Kenneth Turan

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For 1,982 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 10.5 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 45 Years
Lowest review score: 0 The Green Hornet
Score distribution:
1982 movie reviews
    • 52 Metascore
    • 60 Kenneth Turan
    For very much like Peter, it has clearly gotten harder for this director to break free of the lure of material things and believe in simple magic. And whatever problems his Hook has, there are none that making the film on half of its budget wouldn't have cured.
    • 35 Metascore
    • 60 Kenneth Turan
    It may be standard-issue stuff, but it looks great and it almost makes you nostalgic for the days when stuntmen reigned supreme and mayhem and computers never knew how much they had in common.
    • 60 Metascore
    • 60 Kenneth Turan
    The Wolverine is an erratic affair, more lumbering than compelling, an ambitious film with its share of effective moments that stubbornly refuses to catch fire.
    • 61 Metascore
    • 60 Kenneth Turan
    Although the pulp energy that Blomkamp brings to this material makes it consistently watchable, the film doesn't feel as singular as we would have hoped.
    • 66 Metascore
    • 60 Kenneth Turan
    Daniels' pulp instincts do lead to vivid sequences...but this is one significant film where less would have been a whole lot more.
    • 49 Metascore
    • 60 Kenneth Turan
    For a disorganized film that has trouble deciding what it's about, When Comedy Went to School can be a lot of fun.
    • 40 Metascore
    • 60 Kenneth Turan
    Salerno, as if he's unsure of what he's got, goes to great lengths to heighten the drama with crisp editing, a strong score, frequent sound effects and snappy visuals.
    • 49 Metascore
    • 60 Kenneth Turan
    Whenever The Fifth Estate leaves the involving one-on-one drama between Assange and Domscheit-Berg, you wish it wouldn't.
    • 71 Metascore
    • 60 Kenneth Turan
    "Breakdown" gets the music right and has the benefit of strong acting, but its unapologetically melodramatic plot has a tendency to throw everything at you but the kitchen sink.
    • 31 Metascore
    • 60 Kenneth Turan
    Because it is fearlessly sincere and not totally successful, Winter's Tale is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures.
    • 48 Metascore
    • 60 Kenneth Turan
    It's an acceptable, play-it-safe version of the first volume in the hugely popular Veronica Roth-written trilogy.
    • 54 Metascore
    • 60 Kenneth Turan
    This is an earnest and way-contrived endeavor that manages, due largely to Costner's efforts, to be genially diverting in a gee-whiz kind of way.
    • 67 Metascore
    • 60 Kenneth Turan
    Though amusing enough to avoid absolutely drowning in schmaltz, it's sad to see a film with potential lose its way in the late innings.
    • 62 Metascore
    • 60 Kenneth Turan
    Even if Dan and Gretta charm each other more than they charm us, the music they make is harder to resist than they are.
    • 44 Metascore
    • 60 Kenneth Turan
    Its story line and performances are no more than serviceable, but those terrible twisters are state of the art.
    • 46 Metascore
    • 60 Kenneth Turan
    If I Stay takes time to find its footing amid miscalculations and awkward moments.
    • 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
    Though everyone tries her or his hardest to make it otherwise, this is by definition a place-holder film that exists not so much for itself but to smooth the transition from its hugely successful predecessors to a presumably glorious finale one year hence.
    • 52 Metascore
    • 60 Kenneth Turan
    As with the DeMille ventures, enjoyment here involves managing expectations and not taking things too seriously.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Kenneth Turan
    Southpaw is so logic-defying it takes on a Frankenstein life of its own, especially with as energetic and focused an action maestro as Fuqua ("Training Day," "The Equalizer") in charge.
    • 72 Metascore
    • 60 Kenneth Turan
    Alternately riveting and wearying, up-to-the-minute relevant as well as self-mythologizingly self-indulgent — as much of a heroic origins story as anything out of the Marvel factory — Straight Outta Compton ends up juggling more story lines and moods than it can handle.
    • 64 Metascore
    • 60 Kenneth Turan
    Though there is heroism as well as love here, because it involves the deaths of people we have come to care about, Everest is finally a sad story, though not always a dramatically involving one.
    • 50 Metascore
    • 60 Kenneth Turan
    Having its heart and mind in the right place is not enough to make this a better movie than it is.
    • 77 Metascore
    • 60 Kenneth Turan
    It's a film of exceptional technical virtuosity that could have used some help in the dramatic department.
    • 66 Metascore
    • 60 Kenneth Turan
    Crimson Peak's astonishing visuals don't enhance its story (co-written by the director and Matthew Robbins); they overwhelm it, encouraging us to stand back and admire the look when we should be involved in the emotional mechanics of this lurid tale.
    • 67 Metascore
    • 60 Kenneth Turan
    Though ably acted and indisputably on the side of the angels, Suffragette as directed by Sarah Gavron is more dead-on earnest and schematic than it needs to be.
    • 81 Metascore
    • 60 Kenneth Turan
    Though a definite improvement on the last three abortive Star Wars prequels directed by series creator George Lucas, The Force Awakens is only at its best in fits and starts, its success dependent on who of its mix of franchise veterans and first-timers is on the screen.
    • 45 Metascore
    • 50 Kenneth Turan
    A movie we might like to buy into if left to our own devices, but that idea is anathema to Turteltaub, intent on pushing us so hard that we end up pushing back.
    • 48 Metascore
    • 50 Kenneth Turan
    It's not the story that's the story here, it' the film' bravura visual look.
    • 49 Metascore
    • 50 Kenneth Turan
    A pleasant enough entertainment raised above its station by the quality of its acting.
    • 34 Metascore
    • 50 Kenneth Turan
    It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
    • 37 Metascore
    • 50 Kenneth Turan
    Wants to be an honest look at the problems that can beset a modern marriage, and be funny at the same time, but it doesn't have the skills or the temperament to pull all that off.
    • 44 Metascore
    • 50 Kenneth Turan
    With its capacity to surprise, the film comes to life when you don't expect it to, in tiny but wonderfully off-center moments.
    • 52 Metascore
    • 50 Kenneth Turan
    This energetic and diverting sports soap opera throws a few head fakes in the direction of an iconoclastic examination of the dark side of professional football.
    • 53 Metascore
    • 50 Kenneth Turan
    Has little to occupy us once its battle scenes recede. One of those goofy movies where devil-may-care Russian soldiers unwind by playing the balalaika far into the night, it takes itself far more seriously than anyone else will be able to manage.
    • 52 Metascore
    • 50 Kenneth Turan
    This single cautionary tale of how drug innocence gives way to woeful, hung-over experience proves to be way too predictable to effectively caution or even involve anyone.
    • 42 Metascore
    • 50 Kenneth Turan
    A reasonably diverting albeit frequently improbable thriller.
    • 38 Metascore
    • 50 Kenneth Turan
    The film's underlying concept is so irredeemably screwy and far-fetched that no amount of fine work can hope to make it convincing.
    • 61 Metascore
    • 50 Kenneth Turan
    The other, unintentional lesson taught here is that it's easier to make a mouse talk than to come up with something interesting for him to say.
    • 47 Metascore
    • 50 Kenneth Turan
    A peppy affair that works in fits and starts but is unable to put its successful moments together in any consistently satisfying way.
    • 73 Metascore
    • 50 Kenneth Turan
    A measured, decorous, at times pat film that manages to be quietly moving because it touches on something real.
    • 49 Metascore
    • 50 Kenneth Turan
    It is Australian Crowe, a previous non-skater, who gives the film's standout performance.
    • 45 Metascore
    • 50 Kenneth Turan
    An ambitious film that aims to examine the human equations behind the abductions. But for all its good intentions, it's not as subtle as it might be, and it's finally pitched too broadly to achieve the level of emotional truth it aims for.
    • 45 Metascore
    • 50 Kenneth Turan
    Passable, moderately diverting dramatic entertainment.
    • 42 Metascore
    • 50 Kenneth Turan
    If Welles was unhappy at the prospect of the human race splitting in two, he probably wouldn't be too crazy with his great-grandson's movie splitting up in pretty much the same way.
    • 62 Metascore
    • 50 Kenneth Turan
    It would be foolish to deny that Unbreakable has scenes that make you jump, but without anything resonant to apply that skill to, the film has no option except squandering its technique.
    • 70 Metascore
    • 50 Kenneth Turan
    Dances on the edge of flat-lining just like the DOAs that are Frank's stock-in-trade.
    • 48 Metascore
    • 50 Kenneth Turan
    Drags its uninspiring action out too long for anyone's good.
    • 76 Metascore
    • 50 Kenneth Turan
    Shallow where it would be meaningful, demanding leaps of faith it has not earned, this film's marriage of arresting technique to empty thinking is not unique, only frustrating.
    • 51 Metascore
    • 50 Kenneth Turan
    Not all it might have been, an oddly old-fashioned film from a director who's usually anything but.
    • 39 Metascore
    • 50 Kenneth Turan
    Though the cast ends up looking good, the film's unwillingness or inability to have things add up hurts everyone's efforts.
    • 58 Metascore
    • 50 Kenneth Turan
    Unfortunately for Man on the Moon, Kaufman is definitely a person more interesting to hear about than to experience, an acquired taste few will be tempted to acquire.
    • 39 Metascore
    • 50 Kenneth Turan
    Though Reign of Fire's concept of a humans-versus-dragons smackdown is a good one, the way it's worked out on screen is more silly than compelling.
    • 61 Metascore
    • 50 Kenneth Turan
    Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
    • 40 Metascore
    • 50 Kenneth Turan
    Began life as a comic book, and screenwriters Ethan Reiff and Cyrus Voris, ever respectful of that lineage, have not allowed the film's dialogue or plot points to rise above their cartoonish origins.
    • 48 Metascore
    • 50 Kenneth Turan
    A practiced piece of Hollywood hokum, way too calculated and contrived, especially for a film that nominally celebrates the chaos and creativity of the 1960s.
    • 75 Metascore
    • 50 Kenneth Turan
    Director Wes Anderson, who also co-wrote the "Royal" script with actor Owen Wilson, unquestionably has one of America's most distinctive filmmaking sensibilities, but that is part of the problem. As my mother used to say, too good is no good.
    • 48 Metascore
    • 50 Kenneth Turan
    If The Core finally has to be classified as a mess, it is an enjoyable one if you're in a throwback mood. After all, a film that comes up with a rare metal called Unobtainium can't be dismissed out of hand.
    • 76 Metascore
    • 50 Kenneth Turan
    A more impartial filmmaker might have understood the need for other voices to balance against all that attitude, might have understood how hungry the film makes us for even a single non-adulatory moment.
    • 44 Metascore
    • 50 Kenneth Turan
    Has to fight to hold our attention and it doesn't always succeed.
    • 47 Metascore
    • 50 Kenneth Turan
    A pleasant diversion, a lightly amusing criminal comedy with a plot so complicated even the people in it can't quite believe what's happening.
    • 47 Metascore
    • 50 Kenneth Turan
    A middling, so-so thriller about a murder investigation on an Army base, it falls to Earth somewhere between failure and success, inconclusive to the end.
    • 49 Metascore
    • 50 Kenneth Turan
    All these intriguing good intentions, however, have largely gone for naught because of a variety of missteps, starting with an increasing implausible plot as well as the fact that Ledger's Harry looks about as likely to pass for an Arab as the Mahdi is to pass for Queen Victoria.
    • 55 Metascore
    • 50 Kenneth Turan
    Neither the script nor the direction nor the acting has been able to make these characters into ones we want to invest ourselves in. The Truth About Charlie is one very busy film, but it's really not going anywhere.
    • 48 Metascore
    • 50 Kenneth Turan
    May make you weep, but not in the way anyone intended. Handsomely made, well-meaning but finally frustrating and unsatisfying, this perplexing film is an example of a previously unseen hybrid, the socially conscious, humanitarian action movie. It doesn't appear to be a genre with much of a future.
    • 41 Metascore
    • 50 Kenneth Turan
    Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
    • 55 Metascore
    • 50 Kenneth Turan
    Its heart is so much in the right place it is difficult to get really peeved at it.
    • 49 Metascore
    • 50 Kenneth Turan
    With preposterously convoluted plot twists, not even Grant is enough to make us smile all the way through the end.
    • Los Angeles Times
    • 48 Metascore
    • 50 Kenneth Turan
    xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
    • 48 Metascore
    • 50 Kenneth Turan
    A shrewd, pulpy crowd-pleaser.
    • 48 Metascore
    • 50 Kenneth Turan
    Intermittently appealing movie romance.
    • 35 Metascore
    • 50 Kenneth Turan
    Simultaneously jokey and scary, sentimental and ruthless, tediously everyday and grotesquely out of the ordinary.
    • 49 Metascore
    • 50 Kenneth Turan
    It's well crafted by director Michael Hoffman, not painful to sit through, and even contains some 21st century plot twists -- But unless you have a predisposition toward this kind of thing, none of that is going to matter much.
    • 50 Metascore
    • 50 Kenneth Turan
    Has trouble seeming real. Its back story, involving the sins of Detective LaMarca's own father, feels contrived and the eventual resolution is simultaneously shaky and too pat.
    • 50 Metascore
    • 50 Kenneth Turan
    It's the angriest film an unfailingly angry filmmaker has yet made, skewering almost everyone in it, both black and white.
    • 52 Metascore
    • 50 Kenneth Turan
    Though what he does here pretty much defines coasting, Nicholson just fooling around adds an energy to even the kind of hopelessly contrived material that lets you know that the lowest common denominator just got lower.
    • 69 Metascore
    • 50 Kenneth Turan
    Its warped, disconnected sensibility makes for an oddly distant piece of work.
    • Los Angeles Times
    • 41 Metascore
    • 50 Kenneth Turan
    Though audiences will leave theaters with an increased appreciation of this pair's talents, they will also leave pondering the perennial Hollywood question: How come so little of interest could be found for performers who are capable of so much more?
    • 59 Metascore
    • 50 Kenneth Turan
    Guilty of squandering resources. Amusing as it goes about setting up its premise, in Witherspoon, the gifted veteran of "Election" and "Pleasantville," it has an actress willing to throw herself completely into the part to excellent effect.
    • 57 Metascore
    • 50 Kenneth Turan
    Certainly acceptable. But no one seeing it is going to feel as spooked as executive producer Roy Lee. To make an audience feel that intensely, you need a different kind of director and a different kind of film.
    • 48 Metascore
    • 50 Kenneth Turan
    A pleasure to look at. It's filled with fine, imaginative moves and an overarching sense of visual freedom, a feeling of play that entices us into enjoyment. But, when it comes to dialogue and story, this Sinbad apparently used up all its initiative changing its hero's ethnicity to generic Greco-Roman.
    • 52 Metascore
    • 50 Kenneth Turan
    A potato chip of a movie. Tasty and lightweight, it's fine for a cinematic snack, if that's what you're looking for. Making it an entire meal, however, really isn't advisable.
    • 49 Metascore
    • 50 Kenneth Turan
    The film's plot gets so convoluted no nongamer older than 14 will be able to follow it all.
    • 62 Metascore
    • 50 Kenneth Turan
    For all its surface verisimilitude and for all its focus on a problem that couldn't be more current, this film can't manage to feel more than sporadically real.
    • 43 Metascore
    • 50 Kenneth Turan
    As (DiCaprio's) character heads for The Beach's predictable heart of darkness denouement, only die-hard fans will have the heart to tag along.
    • 61 Metascore
    • 50 Kenneth Turan
    This is a chance to see Shakespeare with mud wrestling, something the Bard surely would have put in if only he'd thought of it himself… Though the actors have no major problems handling the language, the whole venture is listless when it should be sparkling. Shakespeare, even with mud wrestling, needn't be quite so much of a slog. [14 May 1999, Calendar, p.F-6]
    • Los Angeles Times
    • 34 Metascore
    • 50 Kenneth Turan
    So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
    • 51 Metascore
    • 50 Kenneth Turan
    While the new film is certainly serviceable, it's noticeably lacking in warmth and humor, and though its visual strengths are real and considerable, from a dramatic point of view it's ponderous and plodding.
    • 54 Metascore
    • 50 Kenneth Turan
    Only a teenage boy could find this kind of stuff continually diverting, and only a teenage boy would not notice flimsy emotions and underdeveloped acting. It seems George Lucas, like Peter Pan, has never really grown up.
    • 80 Metascore
    • 50 Kenneth Turan
    Paradoxically, it is Shawshank's zealousness in trying to cast a rosy glow over the prison experience that makes us feel we're doing harder time than the folks inside. [23 Sept 1994]
    • Los Angeles Times
    • 42 Metascore
    • 50 Kenneth Turan
    Unfortunately, Garner doesn't have as much screen time as her prominence in the advertising would indicate: Daredevil has a hard time staying alive when she's not on the scene.
    • 58 Metascore
    • 50 Kenneth Turan
    It has the awkwardness that characterizes many first features and, as befits a culture that does not always prize refinement, some of its performances and situations are not as subtle as they should be.
    • 45 Metascore
    • 50 Kenneth Turan
    Though the film's second half has some good action moments, it never fulfills the promise of its earliest scenes.
    • 57 Metascore
    • 50 Kenneth Turan
    Creepy and grotesque rather than terrifying. It's more distasteful than anything stronger, a sour bottle of a celebrated vintage that a gourmet like Lecter wouldn't hesitate to send back with the sommelier.
    • 68 Metascore
    • 50 Kenneth Turan
    All the imagination and effort (including 18 months of pre-production) that went into making the dinosaurs state-of-the-art exciting apparently left no time to make the people similarly believable or involving. In fact, when the big guys leave the screen, you'll be tempted to leave the theater with them. [11 June 1993, Calendar, p.F-1]
    • Los Angeles Times
    • 86 Metascore
    • 50 Kenneth Turan
    You can't have Rushmore without Max, and though Anderson obviously planned it this way, the kid is finally too off-putting to tolerate.
    • 52 Metascore
    • 50 Kenneth Turan
    A blithe and unapologetic fairy tale about affairs of the heart, it's a spun-sugar confection that's so light and airy it threatens to simply float away.
    • 62 Metascore
    • 50 Kenneth Turan
    The only thing that won't make you laugh, unless you've got a 12-year-old's sense of humor, is the film's tireless parade of gross-out gags and scatological verbal jests. Myers gets a charge out of this material--it wouldn't be here if he didn't--but so much of it is so tedious it's difficult to believe an adult actually sat down and wrote it.
    • 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.
    • 58 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.
    • 62 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.
    • 40 Metascore
    • 50 Kenneth Turan
    Jupiter Ascending is best during its purely visual moments, of which there are many... All of which makes it a shame that the only sense the Wachowskis can count on is their visual one.
    • 46 Metascore
    • 50 Kenneth Turan
    Fifty Shades encourages us to buy into this credulity-straining scenario because the actors go well together (casting director Francine Maisler did the heavy lifting), Dornan's steely resolve facing off nicely against Johnson's engaging feistyness as each tries to make this cross-cultural relationship work on his or her own terms.
    • 51 Metascore
    • 50 Kenneth Turan
    It's regrettable that Woman in Gold is no more than adequate, more old-fashioned Hollywoodization than incisive modern dramatization.
    • 80 Metascore
    • 50 Kenneth Turan
    Pohlad did not lack for ideas about how he wanted to portray Brian Wilson's life, but he is without the wherewithal to effectively put them into practice.
    • 52 Metascore
    • 50 Kenneth Turan
    [Barthes'] measured, distanced style brings a certain stiffness to the proceedings and makes us miss even more than usual the Emma Bovary interior monologue that makes the book so memorable.
    • 27 Metascore
    • 50 Kenneth Turan
    If Fantastic Four is pleasantly different in its introductory segment, once those super powers kick in, the whole film goes into a more standard gear.
    • 54 Metascore
    • 50 Kenneth Turan
    Ricki and the Flash is a sour movie masquerading as something more cheerful. In that attempted deception the film is both helped and hindered by an indispensable performance by star Meryl Streep.
    • 53 Metascore
    • 50 Kenneth Turan
    Nominally a satiric comedy, the film is only sporadically effective, running out of energy before it reaches the end.
    • 42 Metascore
    • 50 Kenneth Turan
    Burnt is mildly diverting.
    • 65 Metascore
    • 50 Kenneth Turan
    The aesthetically misguided idea of breaking the final book into two films, commercially remunerative though it might have been, has ended up making the dragged-out proceedings feel anti-climactic and emotionally static.
    • 47 Metascore
    • 50 Kenneth Turan
    The whale is wondrous but the drama not so much in In the Heart of the Sea.
    • 56 Metascore
    • 50 Kenneth Turan
    Joy
    Despite some quite engaging sections, "Joy" is, unlike previous Russell films, dragged down more than it is inspired by its chaotic ambience, a film whose variations in tone can't be overcome.
    • 56 Metascore
    • 50 Kenneth Turan
    The key problem is that writer-director Peter Landesman has pushed too hard to make this story fit into a dramatic mold, alternating melodrama and romance with those earnest warnings in a way that is more ungainly than effective.
    • 48 Metascore
    • 50 Kenneth Turan
    This action facility, however, is not enough to make "13 Hours" more than sporadically successful, in part because, at 2 hours and 24 minutes, the film is too long for its own good and risks feelings of repetition and exhaustion.
    • 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.

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