Kenneth Turan

Select another critic »
For 2,144 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 9.5 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Things to Come
Lowest review score: 0 Being Human
Score distribution:
2144 movie reviews
    • 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
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Kenneth Turan
    It is Australian Crowe, a previous non-skater, who gives the film's standout performance.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Kenneth Turan
    A lovingly rendered visual treat struggles with indifferent direction and torpid plot.
    • 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
    It's an acceptable film, but the story of family ties and forgiveness simply cannot manage the emotional connections it is desperate for.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Kenneth Turan
    The film's plot gets so convoluted no nongamer older than 14 will be able to follow it all.
    • 42 Metascore
    • 50 Kenneth Turan
    It's not that "Inferno" as it stands doesn't provide hints of better things. The plot has its share of unexpected twists, peripheral characters hold our attention, wide-screen vistas of tourist destinations Florence, Venice and Istanbul are easy to take, and stories involving the end of the world have a certain built-in interest. But as presented on screen, none of this gels as it should.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Kenneth Turan
    Because the series' plot reveal turns out to be more confusing than compelling, and because turning a novel into two films invariably leads to inflated productions, only the most devoted fans of the book will pledge allegiance to what's on the screen.
    • 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.
    • 57 Metascore
    • 50 Kenneth Turan
    As sequels go, this one is acceptable, nothing more, nothing less.
    • 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.
    • 55 Metascore
    • 50 Kenneth Turan
    While its ambition and scope pull one way, its pinched and unconvincing sense of drama pull the other.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Kenneth Turan
    Drags its uninspiring action out too long for anyone's good.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Kenneth Turan
    Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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
    • 56 Metascore
    • 50 Kenneth Turan
    Unfortunately, "Blood and Honey" has script problems: Its core story is less compelling than its overall atmosphere.
    • 51 Metascore
    • 50 Kenneth Turan
    Not all it might have been, an oddly old-fashioned film from a director who's usually anything but.
    • 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.
    • 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
    A Walk Among the Tombstones is the creepiest film I've seen in quite some time, and that's not meant as a compliment.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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
    • 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.
    • 53 Metascore
    • 50 Kenneth Turan
    Nominally a satiric comedy, the film is only sporadically effective, running out of energy before it reaches the end.
    • 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.
    • 45 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.
    • 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.
    • 40 Metascore
    • 50 Kenneth Turan
    This intriguing hybrid is dramatically involving only when the shooting - with real bullets, naturally - gets underway.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Kenneth Turan
    If we'd never seen another film on the horrors of apartheid, all this might have been more impressive, but we have and it isn't.
    • 60 Metascore
    • 50 Kenneth Turan
    Squanders an appealing performance from Costner.
    • 56 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.
    • 44 Metascore
    • 50 Kenneth Turan
    Has to fight to hold our attention and it doesn't always succeed.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Kenneth Turan
    Only partially convincing.
    • 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.
    • 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.
    • 20 Metascore
    • 40 Kenneth Turan
    Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.
    • 36 Metascore
    • 40 Kenneth Turan
    If they had to make things up, couldn't they have made up something smarter?
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Kenneth Turan
    A sour romantic comedy, only sporadically amusing.
    • 49 Metascore
    • 40 Kenneth Turan
    Demolition is a well-meaning misfire, terribly earnest but unconvincing for all of that.
    • 61 Metascore
    • 40 Kenneth Turan
    Revenge may be sweet, but this is one "Monte Cristo" that leaves a sour taste.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Kenneth Turan
    Its successful moments (and they are only moments) remind us that this is a squandered opportunity.
    • 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.
    • 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.
    • 27 Metascore
    • 40 Kenneth Turan
    Becomes unfocused as it stumbles over all the points it wants to make.
    • 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.
    • 55 Metascore
    • 40 Kenneth Turan
    Money Monster is all over the map, mixing earnest contemporary relevance, black comedy, bogus emotion and tragedy with its nominal thriller plot, all to frankly bewildering effect.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 40 Kenneth Turan
    So over-plotted that it's borderline incomprehensible.
    • 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?
    • 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.
    • 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.
    • 44 Metascore
    • 40 Kenneth Turan
    As written by Adam Cozad and Craig Brewer, The Legend of Tarzan alternates between a brazenly contemporary sensibility and quietly time-honored events. Unfortunately, almost all of the former are awkward while the latter still ring true.
    • 29 Metascore
    • 40 Kenneth Turan
    Harlin's skill compensates for a lot of narrative preposterousness, even it is overmatched this time around.
    • 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.
    • 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.
    • 54 Metascore
    • 40 Kenneth Turan
    It is deeply unpleasant to see women abducted, tortured and eviscerated by a methodical and meticulous butcher.
    • 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.
    • 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.
    • 67 Metascore
    • 40 Kenneth Turan
    After keeping its balance over much treacherous terrain, greedily overreaches and stumbles badly at the close.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Kenneth Turan
    Though amusing from moment to moment, is erratic, unfocused and uncertain where it's going.
    • 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.
    • 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
    • 43 Metascore
    • 40 Kenneth Turan
    Even by the non-Olympian standards of the disaster genre, San Andreas is chock-full of cliché characters, staggering coincidences and wild improbabilities.
    • 53 Metascore
    • 40 Kenneth Turan
    The only thing that keeps Knight of Cups from terminal artistic overreach as it follows Rick around town is the knockout cinematography of three-time Oscar winner Emmanuel Lubezki, who does superb work showing us contemporary Los Angeles in a most magical way.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 40 Kenneth Turan
    Amiable and upbeat though it is, the documentary Hollywood to Dollywood lacks a compelling reason to see it. Unless you are a Dolly Parton zealot, which its two protagonists definitely are.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 40 Kenneth Turan
    Moves with the suffocating deliberateness of a river of molasses.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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
    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.
    • 47 Metascore
    • 40 Kenneth Turan
    This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
    • 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.
    • 41 Metascore
    • 40 Kenneth Turan
    Another traditional Japanese production, weakly plotted, woodenly acted and indifferently dubbed.
    • 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.
    • 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
    Does go on too long, leading to inevitable dead spots.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 35 Metascore
    • 40 Kenneth Turan
    As forgettable as the humor is the film's predictable portrayal of adults as clueless, overbearing cretins.
    • 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.
    • 57 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
    • 47 Metascore
    • 40 Kenneth Turan
    Elephants aside, the plot of this Ong Bak is rudimentary at best.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Kenneth Turan
    Ought to be disreputable fun. Instead it ends up, all its explosions and exposed flesh notwithstanding, rather inert.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Kenneth Turan
    A vaguely amusing formulaic comedy with a premise that turns out to be more discomforting than endearing.
    • 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.
    • 43 Metascore
    • 40 Kenneth Turan
    It's a copy all the way, a disheartening attempt to capitalize on the success of the original.
    • 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
    Yes, some of the individual stunts and action set pieces temporarily hold our interest...but the story itself is not convincing on its own terms, playing like a series of boxes (Bond asking for a martini shaken not stirred) that need to be checked off and forgotten.
    • 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.
    • 50 Metascore
    • 40 Kenneth Turan
    If anything, it uses its gifted veterans to disguise how tired, implausible and overly sentimental the proceedings turn out to be.
    • 34 Metascore
    • 40 Kenneth Turan
    Zoolander 2 defines haphazard. You may smile at times, but not as often as you'd like.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 58 Metascore
    • 40 Kenneth Turan
    Hologram for the King is a baffling film, cinema without weight or heft. The problem is not that anything on screen is troubling, it's that nothing there, not even star Tom Hanks, is capable of holding our interest or attention for very long.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Kenneth Turan
    Against all reason and expectation, the result is a distinctly unfunny film.
    • 38 Metascore
    • 40 Kenneth Turan
    As directed by Timur Bekmambetov, this 21st century Ben-Hur is more phlegmatic than awful, a by and large dull and lethargic piece of work that is not bad enough to get mad at. What it lacks most of all is a convincing reason to exist.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 30 Kenneth Turan
    A painfully contrived and artificial exercise in futility.
    • 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.
    • 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.
    • 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
    • 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.
    • 35 Metascore
    • 30 Kenneth Turan
    It has a tendency to run ragged and spends an unhealthy amount of time idling pointlessly at intersections.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 42 Metascore
    • 30 Kenneth Turan
    If ever a film was made with more money than sense, this is it.
    • 37 Metascore
    • 30 Kenneth Turan
    The Lone Ranger exists without a convincing sense of jeopardy or, more critically, any place for audiences to emotionally connect.
    • 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
    • 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.
    • 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.
    • 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."
    • 48 Metascore
    • 30 Kenneth Turan
    Not clever or polished enough to be successful as farce, unwilling to supply any reason to care about any of its characters, unable to make the points about the role of fashion in society it thinks it is, "Ready to Wear" is madness without the usual Altman method.
    • 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
    • 35 Metascore
    • 30 Kenneth Turan
    Though the photographs are memorable, the photographer is not.
    • 50 Metascore
    • 30 Kenneth Turan
    A leaden mash-up of western and science-fiction elements that ends up noisy, grotesque and unappealing.
    • 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.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 30 Kenneth Turan
    A bad movie for connoisseurs of the genre.
    • 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
    • 46 Metascore
    • 30 Kenneth Turan
    A complete waste of time and potential.
    • 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.
    • 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.
    • 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
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 30 Kenneth Turan
    As the Farrellys have proved, tastelessness can be made palatable, but they've misfired with Me, Myself & Irene.
    • 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.
    • 33 Metascore
    • 30 Kenneth Turan
    The laugh lines are mostly crude and the prevalent slapstick is weak and uneventful.
    • 36 Metascore
    • 30 Kenneth Turan
    The Canyons is a bad accident everyone saw coming, and now it is here.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    This is a surprisingly dull and tedious affair where nothing is even remotely plausible, the romance and the sex least of all.
    • 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.
    • 43 Metascore
    • 30 Kenneth Turan
    Despite that frisson of naughtiness and the occasional smile, Jersey Girl is overall too bland to hold our interest.
    • 51 Metascore
    • 30 Kenneth Turan
    With some momentary exceptions, Jack the Giant Slayer simply isn't any fun.
    • 55 Metascore
    • 30 Kenneth Turan
    A weakly comic splatter movie oversupplied with jokey, cartoonish violence.
    • 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.
    • 49 Metascore
    • 20 Kenneth Turan
    As pretentious as it is hard-core specific, this fiercely anti-erotic film makes even the chilly "Eyes Wide Shut" play like "The Big Easy."
    • 70 Metascore
    • 20 Kenneth Turan
    Soon becomes a sadistic experience in its own right. Experiencing this pretentious wallow -- overwritten, under-thought and overdone -- is a very sophisticated form of torture.
    • 51 Metascore
    • 20 Kenneth Turan
    Feels more planned than passionate, scary at points but unconvincing overall.
    • 48 Metascore
    • 20 Kenneth Turan
    McCarthy has not done himself or his reputation any favors with this original.

Top Trailers