harum-scarum endeavor that's so comically frantic it wears you out as much as it entertains.
    • 42 Metascore
    • 50 Kenneth Turan
    This effects-loaded extravaganza has more trouble finding its dramatic bearings than the Space Family Robinson has in figuring out where the heck in the universe they are.
    • 47 Metascore
    • 50 Kenneth Turan
    Despite its high craft level and Washington's participation in it, this movie's showy violence is finally as deadening as the over-emphatic violence in these kinds of films generally is.
    • 35 Metascore
    • 50 Kenneth Turan
    Kind of like a basketball team of all-stars -- no names, please -- that has difficulty jelling into one smooth and efficient unit.
    • 56 Metascore
    • 50 Kenneth Turan
    Given everything, it's no surprise that the verdict on the film has to be a split decision. Troy is a movie you believe in physically...Believing in Troy emotionally, however, presents a greater challenge.
    • 51 Metascore
    • 50 Kenneth Turan
    What Ed Neumeier's script provides instead is a cheerfully lobotomized, always watchable experience that has the simple-mindedness of a live-action comic book, with no words spoken that wouldn't be right at home in a funny paper dialogue balloon. Not just one comic book either, but an improbable and delirious combination of "Weird Science," "Betty and Veronica" and "Sgt. Rock and His Howling Commandos."
    • 57 Metascore
    • 50 Kenneth Turan
    Winterbottom, who's never been a director with a gift for warmth, can't make this romance come alive. Morton and Robbins are gifted actors, but they seem straitjacketed here, and the film finds it difficult to avoid tedium as their lugubrious relationship unfolds.
    • 58 Metascore
    • 50 Kenneth Turan
    Keeps its filmmakers behind the camera and does without the personality-driven "Fahrenheit's" sarcastic sense of humor.
    • 48 Metascore
    • 50 Kenneth Turan
    Only partially convincing.
    • 64 Metascore
    • 50 Kenneth Turan
    A lovingly rendered visual treat struggles with indifferent direction and torpid plot.
    • 47 Metascore
    • 50 Kenneth Turan
    A series of miscalculations caused this project to lose its way, until what we're left with is a film that should involve us more than it does.
    • 48 Metascore
    • 50 Kenneth Turan
    It does not have as much invigorating freshness as audiences have come to expect in computer animation.
    • 70 Metascore
    • 50 Kenneth Turan
    This is the biggest surprise of all -- it's hard to watch Going Upriver without wondering, frankly, what became of the young John Kerry, who comes off so exceptionally well in this film.
    • 55 Metascore
    • 50 Kenneth Turan
    Though Pitt is as attractive as ever, "Seven Years" offers other things to look at and in fact functions better as a travelogue than as a drama.
    • 53 Metascore
    • 50 Kenneth Turan
    Sporadically playful, it ends up wearing as thin as any film geared to a preteen sense of humor is bound to do.
    • 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.
    • 63 Metascore
    • 50 Kenneth Turan
    Does benefit from Gibson's charisma...Whether it is quite good enough is another question.
    • 54 Metascore
    • 50 Kenneth Turan
    As advertised, A Knight's Tale does try to rock you. The problem is, it doesn't rock you nearly enough.
    • 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.
    • 60 Metascore
    • 50 Kenneth Turan
    Squanders an appealing performance from Costner.
    • 46 Metascore
    • 50 Kenneth Turan
    Except for a memorably haunted performance by Jeremy Irons as the conflicted Humbert Humbert, what the new version lacks most of all is inspiration.
    • 50 Metascore
    • 50 Kenneth Turan
    Chases, crashes and explosions are thick on the land in the second half of this movie, but though they are expertly done, their size, frequency and increasing disconnection from what was once a coherent story leave you feeling pummeled rather than exhilarated.
    • 59 Metascore
    • 50 Kenneth Turan
    Slick and forceful, largely unconcerned with character, eager for any opportunity to pump up the volume both literally and metaphorically, The Rock is the kind of efficient entertainment that is hard to take pleasure in.
    • 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.
    • 43 Metascore
    • 50 Kenneth Turan
    Dante's Peak is customary for the genre, with convincing special effects sharing screen time with standard-issue characters and situations.
    • 53 Metascore
    • 50 Kenneth Turan
    With two of the world's biggest stars in tow, the creators of The Devil's Own can be forgiven for figuring that nothing else really mattered. If you've got Harrison Ford and Brad Pitt, do you really need a coherent script? Unfortunately for everyone concerned, the answer is yes.
    • 49 Metascore
    • 50 Kenneth Turan
    It's an acceptable film, but the story of family ties and forgiveness simply cannot manage the emotional connections it is desperate for.
    • 62 Metascore
    • 50 Kenneth Turan
    Any time you're watching a film in which the statistics in the voice-over have more intrinsic drama than the protagonists' lives, you know you're in trouble.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Kenneth Turan
    A persuasive thriller for most of its length, it stumbles in its attempt to become an upscale version of "Death Wish" and other vigilante dramas and ends up derailing with a soft thud.
    • 72 Metascore
    • 50 Kenneth Turan
    Turns into a film that is too ostentatiously pleased with itself, so in love with its own cleverness it doesn't notice it's darn near worn you out.
    • 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.
    • 47 Metascore
    • 50 Kenneth Turan
    While films are admired for making fantasy real, some manage a reverse, unwanted kind of alchemy, turning involving reality into meaningless piffle.
    • 58 Metascore
    • 50 Kenneth Turan
    As much as we intellectually admire Jarhead, it's a cold film that only sporadically makes the kind of emotional connection it's after.
    • 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.
    • 59 Metascore
    • 50 Kenneth Turan
    Although he works his hardest at the part and doesn't embarrass himself, even with the help of Stan Winston's vampire makeup Tom Cruise is plainly miscast as Lestat. [11Nov1994 Pg. F1]
    • Los Angeles Times
    • 53 Metascore
    • 50 Kenneth Turan
    Anyone looking for the kind of comic brio that Dustin Hoffman and company brought to "Tootsie" will not find it here. [24 Nov 1993 Pg. F1]
    • Los Angeles Times
    • 50 Metascore
    • 50 Kenneth Turan
    So it is a surprise to say that the biggest mystery this legal thriller presents is how a film based on a novel by John Grisham, starring the bankable duo of [Julia Roberts Darby Shaw] and [Denzel Washington Gray Grantham] and written and directed by veteran Alan J. Pakula can end up more of a fizzle than an explosion. [17 Dec 1993 Pg. F1]
    • Los Angeles Times
    • 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
    • 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.
    • 45 Metascore
    • 50 Kenneth Turan
    Yet, there is also little doubt that when it comes to extreme physical humor, Carrey is remarkably gifted, a throwback to the vintage antics of Jerry Lewis or even the slapstick gang of silent comedy.
    • 45 Metascore
    • 50 Kenneth Turan
    For though it is a reasonable facsimile of a successful thriller, this film (named after a barrier that protects computers from hackers) never manages to be more than mildly effective.
    • 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.
    • 66 Metascore
    • 50 Kenneth Turan
    While it's difficult to dislike what this film tries to do, the way it does it is more problematic.
    • 66 Metascore
    • 50 Kenneth Turan
    LaGravenese... has understood that the worst of Bridges is not in its dialogue but in the silent musings that occupy its characters' minds. By keeping those thoughts unspoken, by allowing the camera to show instead of having words tell, much has been accomplished.
    • 77 Metascore
    • 50 Kenneth Turan
    A performer of formidable self-absorption, Johnston has inspired a film with the same trait, and the results are about what you might expect.
    • 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.
    • 46 Metascore
    • 50 Kenneth Turan
    This third installment of the popular series about fast cars and the posturing boys who love them is best viewed as an energetic cartoon, an unintentionally amusing, head-shaking guilty pleasure that will divert those not in the mood for anything more profound than gleaming metal and preening women.
    • 66 Metascore
    • 50 Kenneth Turan
    The problem is not so much that World Trade Center is an attempt to make a feel-good movie about a ghastly situation, it's that the result feels forced, manufactured and largely -- but not entirely -- unconvincing.
    • 68 Metascore
    • 50 Kenneth Turan
    The problem is that the first half of Infamous is nowhere near as comic as McGrath intends. Instead the picture gives off a tone of arch stylization that plays as artificial, overwrought and off-putting.
    • 54 Metascore
    • 50 Kenneth Turan
    By having Sigourney Weaver and Holly Hunter play the maniacs' feisty antagonists, the filmmakers seem to believe that they've made a significant feminist statement, the movie's two hours-plus of almost continual sadistic abuse of women notwithstanding. Even in an industry known for self-delusion, that is quite a feat.
    • 47 Metascore
    • 50 Kenneth Turan
    Russell Crowe is invariably involving on screen, and Ridley Scott is a splendid director when the material is right. No film they collaborate on will be devoid of interest, but A Good Year almost is.
    • 52 Metascore
    • 50 Kenneth Turan
    This is not a chance to "experience the most timeless of stories as you've never seen it before" but just the opposite: an opportunity, for those who want it, to encounter this story exactly the way it's almost always been told.
    • 68 Metascore
    • 50 Kenneth Turan
    Numerous good things can be said about Apocalypto, the director's foray into the decaying Mayan civilization of the early 1500s, but every last one of them is overshadowed by Gibson's well-established penchant for depictions of stupendous amounts of violence.
    • 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.
    • 51 Metascore
    • 50 Kenneth Turan
    300
    300 is something to see, but unless you love violence as much as a Spartan, Quentin Tarantino or a video-game-playing teenage boy, you will not be endlessly fascinated.
    • 31 Metascore
    • 50 Kenneth Turan
    It is an acceptable enough thriller, neither the worst you've seen nor the opposite.
    • 44 Metascore
    • 50 Kenneth Turan
    There is nothing to be embarrassed about here, neither is there much to relish, for Mary Reilly has more of the sheen of art than its essence.
    • 59 Metascore
    • 50 Kenneth Turan
    Though aspects of it are entertaining, the presence of all these mismatched pieces give Spider-Man 3 an ungainly, cumbersome feeling, as if its plot elements were the product of competing contractors who never saw the need to cooperate on a coherent final product.
    • 44 Metascore
    • 50 Kenneth Turan
    Last Action Hero does have occasional moments of humor, but overall it is lacking in fun or magic. [18 Jun 1993, p.1]
    • Los Angeles Times
    • 49 Metascore
    • 50 Kenneth Turan
    It's strong as can be in terms of production values and panoramic photography (as befits its $70-million budget) and weak as watery tea when it comes to little things like dialogue and character development. [22 May 1992]
    • Los Angeles Times
    • 64 Metascore
    • 50 Kenneth Turan
    Despite its arresting visual style, its wave after wave of creative and hypnotic images, The Pillow Book, as its name hints, slowly but inexorably leads to sleep.
    • 45 Metascore
    • 50 Kenneth Turan
    Earnest, gee-whiz and foursquare, this simple and intentionally inoffensive sequel gets points for being easy to take and scrupulously avoiding obvious sources of irritation.
    • 71 Metascore
    • 50 Kenneth Turan
    It finally can't transcend the limitations inherent in being no more than a way station in an epic journey, a journey whose cinematic conclusion is several years away.
    • 65 Metascore
    • 50 Kenneth Turan
    The characters in this somber film have the glum look of individuals delivering a Very Important Message to the world. And though this film in fact does have something crucial to convey, this is not the way to go about it.
    • 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.
    • 74 Metascore
    • 50 Kenneth Turan
    The longer it goes, the more frustrating it becomes, as Bar Lev declines to come down on one side or the other.
    • 58 Metascore
    • 50 Kenneth Turan
    This narrowly cast documentary focuses so exclusively on a publicity tour the former president took in the closing months of 2006 that a more accurate title might be "Jimmy Carter How I Sold My Book."
    • 50 Metascore
    • 50 Kenneth Turan
    Not content to be a mildly diverting royal bodice-ripper, it spirals out of control into the kind of overwrought dramaturgy that's out of its league.
    • 59 Metascore
    • 50 Kenneth Turan
    This largely Spanish-language film brings on the waterworks because its core story is undeniably affecting. The whole movie, however, would be more convincing if the elements around that vital core were more multidimensional and less contrived.
    • 57 Metascore
    • 50 Kenneth Turan
    There's nothing really wrong with all this in theory, but the overall doofiness of the execution is finally too much to overcome. The filmmakers come off like their protagonist, wide-eyed tourists in an exotic realm. If you've been looking for a martial arts film to take granny and the kids to, this might be the one, but a Jackie Chan-Jet Li collaboration deserves better than that.
    • 37 Metascore
    • 50 Kenneth Turan
    If you're in the mood for seeing a Lothario humbled by true love, you're in luck. You may wish, however, that Made of Honor had given its stars something more of interest to occupy their time. And ours.
    • 54 Metascore
    • 50 Kenneth Turan
    Get Smart neglects the laughs and amps up the action, resulting in a not very funny comedy joined at the hip to a not very exciting spy movie. Talk about killing two birds with one stone.
    • 51 Metascore
    • 50 Kenneth Turan
    Though the filmmakers may have been imagining they were re-creating the old days of MGM musicals, it's the Village People's misguided "Can't Stop the Music" that comes to mind instead.
    • 73 Metascore
    • 50 Kenneth Turan
    Instead of pushing for tough answers to difficult questions, this film is content to mythologize Thompson's bad-boy behavior, celebrating things like his willingness to drink a bottle of bourbon a day and go hunting with a submachine gun.
    • 58 Metascore
    • 50 Kenneth Turan
    All dressed up with no particular place to go, this 22nd Bond film tries hard but ends up an underachiever.
    • 54 Metascore
    • 50 Kenneth Turan
    It's an unhinged, off-the-wall comedy that will try anything once, an uneven film in which the hits are so dead-on that the misses don't seem to matter.
    • 58 Metascore
    • 50 Kenneth Turan
    Defiance has some genuine strengths but also some weaker elements, and these opposing traits battle it out kind of the way the contentious Bielskis fought not only the Germans but each other.
    • 54 Metascore
    • 50 Kenneth Turan
    Townsend's sincerity, his admiration for the idealism of the people behind the anti-WTO protests, is never in doubt, but combining drama with historical re-creation is frankly a challenge his filmmaking skills are not up to.
    • 70 Metascore
    • 50 Kenneth Turan
    As enervating as it is long -- and at 2 hours and 47 minutes it is quite long -- this version of the F. Scott Fitzgerald fantasy short story is a baffling project, an endurance test of a movie that feels like it was made on a dare.
    • 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.
    • 49 Metascore
    • 50 Kenneth Turan
    Because Senesh died so young, it's hard to fill out a film of nearly 90 minutes that claims her as the subject, so director Grossman has resorted to using newsreel footage as well as re-creations, which, though discreet, add nothing special to the proceedings.
    • 52 Metascore
    • 50 Kenneth Turan
    Despite being structured in an intriguing way -- bits of confusing action are shown first and explained later -- The International never finds its footing.
    • 49 Metascore
    • 50 Kenneth Turan
    As far as the new disaster film 2012 is concerned, the world will end with both a bang and a whimper, the bang of undeniably impressive special effects and the whimper of inept writing and characterization. You pays your money, you takes your chances.
    • 64 Metascore
    • 50 Kenneth Turan
    The Road is a road you'll wish hadn't been taken. Not because anything's been badly done, but because there's a serious imbalance in the complicated equation between what the film forces us to endure and what we end up receiving in return.
    • 69 Metascore
    • 50 Kenneth Turan
    Clocking in at 2 hours and 32 minutes, it is unforgivably leisurely, almost glacial, a film that loses its way in the thickets of alternative history and manages to be violent without the start-to-finish energy that violence on screen usually guarantees.
    • 42 Metascore
    • 50 Kenneth Turan
    By turns warmly sentimental, serial-killer sinister and science-fiction fantastical, The Lovely Bones was an unlikely book to achieve worldwide success. In the film version, those mismatched elements come back to haunt the story, so to speak, making the final product more hit-and-miss than unblemished triumph.
    • 57 Metascore
    • 50 Kenneth Turan
    As sequels go, this one is acceptable, nothing more, nothing less.
    • 53 Metascore
    • 50 Kenneth Turan
    Still, there are some things to savor. Blanchett is an actress who's always involving, and Crowe is very much in his element as an intrepid, laconic archer who lets his arrows do the talking.
    • 72 Metascore
    • 50 Kenneth Turan
    The film throws so much ersatz cleverness and overdone emotion at the audience that we end up more worn out than entertained.
    • 49 Metascore
    • 50 Kenneth Turan
    It shouldn't be surprising, but some of these directors are more interesting than their work. French director Breillat, never a personal favorite, is an absolutely hypnotic speaker who holds the screen the way her films rarely have.
    • 36 Metascore
    • 50 Kenneth Turan
    Though it wasn't planned this way, it's an amusing exercise to view A Man Apart as an allegory for the war in Iraq.
    • 59 Metascore
    • 50 Kenneth Turan
    If the bad guys didn't reappear with welcome regularity, "Money Never Sleeps" would be even more of a snooze than it already is.
    • 60 Metascore
    • 50 Kenneth Turan
    RED
    Red can't stop itself from trying too hard to be hip. It's not that it doesn't have effective moments, it's that it doesn't have as many as it thinks it does. The film's inescapable air of glib self-satisfaction is not only largely unearned, it's downright irritating.
    • 65 Metascore
    • 50 Kenneth Turan
    To be fair to Deathly Hallows, the filmmakers have tried hard to fill the proceedings with battles and chases and debilitating curses. Genuine filmmaking excitement, however, is harder to provide.
    • 37 Metascore
    • 50 Kenneth Turan
    There is a moment in The Tourist when Johnny Depp turns to Angelina Jolie and asks "Why is all this happening?" It's a question moviegoers will be asking themselves as well.
    • 46 Metascore
    • 50 Kenneth Turan
    If, as someone says in one of Brooks' trademark excellent lines, we all feel we're "one small adjustment away from making our lives work," this film is one small adjustment away as well.
    • 65 Metascore
    • 50 Kenneth Turan
    Blessed with considerable virtues, including a clever concept, crackling filmmaking and a charismatic star, it ultimately squanders all of them, undone by an unfortunate lack of subtlety and restraint.
    • 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.
    • 85 Metascore
    • 50 Kenneth Turan
    While Malick's great ability holds us for a time, it is finally not enough to compensate for a lack of dramatic involvement - those eschatological quandaries tend to overwhelm the story. The Tree of Life, its enormous advantages notwithstanding, ends up a film that demands to be admired but cannot be easily embraced.
    • 67 Metascore
    • 50 Kenneth Turan
    Even though all the supporting elements of a superior film are here, the actual plot that everything is at the service of is disappointing. The texture of reality and the sheen of fine craft disguise this for a while, but not forever.
    • 50 Metascore
    • 50 Kenneth Turan
    Dazzling panoramas, no matter how impressive, are no substitute for the involving story Happy Feet Two has had to do without.
    • 48 Metascore
    • 50 Kenneth Turan
    Director Johanna Demetrakas has decided to simply present the man in all his demanding complexities and let him and his encounters with associates speak for themselves. Her only rubric is the one visible in her title: "Crazy Wisdom."
    • 71 Metascore
    • 50 Kenneth Turan
    This film's cold, almost robotic conception of Salander as a twitchy, anorexic waif feels more like a stunt than a complete character, and so the best part of the reason we care enough to endure all that mayhem has gone away.
    • 56 Metascore
    • 50 Kenneth Turan
    Unfortunately, "Blood and Honey" has script problems: Its core story is less compelling than its overall atmosphere.
    • 40 Metascore
    • 50 Kenneth Turan
    This intriguing hybrid is dramatically involving only when the shooting - with real bullets, naturally - gets underway.
    • 55 Metascore
    • 50 Kenneth Turan
    This film has much more to do with what goes on inside director Tim Burton's head than with any TV show, no matter how beloved. In fact, Dark Shadows is as good an example as any of what might be called the Way of Tim, a style of making films that, like the drinking of blood, is very much an acquired taste and, unless you're a vampire, not worth the effort.
    • 41 Metascore
    • 50 Kenneth Turan
    This may sound thrilling, but it's not. Battleship plays ordinary and pedestrian because it's always been a job for hire, never anyone's passion.
    • 65 Metascore
    • 50 Kenneth Turan
    Samsara is as frustrating as it is beautiful, which is saying a lot because this is a film laced with exquisite images.
    • 62 Metascore
    • 50 Kenneth Turan
    Even though as a whole Hello I Must Be Going lets us down in the second half, the pleasure of watching Lynskey and Abbott never diminishes.
    • 55 Metascore
    • 50 Kenneth Turan
    The Eye of the Storm is an ambitious stab at what might be called the Great Australian Film. The results are off-and-on impressive, but the project's ambitions turn out to be greater than its ability to achieve them.
    • 69 Metascore
    • 50 Kenneth Turan
    Tears of Gaza is both horrifying and frustrating. This documentary's goals are noble ones, but its execution is something else again.
    • 66 Metascore
    • 50 Kenneth Turan
    Unlike "In Bruges," the outlandish parts of Seven Psychopaths, though often bleakly entertaining in their own right, remain a collection of weird riffs that not even engaging acting by Colin Farrell, Sam Rockwell, Woody Harrelson, Christopher Walken and Tom Waits can bring together.
    • 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.
    • 55 Metascore
    • 50 Kenneth Turan
    It's got a strong cast and an intriguing premise that has the added bonus of real-world relevance. But, good intentions and good work aside, the film flounders before it reaches its conclusion.
    • 44 Metascore
    • 50 Kenneth Turan
    Part manic comedy, part would-be heart-warmer of the "follow your bliss" variety, its odd combination of tones and situations leads to as many awkward, uncertain moments as funny ones.
    • 55 Metascore
    • 50 Kenneth Turan
    While its ambition and scope pull one way, its pinched and unconvincing sense of drama pull the other.
    • 57 Metascore
    • 50 Kenneth Turan
    There is no shaking the feeling that Branagh and his cast are a kind of an espionage film B team, capable of mild diversion but nothing more.
    • 63 Metascore
    • 50 Kenneth Turan
    In practice this mélange of imagery is aimed more at the inside of Reggio's head than anywhere else. Unless you are able to get on his quasi-experimental wavelength, a dicey proposition at best, Visitors will miss your solar plexus entirely and instead put you right to sleep. With one exception.
    • 70 Metascore
    • 50 Kenneth Turan
    It's a product of the highest quality, but at the end of the day that's what it is: a machine-made, assembly-line product whose strengths tend to feel like items checked off a master list rather than being the result of any kind of individual creative touch.
    • 48 Metascore
    • 50 Kenneth Turan
    Even though this is supposed to be a kindlier Van Damme vehicle, his movies couldn't exist without his trademark ability to deliver the kind of accurate, powerful kicks any World Cup team would envy. All his soulful glances notwithstanding, Timecop still depends too much on violence to make it appealing to the uninitiated or the unwary.
    • 71 Metascore
    • 50 Kenneth Turan
    Despite the linked advantages of generous helpings of the man's high octane music and a star performance by Chadwick Boseman that's little short of heroic, Get on Up is more frustrating than fulfilling, a disjointed film that suffers from having a more ambitious plan than it's got the ability to execute.
    • 57 Metascore
    • 50 Kenneth Turan
    A Walk Among the Tombstones is the creepiest film I've seen in quite some time, and that's not meant as a compliment.
    • 54 Metascore
    • 40 Kenneth Turan
    Like Malkovich's out of control Russian accent, Rounders ends up reaching a place too hard to understand and even harder to believe in.
    • 61 Metascore
    • 40 Kenneth Turan
    Both too unfocused and overly familiar. It has enough comic energy to generate some chuckles, but even when we laugh we're always wondering why the jokes aren't funnier. [5 Mar 1999]
    • Los Angeles Times
    • 45 Metascore
    • 40 Kenneth Turan
    When a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer, better written and of considerable more interest than the finished film, that's a bad sign. A very bad sign.
    • 39 Metascore
    • 40 Kenneth Turan
    Runaway Bride's Josann McGibbon & Sara Parriott script is so muddled and contrived, raising issues only to ignore them or throw them away, you wonder why so many people embraced it.
    • 49 Metascore
    • 40 Kenneth Turan
    Though amusing from moment to moment, is erratic, unfocused and uncertain where it's going.
    • 49 Metascore
    • 40 Kenneth Turan
    Less fascinating and finally unsatisfying is the awfully familiar racism angle, a subplot that, though unusual in a POW movie, turns regrettably earnest and preachy almost immediately.
    • 56 Metascore
    • 40 Kenneth Turan
    A technical amazement that points computer-generated animation toward the brightest of futures, it's also cartoonish in the worst way, the prisoner of pedestrian plot points and childish, too-cute dialogue.
    • Los Angeles Times
    • 49 Metascore
    • 40 Kenneth Turan
    A disappointment. A good-faith attempt has been made to duplicate the original elements, but the mix is wrong, bearings have been lost, the balance is off. It was attitude that made "Men in Black" special, a particular kind of cool insouciance that has proved as impossible to duplicate as it was irresistible to experience.
    • 50 Metascore
    • 40 Kenneth Turan
    Outside of a hyper-energetic, irresistibly evil portrayal by Tim Roth as General Thade, the baddest ape in town, the sad truth about Planet of the Apes is that, disappointingly, it's just not very much fun to watch.
    • 50 Metascore
    • 40 Kenneth Turan
    The main thing the new Shaft gets right is casting for the title role. It's too bad the rest of the film doesn't hold your attention the way he does.
    • 33 Metascore
    • 40 Kenneth Turan
    The film's political philosophy, as much as it has one, is of the "a plague on both your houses" variety, painting the rebels and the CIA as equally fixated on killing innocent civilians for their own nefarious ideological ends. We've seen it all before, and we'll likely see it all again.
    • 44 Metascore
    • 40 Kenneth Turan
    Lacking noticeable energy or drive, its almost visceral distaste for dramatic momentum is puzzling, especially in a film about the black arts.
    • 67 Metascore
    • 40 Kenneth Turan
    After keeping its balance over much treacherous terrain, greedily overreaches and stumbles badly at the close.
    • 47 Metascore
    • 40 Kenneth Turan
    A vaguely amusing formulaic comedy with a premise that turns out to be more discomforting than endearing.
    • 57 Metascore
    • 40 Kenneth Turan
    The melodrama of the Maugham original is too simplistic to involve, and the places the film's plot goes are so obvious that even the presence of quality actors can't create sufficient interest.
    • 28 Metascore
    • 40 Kenneth Turan
    Main lure is what feels like a very authentic visual sense of the nontourist side of Kingston, where the ambience of zinc-walled shacks wallpapered with old newspapers is captured by cinematographer Richard Lannaman.
    • 41 Metascore
    • 40 Kenneth Turan
    There's no doubt Sandler is talented, but if he persists in believing that, like Elvis, his presence alone covers a multitude of omissions and inconsistencies, he will squander his gift and make a series of forgettable films in the process.
    • 46 Metascore
    • 40 Kenneth Turan
    "You've got a sense of humor, I like that," Lester Long proclaims at one point. Well, we all like that, but would it be asking too much to have a little coherence to go along with it?
    • 54 Metascore
    • 40 Kenneth Turan
    It is deeply unpleasant to see women abducted, tortured and eviscerated by a methodical and meticulous butcher.
    • 43 Metascore
    • 40 Kenneth Turan
    It's not objectionable (which is saying something these days) but neither does it have any compelling reason to be seen.
    • 61 Metascore
    • 40 Kenneth Turan
    Revenge may be sweet, but this is one "Monte Cristo" that leaves a sour taste.
    • 42 Metascore
    • 40 Kenneth Turan
    Director Michael Bay's filmmaking style is so frantic and frenetic that it's often impossible to figure out exactly what is happening.
    • 68 Metascore
    • 40 Kenneth Turan
    Promising as it seems in theory, everything in this new version, like Lena Lamont's image in "Singin' In the Rain," falls apart as soon as the talking starts.
    • 41 Metascore
    • 40 Kenneth Turan
    A reminder of the difference between exhilaration and exhaustion, between tension and hysteria, between eroticism and exhibitionism. The line may be fine, but it is real enough to separate the great thrillers from the also-rans. And Basic Instinct is not a great thriller.
    • 60 Metascore
    • 40 Kenneth Turan
    The genre's recent past has set the bar quite high, and Treasure Planet doesn't quite make it over.
    • 49 Metascore
    • 40 Kenneth Turan
    From its standard-issue action to its halfhearted dialogue and acting, that's one situation even two Schwarzeneggers aren't enough to solve.
    • 43 Metascore
    • 40 Kenneth Turan
    It's a copy all the way, a disheartening attempt to capitalize on the success of the original.
    • 69 Metascore
    • 40 Kenneth Turan
    Features an aggressive, in-your-face romanticism that's noticeably lacking in genuine warmth. While its story of lonely misfits searching for love has appealing moments, more often it turns into an overbearing fable overburdened with fake joie de vivre.
    • 61 Metascore
    • 40 Kenneth Turan
    Moves with the suffocating deliberateness of a river of molasses.
    • 39 Metascore
    • 40 Kenneth Turan
    The result is exposition overkill and a dragged-out finale that turns what should have been a Tear Duct Special into a deflating experience, making what worked in the book unacceptable on the screen.
    • 52 Metascore
    • 40 Kenneth Turan
    LaBute can't avoid a fatal mistake in the modern era: He's changed the male academic from a lower-class Brit to an American, a choice that upsets the novel's exquisite balance and shreds the fabric of the film, corrupting all of LaBute's good work and robbing it of the impact it would otherwise have.
    • 76 Metascore
    • 40 Kenneth Turan
    That bland, opaque quality is a disadvantage here; whatever else [Depp] is capable of, making audiences feel his pain is not at the top of the list.
    • 35 Metascore
    • 40 Kenneth Turan
    Mostly I Spy, with more dead spots than a Jerry Lewis telethon, is content to mark time. That gives us, and perhaps the cast as well, the opportunity to reflect on how satisfying this film could have been if anyone had thought it worth their while to provide real material for the talent to work with.
    • 81 Metascore
    • 40 Kenneth Turan
    Solondz's filmmaking style tries to make a virtue out of flatness and distance, and is always more comfortable indicating where feelings would go than actually providing them.
    • 46 Metascore
    • 40 Kenneth Turan
    Has the makings of that rarest of ventures, an adaptation that is true to the spirit of the original as well as its own time and place. But as Payback wends its way toward its conclusion, its promise dissipates and its pleasures wane.
    • 29 Metascore
    • 40 Kenneth Turan
    Harlin's skill compensates for a lot of narrative preposterousness, even it is overmatched this time around.
    • 43 Metascore
    • 40 Kenneth Turan
    If The Mexican proves anything, it's that eccentric features need a particularly delicate touch to be successful. With a film like this, how close you come doesn't matter: Off by a little is as debilitating as off by a lot.
    • 36 Metascore
    • 40 Kenneth Turan
    Does go on too long, leading to inevitable dead spots.
    • 52 Metascore
    • 40 Kenneth Turan
    Not as much fun as it should be. Few of its numerous actors make a lasting impression and Burton's heart and soul is not in the humor but (remember the "Batman Returns" backlash) in deadpan postmodern horrors, of which this film has a few.
    • 37 Metascore
    • 40 Kenneth Turan
    Its twisty film noir world of down-on-their-luck men and unfathomable women is vintage B-picture material, but, in the grand B tradition, the games it plays are more ambitious than successful.
    • 72 Metascore
    • 40 Kenneth Turan
    Scorsese and his team have created a heavy-footed golem of a motion picture, hard to ignore as it throws its weight around but fatally lacking in anything resembling soul.
    • 45 Metascore
    • 40 Kenneth Turan
    A concept, no matter how promising, is not a movie, and this picture has the bad luck to illustrate the difference.
    • 60 Metascore
    • 40 Kenneth Turan
    The problem rather is the wholesale embracing of what has become de rigueur in animation, the practice of treating major characters as if they were stand-up comics working a room in Las Vegas.
    • 52 Metascore
    • 40 Kenneth Turan
    Something we want to like more than we can. It's a mild family film with an excellent cast that never develops traction.
    • 33 Metascore
    • 40 Kenneth Turan
    The four actors are very good, and it's a shame they aren't working from a more focused and original concept. Written by Fusco and Michael Garrity, there's nothing awful about Stealing Time except that it mixes familiar ingredients with pretty bland results.
    • 44 Metascore
    • 40 Kenneth Turan
    On paper it has every advantage, from gifted stars Ben Stiller and Jennifer Aniston to an established comedy writer-director with a promising idea about a romance between a carefree woman and a worried man. But instead of maximizing those pluses, Along Came Polly so completely fritters them away that even its brief 90 minutes feels unhappily long.
    • 35 Metascore
    • 40 Kenneth Turan
    As forgettable as the humor is the film's predictable portrayal of adults as clueless, overbearing cretins.
    • 36 Metascore
    • 40 Kenneth Turan
    If they had to make things up, couldn't they have made up something smarter?
    • 60 Metascore
    • 40 Kenneth Turan
    (Mamet) backslides to a system that has his speeches read in a stylized way. The result is language that sounds unhappily artificial and characters who behave like they are less than real.
    • 55 Metascore
    • 40 Kenneth Turan
    Suffers from being neither here nor there. In its rush to modernize its story and attract a young audience with stars like Ethan Hawke and Gwyneth Paltrow, the film ends up problematic both in relation to the original and on its own terms.
    • 47 Metascore
    • 40 Kenneth Turan
    What is disturbing and frankly distasteful about The Girl Next Door is how slick and shameless it is in its eagerness to blur boundaries, to squeeze as much transgressive material as it can into a nominally bland and innocent form, to serve up a benign, sanitized and exquisitely titillating portrait of the world of pornography in the cozy sheep's clothing of a teenage movie.
    • 35 Metascore
    • 40 Kenneth Turan
    The script is muddled and unsatisfying, as ponderous on its feet as its protagonists are in their heavy diving suits.
    • 57 Metascore
    • 40 Kenneth Turan
    Listless, disjointed and disconnected, this meandering two-hour, 32-minute exercise in futility will fascinate no one who doesn't have a blood relation among the cast or crew.
    • 53 Metascore
    • 40 Kenneth Turan
    A decorative Italian soap opera with an asterisk for earnest aspirations. Its beautiful people say painful things to each other in gorgeous clothes, and though the film expects us to take their problems seriously, it's awfully hard to do so.
    • 49 Metascore
    • 40 Kenneth Turan
    Its successful moments (and they are only moments) remind us that this is a squandered opportunity.
    • 55 Metascore
    • 40 Kenneth Turan
    What's especially disheartening is the large gap between what's on the screen and the significant, meaningful work its creators sincerely believe they've made.
    • 41 Metascore
    • 40 Kenneth Turan
    Another traditional Japanese production, weakly plotted, woodenly acted and indifferently dubbed.
    • 56 Metascore
    • 40 Kenneth Turan
    Though Waterworld has some haunting underwater visual moments, the film's impact is weakened by flat dialogue, an overemphasis on jokeyness and a plot that, despite all those screenwriters, does not satisfactorily hold together at any number of points.
    • 40 Metascore
    • 40 Kenneth Turan
    Ought to be disreputable fun. Instead it ends up, all its explosions and exposed flesh notwithstanding, rather inert.
    • 45 Metascore
    • 40 Kenneth Turan
    The Chamber is like a balloon that all the air has leaked out of. Maybe it wasn't magnificent before, but in its current state it is sad indeed.
    • 35 Metascore
    • 40 Kenneth Turan
    But the result is no more than a forced fable, a self-consciously smarty-pants concoction that is too clever by half and too pleased with itself in the bargain.
    • 36 Metascore
    • 40 Kenneth Turan
    So over-plotted that it's borderline incomprehensible.
    • 49 Metascore
    • 40 Kenneth Turan
    Fluffy and mild to the point of somnolence, it can't even get the full benefit of its strongest asset, Glenn Close's performance as the grasping virago Cruella DeVil.
    • 56 Metascore
    • 40 Kenneth Turan
    Eraser does have a few big-ticket stunts that hold the attention, but director Charles Russell, fresh from "The Mask," isn't able to infuse them with the intensity and believability that James Cameron brought to comparable sequences in "True Lies."
    • 45 Metascore
    • 40 Kenneth Turan
    Without real dialogue and believable connections between actors, Evita is limited in its effectiveness, and all the crying for Argentina in the world can't change that.
    • 41 Metascore
    • 40 Kenneth Turan
    Well-meaning and convinced it has something of value to say, its "Reach Out and Touch Someone" sensibility ensures that all its satisfactions will prove hollow, and so they do.
    • 46 Metascore
    • 40 Kenneth Turan
    The Crossing Guard, Penn's second film behind the camera, is a troubling, troublesome movie whose makeshift structure cannot contain the powerful flood of passions that he and his cast have poured into it.
    • 60 Metascore
    • 40 Kenneth Turan
    Make no mistake, the high-flying stunts in director Renny Harlin's film are definitely state of the art, and while they're going on, the film works up a serious level of excitement. But as soon as the action stops and the inevitable talking begins, Cliffhanger falls to earth with a considerable thud. [28 May 1993 Pg. F1]
    • Los Angeles Times
    • 53 Metascore
    • 40 Kenneth Turan
    The Wayne's World concept, which, egged on by a rabid studio audience, works so beautifully in skit format, ends up feeling dragged out and energy-less at feature length. [14 Feb 1992 Pg. F1]
    • Los Angeles Times
    • 55 Metascore
    • 40 Kenneth Turan
    Working with cinematographer Karl Walter Lindenlaub, director Caton-Jones has givenRob Roy a beautiful wide-screen look, filled with gorgeous vistas. But this film is like a color Xerox copy of the real thing: hard to tell from an original until you look closely at the details.
    • 45 Metascore
    • 40 Kenneth Turan
    The romance makes an awkward, contrived fit with the nominally serious political stuff, and even those momentous events come off as generic and unconvincing.
    • 45 Metascore
    • 40 Kenneth Turan
    A wax-museum movie that is both bland and reverential despite its focus on the great man's love life, Jefferson is hampered by its disconnected protagonist.
    • 44 Metascore
    • 40 Kenneth Turan
    Too slight to be taken seriously and too off-putting (especially when the phone callers get hostile and the work demeaning) to be funny, Girl 6 feels like the first draft of a potentially interesting project. It just hasn't been made good on here.
    • 58 Metascore
    • 40 Kenneth Turan
    The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
    • Los Angeles Times
    • 61 Metascore
    • 40 Kenneth Turan
    Transformers' multiple earthling story lines are tedious and oddly lifeless, doing little besides marking time until those big toys fill the screen.
    • 56 Metascore
    • 40 Kenneth Turan
    Trapped in a no man's land between seriousness and pulp trash, it plays like a combination of "Death Wish" and "The Hours." If that sounds like an awkward fit, it is.
    • 59 Metascore
    • 40 Kenneth Turan
    Beowulf appears so cartoony, in fact, that the academy just put it on the short list of films to be considered for the Oscar in feature animation.
    • 69 Metascore
    • 40 Kenneth Turan
    Overall, Charlie Wilson's War is glib rather than witty, one of those films that comes off as being more pleased with itself than it has a right to be. It also suffers from being not all of a piece, with mismatched elements struggling to cohere.
    • 40 Metascore
    • 40 Kenneth Turan
    The truth is that two other films with Greengrass' name on them, "The Bourne Supremacy" and "The Bourne Ultimatum," have spoiled us for this kind of thriller filmmaking, and stacked against that, Vantage Point doesn't have a chance.
    • 49 Metascore
    • 40 Kenneth Turan
    It's a strange feeling to see the summer's most promising premise self-destruct into something bizarre and unsatisfying, but that is the Hancock experience.
    • 31 Metascore
    • 40 Kenneth Turan
    Though the new film has some good things, it does not have enough of them to make the third time the charm.
    • 27 Metascore
    • 40 Kenneth Turan
    Becomes unfocused as it stumbles over all the points it wants to make.
    • 39 Metascore
    • 40 Kenneth Turan
    Sometimes glossy, sometimes hard-edged, the film alternates between glitz and unpleasantness and ends as a kind of glum soap opera, too glam to be bleak and too bleak to be so glam.
    • 61 Metascore
    • 40 Kenneth Turan
    By consistently and relentlessly overplaying everything, by settling for standard easy emotions when singular and heartfelt was called for, by pushing forward when they should have pulled back, director Joe Wright and screenwriter Susannah Grant have made the story mean less, not more. Instead of enhancing The Soloist's appeal, they have come close to eliminating it.
    • 71 Metascore
    • 40 Kenneth Turan
    When faced as a director with the rudderless screenplay he (Jonze) co-wrote with Eggers, he's been powerless to energize it in any involving way. Sometimes you are better off with 10 sentences than tens of millions of dollars, and this is one of those times.
    • 45 Metascore
    • 40 Kenneth Turan
    A sour romantic comedy, only sporadically amusing.
    • 66 Metascore
    • 40 Kenneth Turan
    While this film fits squarely into Soderbergh's recurrent goal of ignoring audience interest when possible, that's the only area in which it can be considered a success.
    • 53 Metascore
    • 40 Kenneth Turan
    It has its successful moments but it's surprisingly inert overall, more like a Burton derivative than something he actually did himself.
    • 47 Metascore
    • 40 Kenneth Turan
    Elephants aside, the plot of this Ong Bak is rudimentary at best.
    • 47 Metascore
    • 40 Kenneth Turan
    This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
    • 47 Metascore
    • 40 Kenneth Turan
    An underwhelming experience. I pity the fool, as TV star Mr. T might say, who mistakes this for genuine entertainment.
    • 20 Metascore
    • 40 Kenneth Turan
    Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.
    • 56 Metascore
    • 40 Kenneth Turan
    Against all reason and expectation, the result is a distinctly unfunny film.
    • 46 Metascore
    • 40 Kenneth Turan
    This movie version adds a whole lot of other stuff, most of it not very good and not in keeping with the spirit of the Seuss original.
    • 42 Metascore
    • 40 Kenneth Turan
    Given the subject matter, an exercise in delicacy and restraint was unlikely, but it's too bad that the film's concept is way more entertaining than what has ended up on-screen.
    • 72 Metascore
    • 40 Kenneth Turan
    Life, however, cannot be lived entirely on stage, and once the characters have to take off their thongs and return to their real lives, the film goes nowhere that is either interesting, involving or surprising.
    • 43 Metascore
    • 40 Kenneth Turan
    Like a drug that starts with a rush and ends with a headache, Total Recall is too much of a good thing.
    • 47 Metascore
    • 40 Kenneth Turan
    Not only is the story dreamed up by producer Ahmet Zappa even odder than the title indicates, its execution gets increasingly irritating as the film goes on.
    • 55 Metascore
    • 40 Kenneth Turan
    Unfortunately, attempts to be original are not enough, they have to succeed, and this film's solutions tend to present themselves as alternately gimmicky and banal.
    • 61 Metascore
    • 40 Kenneth Turan
    It starts out like a house afire, but by the time it's over we're the ones feeling burned. A slick heist tale with more twists than sense, this is one movie that ends up outsmarting itself.
    • 55 Metascore
    • 40 Kenneth Turan
    Though individual set pieces are well done, the film inevitably leaves an empty taste behind it once it's done.
    • 58 Metascore
    • 40 Kenneth Turan
    Despite the story's melodramatic contrivances the creation of characters we actually care about is beyond this film's capabilities.
    • 52 Metascore
    • 40 Kenneth Turan
    It can't decide what kind of a film it wants to be and so ends up failing across a fairly wide spectrum.
    • 73 Metascore
    • 40 Kenneth Turan
    Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
    • 35 Metascore
    • 40 Kenneth Turan
    Expendables 3 is a kind of ho-hum experience, wherein a lot of bullets are expended and a lot of structures exploded to minimal dramatic effect.
    • 52 Metascore
    • 40 Kenneth Turan
    Awkwardly balanced between comedy and significance, with plotting that gets increasingly schematic and unconvincing, My Old Lady is bound and determined to get more serious than it is capable of sustaining.
    • 59 Metascore
    • 30 Kenneth Turan
    While adapting accomplished fiction such as this is a lure Hollywood can never resist, some characters breathe better on the page, and that is the case here.
    • 52 Metascore
    • 30 Kenneth Turan
    Affleck and Paltrow, who've been excellent elsewhere, display less chemistry than they've shown in magazine photo shoots. Even Woody and Bo Peep had more going on between them in "Toy Story" than these two manage here.
    • 55 Metascore
    • 30 Kenneth Turan
    Getting progressively less involving as it goes along, the strongest feeling Series 7 creates is the passionate desire to change the channel and move on.
    • 42 Metascore
    • 30 Kenneth Turan
    Not the kind of unwatchable mess you might assume a film withheld from reviewers' scrutiny would be. It is, however, something equally unfortunate: a mess you'd rather not be watching.
    • 48 Metascore
    • 30 Kenneth Turan
    Lacks even a vestige of subtlety and is rarely so much as amusing. Viewers with fond memories of the brothers' wildly funny "There's Something About Mary" will be astonished at how few laughs the current venture has.
    • 27 Metascore
    • 30 Kenneth Turan
    A bad movie for connoisseurs of the genre.
    • 43 Metascore
    • 30 Kenneth Turan
    Buried under the miscalculations, the shamelessness, the off-putting and inappropriate broadness are sporadically visible souvenirs of a good project gone bad, hints of the unusual, bittersweet story that got away.
    • 49 Metascore
    • 30 Kenneth Turan
    As the Farrellys have proved, tastelessness can be made palatable, but they've misfired with Me, Myself & Irene.
    • 67 Metascore
    • 30 Kenneth Turan
    George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
    • 33 Metascore
    • 30 Kenneth Turan
    The best thing that can be said about this lethargic coming-of-age tale, noticeably undernourished at 78 minutes, is that it's better than the even more pathetic "Stolen Summer."
    • 36 Metascore
    • 30 Kenneth Turan
    Given the polyglot nature of the cast, with actors from at least five countries taking their best shots at the English language, it's unclear why Cage felt he needed an accent or, stranger still, why it took him a reported seven months to come up with this one.
    • 72 Metascore
    • 30 Kenneth Turan
    Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
    • 53 Metascore
    • 30 Kenneth Turan
    It's not often that you see talented, well-meaning people joined together like cultists in the snare of a group delusion, but that's what makes this film fascinating, the proverbial accident you can't take your eyes off.
    • 56 Metascore
    • 30 Kenneth Turan
    Max
    Just because people are objecting to Max for all the wrong reasons doesn't make it a good film, and it's not. It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
    • 74 Metascore
    • 30 Kenneth Turan
    What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
    • 32 Metascore
    • 30 Kenneth Turan
    A painfully contrived and artificial exercise in futility.
    • 35 Metascore
    • 30 Kenneth Turan
    It has a tendency to run ragged and spends an unhealthy amount of time idling pointlessly at intersections.
    • 47 Metascore
    • 30 Kenneth Turan
    Irritating, childish and more frantic than funny, Cats & Dogs does manage some few pleasant moments, but they are not worth waiting for.
    • 66 Metascore
    • 30 Kenneth Turan
    What's most troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the increasing realization that it actually thinks it's saying something of significance.
    • 47 Metascore
    • 30 Kenneth Turan
    It's a portrayal so unconvincing it makes it close to impossible for the rest of the film to function as intended.
    • 63 Metascore
    • 30 Kenneth Turan
    This noisy retread, a secondhand facsimile of a movie, is, except for the headache its boisterous sound level leaves you with, as forgettable as a bad day in the Disneyland parking lot.
    • 55 Metascore
    • 30 Kenneth Turan
    A weakly comic splatter movie oversupplied with jokey, cartoonish violence.
    • 32 Metascore
    • 30 Kenneth Turan
    The hard truth is that the line between being deadly earnest and unintentionally silly is thinner than these people think, and Beyond Borders turns out to be an unreal film about a real situation, unavoidably cartoonish, as was the earlier "Tears of the Sun," in its attempt to join crucial issues to ridiculous melodrama.
    • 41 Metascore
    • 30 Kenneth Turan
    Scattered, phlegmatic and an all-around weak effort, Celebrity turns out instead to be one of Allen's periodic misfires.
    • 37 Metascore
    • 30 Kenneth Turan
    Such a classic combination of feckless dramaturgy and rampant excess that giving way to giggles is the only sane response.
    • 46 Metascore
    • 30 Kenneth Turan
    A complete waste of time and potential.
    • 43 Metascore
    • 30 Kenneth Turan
    Despite that frisson of naughtiness and the occasional smile, Jersey Girl is overall too bland to hold our interest.
    • 49 Metascore
    • 30 Kenneth Turan
    It might even have made a good film, but it hasn't. In the hands of stars in denial about their stardom and a director who can't be bothered to take things seriously, it has come out implausible and unsatisfying, a comic thriller that is not especially funny or thrilling.
    • 29 Metascore
    • 30 Kenneth Turan
    Goofy and gee-whiz when it isn't being post-apocalyptic glum, it is such an earnest hodgepodge that only by imagining "Mad Max" directed by Frank Capra can you get even an inkling of what it's like.
    • 40 Metascore
    • 30 Kenneth Turan
    By the time Duets faces the music, hardly anyone is going to care.
    • Los Angeles Times
    • 33 Metascore
    • 30 Kenneth Turan
    The laugh lines are mostly crude and the prevalent slapstick is weak and uneventful.
    • 49 Metascore
    • 30 Kenneth Turan
    The film's tone works overtime at mythologizing tawdry incidents into some ultimate epic about the lost innocence of youth. Gilded trash is more like it.
    • 36 Metascore
    • 30 Kenneth Turan
    Sporadically effective, it appears not to have particularly excited the people who made it, and that lackadaisical quality is a drawback.
    • 43 Metascore
    • 30 Kenneth Turan
    Yet for all its ballyhooed candor about sexual matters, it's a surprisingly baffling and opaque film, too artistic to be standard pornography and too zealously focused on being graphic to the exclusion of all else to succeed as drama.
    • 50 Metascore
    • 30 Kenneth Turan
    Laurence Fishburne is one actor who has charisma to burn, but even his incendiary performance can't ignite Hoodlum, a would-be gangster epic that generates less heat than a nickel cigar. [27Aug1997 Pg 8]
    • Los Angeles Times
    • 45 Metascore
    • 30 Kenneth Turan
    Mad City is an example of how enervated polemical filmmaking can become when its plot loses contact with plausibility.
    • 23 Metascore
    • 30 Kenneth Turan
    Though it displays enough perils to put a dent in future cruise ship sales, the film has a makeshift, slapdash quality that is the opposite of its predecessor.
    • 65 Metascore
    • 30 Kenneth Turan
    A paint-by-numbers version of an artist's life, Basquiat is amusing for all the wrong reasons, especially at those horrible moments when you realize you're supposed to be taking it seriously.
    • 44 Metascore
    • 30 Kenneth Turan
    A trying experience. As we watch Rochester fall apart in spectacular fashion, it's clear that a major lure for the venturesome Depp was the chance to play a grotesque, to become a pestilent physical wreck with an artificial silver nose. There's more in that role for the actor, however, than there is for us.
    • 35 Metascore
    • 30 Kenneth Turan
    Redford's Gage is so busy being exquisitely sensitive and polite he neglects to project any energy, and without it the crucial morning-after part of the movie gradually collapses under the weight of its own self-importance. [07 Apr 1993 Pg. F1]
    • Los Angeles Times
    • 54 Metascore
    • 30 Kenneth Turan
    Though the Strick-Robinson script is solid from line to line, the film's plot is finally too implausible for anyone to rescue.
    • 57 Metascore
    • 30 Kenneth Turan
    Coppola decided that he really wasn't making a horror film after all, but rather a love story, a comic burlesque, a costume drama, a piece of erotica, whatever. But no matter what else you do with it, a Dracula that cannot manage to be more scary than silly is as pitilessly doomed as that elegant old Transylvanian himself. [13 Nov 1992]
    • Los Angeles Times
    • 31 Metascore
    • 30 Kenneth Turan
    Jack is more depressing than the weight of its demerits because of the quality of the work both these men have done before.
    • 28 Metascore
    • 30 Kenneth Turan
    Loaded as it is with undeveloped notions about feminism and individuality, nothing about it is really memorable except the appealing musicality of the fine k.d. lang/Ben Mink score, which deserves better. [20 May 1994]
    • Los Angeles Times
    • 56 Metascore
    • 30 Kenneth Turan
    Falling Down encourages a gloating sense that we the long-suffering victims are finally getting our splendid revenge. The ultimate hollowness of that kind of triumph reflects the shallowness of a film all too eager to serve it up. [26 Feb 1993, p.1]
    • Los Angeles Times
    • 61 Metascore
    • 30 Kenneth Turan
    It would be lying not to say that some of the moviemakers here aren't working at the top of their craft, or that the movie won't reach audiences. On its own terms, Kindergarten Cop is nearly fool-proof: the last word in glib, shallow, soulless, spuriously warm-hearted commercialism. [21 Dec 1990, p.1]
    • Los Angeles Times
    • 49 Metascore
    • 30 Kenneth Turan
    Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]
    • Los Angeles Times
    • 56 Metascore
    • 30 Kenneth Turan
    Though he claims to be a seeker, someone who "has to find out" why believers believe, Maher sets out not after answers but cheap laughs that preach, so to speak, to the converted.
    • 37 Metascore
    • 30 Kenneth Turan
    Pedestrian and awkward, this film is a disappointment not only in comparison with Lee's earlier epic, the underrated " Malcolm X," but also in comparison with another film with similar aims, Rachid Bouchareb's "Days of Glory."
    • 39 Metascore
    • 30 Kenneth Turan
    It's doubtful that records are kept about this sort of thing, but consider the possibility that Clash of the Titans is the first film to actually be made worse by being in 3-D.
    • 48 Metascore
    • 30 Kenneth Turan
    Fake or not, I'm Still Here is no fun to watch, and in fact Phoenix's situation comes off as so dire that it becomes a reason to doubt the film's authenticity. Filming someone having a mental breakdown is embarrassing and exploitative at best.
    • 79 Metascore
    • 30 Kenneth Turan
    Not just any kind of trash, it's high-art trash, a kind of "When Tutu Goes Psycho" that so prizes hysteria over sanity that it's worth your life to tell when its characters are hallucinating and when they're not.
    • 41 Metascore
    • 30 Kenneth Turan
    Larry Crowne is an inside-out movie, acceptable around the edges but hollow and shockingly unconvincing at its core. When that core is two of the biggest movie stars around - Tom Hanks and Julia Roberts - it's an especially dispiriting situation.
    • 50 Metascore
    • 30 Kenneth Turan
    A leaden mash-up of western and science-fiction elements that ends up noisy, grotesque and unappealing.
    • 28 Metascore
    • 30 Kenneth Turan
    A Good Day to Die Hard plays like an extended victory lap for star Bruce Willis and the entire "Die Hard" franchise. Not surprising, but not overwhelmingly entertaining either.
    • 51 Metascore
    • 30 Kenneth Turan
    With some momentary exceptions, Jack the Giant Slayer simply isn't any fun.
    • 69 Metascore
    • 30 Kenneth Turan
    Aside from preserving these folks for a presumably grateful posterity and convincingly depicting Austin as an open-air lunatic asylum, Slacker does not offer much to anyone who likes to stay awake.

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