Kenneth Turan

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For 2,137 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 9.7 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Testament of Youth
Lowest review score: 0 Being Human
Score distribution:
2137 movie reviews
    • 64 Metascore
    • 60 Kenneth Turan
    A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
    • 68 Metascore
    • 60 Kenneth Turan
    To see this overly schematic movie, is to be made to feel -- inaccurately as it turns out -- that the whole thing is a hopelessly exaggerated fabrication. The taint of the melodramatic techniques used in key segments infects the entire movie and makes us question the truth of a significant historical reality.
    • 63 Metascore
    • 60 Kenneth Turan
    What Spy Game turns out to be is the old reliable family car spruced up around the edges in an attempt to convince a new generation of buyers that it's a hot number.
    • 57 Metascore
    • 60 Kenneth Turan
    Sensitively directed by Ron Shelton and helped by what just might be the best performance of Kurt Russell's career, Dark Blue is as interesting and successful as it can be within its limits, but those limits make this a more generic film than its makers intended.
    • 52 Metascore
    • 60 Kenneth Turan
    Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
    • 68 Metascore
    • 60 Kenneth Turan
    Undeniably clever and inventive, Babe: Pig in the City has nevertheless sacrificed part of the freshness and buoyancy that made the original "Babe" so luminous. This sequel is more elaborate, more calculated and more self-consciously dark than its deservedly beloved predecessor.
    • 69 Metascore
    • 60 Kenneth Turan
    The Birth of a Nation certainly has the power of conviction, but the grace of art escapes it.
    • 65 Metascore
    • 60 Kenneth Turan
    Robert Redford, who for the first time stars in a movie he's also directed, has taken this soap opera material and treated it like something inscribed on yak vellum by the Dalai Lama.
    • 60 Metascore
    • 60 Kenneth Turan
    The Wolverine is an erratic affair, more lumbering than compelling, an ambitious film with its share of effective moments that stubbornly refuses to catch fire.
    • 77 Metascore
    • 60 Kenneth Turan
    Self-conscious about its heroism with portrayals that lean toward the glib and the professionally uplifting, the film milks our sympathies too readily to be emotionally convincing.
    • 57 Metascore
    • 60 Kenneth Turan
    Rachel McAdams gives the kind of performance we go to the movies for. The rest of the film isn't always up to her level, but it does provide genial entertainment until it runs out of steam.
    • 72 Metascore
    • 60 Kenneth Turan
    As frigid as its name. Burdened with a story of some of the world's least interesting people going through a holiday crisis, director Ang Lee and screenwriter James Schamus get as close as any creative team could to making matters involving, but the task is finally too much for them.
    • 51 Metascore
    • 60 Kenneth Turan
    Though Butcher is appealing, Saint Ralph is anchored by Scott's persuasive work as a model of intelligent decency.
    • 54 Metascore
    • 60 Kenneth Turan
    Oblivious to niceties like subtlety, plausibility and discretion, it rushes heedlessly toward its destination of audience arousal. Like a flood, the impact is undeniable but it's not something everyone will want to get in the way of. [24Jul1996 Pg. F.01]
    • Los Angeles Times
    • 65 Metascore
    • 60 Kenneth Turan
    You're initially jazzed by his effrontery, but Deadpool, with his relentlessly glib, nothing-sacred attitude, is not an individual who wears particularly well.
    • 60 Metascore
    • 60 Kenneth Turan
    There's no freshness here, no sense of newness or discovery. In its place, there's an earnest desire not to drop the ball, a determination to risk as little as possible in keeping this golden egg from cracking wide open.
    • 39 Metascore
    • 60 Kenneth Turan
    More science-fiction space opera than superhero epic, it works in fits and starts as its disparate parts go in and out of effectiveness, but the professionalism of the production make it watchable in a comic book kind of way.
    • 49 Metascore
    • 60 Kenneth Turan
    Whenever The Fifth Estate leaves the involving one-on-one drama between Assange and Domscheit-Berg, you wish it wouldn't.
    • 41 Metascore
    • 60 Kenneth Turan
    Problematic but involving, Child 44 offers a picture of what individuals did to survive in a world turned upside down. The film's singular premise allows it to survive its various shortcomings, but it is a near-thing.
    • 44 Metascore
    • 60 Kenneth Turan
    Its story line and performances are no more than serviceable, but those terrible twisters are state of the art.
    • 74 Metascore
    • 60 Kenneth Turan
    In its determination to overdo sure-fire material, Billy Elliot becomes as impossible to wholeheartedly embrace as it is to completely reject.
    • 48 Metascore
    • 60 Kenneth Turan
    Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
    • 47 Metascore
    • 60 Kenneth Turan
    Light and frothy though all this is, there is an off-putting element to "Josie," and it's what must be the film's world record number of product placements.
    • 50 Metascore
    • 60 Kenneth Turan
    For the future, the Saint is such an unpleasant and predatory manipulator, it's difficult to root for romance. And when Kilmer's mightily convincing Ice King begins to melt, it's so out of character with what's gone before that its believability is touch and go.
    • 66 Metascore
    • 60 Kenneth Turan
    The uncomfortable reality remains that although this movie is effective moment to moment, very little of it lingers in the mind afterward. The ideal vehicle for our age of immediate sensation and instant gratification, it disappears without a trace almost as soon as it's consumed.
    • 79 Metascore
    • 60 Kenneth Turan
    A potent and unexpected mixture of authenticity and flash -- even if this is what happened on the ground, making it worth our time on screen is just beyond the contortionist abilities of even this most acrobatic of films.
    • 79 Metascore
    • 60 Kenneth Turan
    Though Iron Man is diverting enough in the comic-book-movie mode, there is one thing it doesn't have, and that is dramatic unity. Unlike the irreducible element that is its namesake, Iron Man the movie is an alloy, a combination of several different and disconnected components that don't manage to unite to make a coherent whole.
    • 55 Metascore
    • 60 Kenneth Turan
    Though it would be dishonest to call this an unqualified success, it would be churlish not to tip the hat to Love Actually's genuine charm.
    • 59 Metascore
    • 60 Kenneth Turan
    Rules Don't Apply, as its name implies, is a movie intent on going its own way. It's not without its charms, but there aren't enough of them and they don't readily cohere.
    • 65 Metascore
    • 60 Kenneth Turan
    Despite involved acting and Nichols' impeccable professionalism as a director, the end result is, to quote one of the characters, "a bunch of sad strangers photographed beautifully."
    • 50 Metascore
    • 60 Kenneth Turan
    Rude, rowdy and raunchy, The Campaign gleefully skewers the current sad state of American politics. With a target that tempting, it's not surprising that this cynical and funny film hits more often than it misses.
    • 50 Metascore
    • 60 Kenneth Turan
    It is a laconic, enigmatic piece of work, displaying the grace with spoken language that marked "Glengarry Glen Ross" but troublesome in terms of structure and character development.
    • Los Angeles Times
    • 55 Metascore
    • 60 Kenneth Turan
    Going boldly where no one has gone before is not what it used to be. Contentedly settled into a prosperous middle age, the "Star Trek" series now seems more comfortable retracing its own footsteps, carefully offering its horde of fans interludes that aspire to do no more than fit snugly into the patterns of the past.
    • 53 Metascore
    • 60 Kenneth Turan
    If The Hudsucker Proxy is a triumph, it is a zombie one. Too cold, too elegant, too perfect, more an exhibit in a cinema museum than a flesh-and-blood film, "Proxy's" highly polished surface leaves barely any space for an audience's emotional connection. [11 Mar 1994, p.1]
    • Los Angeles Times
    • 28 Metascore
    • 60 Kenneth Turan
    Essentially a late-'90s MTV version of "The Exorcist," a half-serious, half-silly piece of business that keeps us involved despite (or maybe because of) being more than a little overdone.
    • 62 Metascore
    • 60 Kenneth Turan
    This overly derivative motion picture thinks it is doing and saying more than it is. Instead, it ends up as little more than a reasonable facsimile of the real thing, despite a subtle and effective performance by Ben Affleck, of all people.
    • 56 Metascore
    • 60 Kenneth Turan
    A rambling, mildly entertaining performance film.
    • 47 Metascore
    • 60 Kenneth Turan
    Starring Wesley Snipes as the suave Regis, Murder at 1600 is the modern equivalent of the routine B-picture, diverting in a small potatoes kind of way, though its budget and stars are big league.
    • 66 Metascore
    • 60 Kenneth Turan
    As the only Austen work to be named after its heroine, Emma must have an engaging performance in the title role to succeed at all, and fortunately Gwyneth Paltrow, after a slow start, completely wins us over.
    • 58 Metascore
    • 60 Kenneth Turan
    A self-satisfied film about insecure people, a quirky and episodic comic drama that squanders its genuine assets and ends up not as special as it tries to be.
    • 58 Metascore
    • 60 Kenneth Turan
    Yet with so much going for it, the film's creators have made the classic Hollywood choice and treated its actresses like flesh-and-blood special effects. If you've got talent like this, or so the theory goes, a coherent story is a luxury that can be dispensed with.
    • 72 Metascore
    • 60 Kenneth Turan
    Star Routh's presence and the joys of flight keep Superman Returns alive, but all those missteps dog its heels, holding it back like little touches of Kryptonite in the night.
    • 71 Metascore
    • 60 Kenneth Turan
    It shows promise but finally hits things so hard, both literally and metaphorically, that it's hard not to feel pummeled yourself by the time it's over.
    • 65 Metascore
    • 60 Kenneth Turan
    It's a gritty story made in the director's more elegiacal mode, a confusion of style and content that is not in the film's best interests.
    • 55 Metascore
    • 60 Kenneth Turan
    Hitchcock puts major league star power at the service of its peek-behind-closed-doors premise. But whatever that relationship was like in real life, this is one cinematic portrait of a marriage we could have lived without.
    • 62 Metascore
    • 60 Kenneth Turan
    42
    Robinson's combination of fortitude, restraint and passion for the game was stunning. You can't help getting caught up in this story, even as you are wishing the telling was sharper than it is.
    • 62 Metascore
    • 60 Kenneth Turan
    If a concept is to sustain itself over a multipart story, it must make an emotional connection, and this "Reloaded," especially with stars cast for their lack of affect and affinity for blankness, cannot do that.
    • 46 Metascore
    • 60 Kenneth Turan
    If I Stay takes time to find its footing amid miscalculations and awkward moments.
    • 47 Metascore
    • 60 Kenneth Turan
    Plays like the setup for a movie that never materializes. It has all the elements for a successful comedy, but once the premise is presented, the film doesn't know how to deliver on its promise. That doesn't mean there is no fun in "Fun."
    • 59 Metascore
    • 60 Kenneth Turan
    With what we see on screen weighted too much toward pain and too little toward redemption, this is a film we respect more than love, and that is something of a wasted opportunity.
    • 59 Metascore
    • 60 Kenneth Turan
    Though originality is not one of its accomplishments, Anastasia is generally pleasant, serviceable and eager to please.
    • 60 Metascore
    • 60 Kenneth Turan
    Strongly acted by a highly competent ensemble.
    • 49 Metascore
    • 60 Kenneth Turan
    What makes the story worthwhile is the candor and personality of the band members.
    • 72 Metascore
    • 60 Kenneth Turan
    What Surfwise reveals is that the dark side of the surfing doctor was that he could be a terrible tyrant, someone whose controlling, self-centered rigidity limited his children in ways large and small as much as it gave them richer lives.
    • 62 Metascore
    • 60 Kenneth Turan
    Intent as it is on being both artistically and politically involving, The Great Water periodically miscalculates its effects, coming on stronger than it intends.
    • 68 Metascore
    • 60 Kenneth Turan
    Though comedy is an intrinsic part of the play, director Zaks has not found a way to translate it effectively on screen.
    • 59 Metascore
    • 60 Kenneth Turan
    Does have a large and capable cast and, in James Foley, a director with a taste for visual flourishes. They all so fell in love with the script by Doug Jung they didn't notice how much a derivative retread it is of superior material like "The Grifters" and even "The Sting."
    • 67 Metascore
    • 60 Kenneth Turan
    A Wolf at the Door is undoubtedly effective and well-crafted, but its tale of reckless obsession and its inevitably unhappy ending are finally too unsavory for its own good.
    • 44 Metascore
    • 60 Kenneth Turan
    Constrained by the plot of the novel, the film keeps the two lovers apart for quite a spell, robbing the project of the crazy-in-love energy that made "Twilight," the first entry in the series, such a guilty pleasure.
    • 64 Metascore
    • 60 Kenneth Turan
    As sanctimonious as it is sincere, this is a well-meaning picture that is seriously stuck on itself, that can't hide its air of self-satisfaction. [25 Dec 1991]
    • Los Angeles Times
    • 31 Metascore
    • 60 Kenneth Turan
    Because it is fearlessly sincere and not totally successful, Winter's Tale is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures.
    • 63 Metascore
    • 60 Kenneth Turan
    The film's scary moments are too monstrous and its happy times have too much idiotic beaming, making the film feel like the illegitimate offspring of "Alien" and "The Absent-Minded Professor."
    • 52 Metascore
    • 60 Kenneth Turan
    Though it has loftier aims, it is in reality strictly a film made by believers for believers. It's like the Discovery Channel version of the Greatest Story Ever Told, an earnest, not particularly distinguished piece of work that has none of the touch of the poet that made Pasolini's "The Gospel According to St. Matthew" such a triumph.
    • 52 Metascore
    • 60 Kenneth Turan
    Despite its good intentions, Spirit is more self-conscious and uninspiring from a dramatic point of view than one might have wished. Still, whenever it threatens to get bogged down in earnest dramaturgy, a stirring visual sequence -- rouses us.
    • 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.
    • 48 Metascore
    • 60 Kenneth Turan
    Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]
    • Los Angeles Times
    • 48 Metascore
    • 60 Kenneth Turan
    Feels out of shape and self-satisfied, as if it knew it didn't have to try very hard.
    • 59 Metascore
    • 60 Kenneth Turan
    What's on screen is too honest and from the heart to totally dismiss but too slick and contrived to completely embrace. This is a film that cares about genuine emotion but also wants to tame it, to tidy it up and keep it confined to quarters.
    • 69 Metascore
    • 60 Kenneth Turan
    The Underneath doesn't add up. Made with polish and assurance, capably acted and intricately constructed, its overall impact is less than these parts would indicate. It is good but, against all logic, it is not good enough.
    • 76 Metascore
    • 60 Kenneth Turan
    A solid, often engrossing film that doesn't engage us overall the way Denzel Washington's work does.
    • 52 Metascore
    • 60 Kenneth Turan
    Story line and characterization are decidedly old-fashioned, and a curious decision about production design gives this wide-screen cartoon some of the look and feel of a Saturday morning TV cartoon series
    • 67 Metascore
    • 60 Kenneth Turan
    Genial and entertaining if not notably inspired. But its most interesting aspect turns out to be fantasies of another kind, pipe dreams about the American political system and where it could theoretically be headed.
    • 81 Metascore
    • 60 Kenneth Turan
    A one-trick pony, a movie that has a gift only for making audiences squirm.
    • 64 Metascore
    • 60 Kenneth Turan
    The film's greatest asset and strongest selling point is the former senator from South Dakota himself, thoughtful and articulate at age 83, who talks candidly, even eloquently, about his political career.
    • 45 Metascore
    • 60 Kenneth Turan
    The movie itself is a live-action cartoon, a fast-moving and cheerfully simplistic 88 minutes of exaggerated action put together with the preteen boy in mind.
    • 47 Metascore
    • 60 Kenneth Turan
    I Saw the Light is solid but not spectacular, a retelling of a sad story that never catches fire.
    • 94 Metascore
    • 60 Kenneth Turan
    The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities. [14 Oct 1994]
    • Los Angeles Times
    • 71 Metascore
    • 60 Kenneth Turan
    Mulan has its accomplishments, but unlike the best of Disney's output, it comes off as more manufactured than magical.
    • 60 Metascore
    • 60 Kenneth Turan
    Though Overnight seems to be cautioning us about the excesses of filmmaker ego, it isn't always consistent.
    • 67 Metascore
    • 60 Kenneth Turan
    Though amusing enough to avoid absolutely drowning in schmaltz, it's sad to see a film with potential lose its way in the late innings.
    • 60 Metascore
    • 60 Kenneth Turan
    With its shrewd mixture of paranoia and the paranormal, the way its elaborate mythology combines enigmatic phenomena with potent cabals intent on running the world, The X-Files experience resembles "Twin Peaks" crossed with "The Twilight Zone."
    • 32 Metascore
    • 60 Kenneth Turan
    Both impossible to take seriously or seriously dislike.
    • 61 Metascore
    • 60 Kenneth Turan
    Secretariat shows no fear of the sentimental, and that's putting it mildly. This is an old-fashioned, super-genteel family movie that opens with an equine quote from the Book of Job and makes ample use of the Edwin Hawkins Singers' gospel song "Oh Happy Day."
    • 40 Metascore
    • 60 Kenneth Turan
    It's a solid, efficient comic book movie that is content to provide comic book satisfactions of the action and violence variety.
    • 59 Metascore
    • 60 Kenneth Turan
    While it's futile to pretend that Life Is Beautiful completely triumphs--it's simply too tough a concept to sustain--what is surprising about this unlikely film is that it succeeds as well as it does.
    • 56 Metascore
    • 60 Kenneth Turan
    If Leaving is a romantic parable, it is a dark and depressing one, emphasizing not the sensuality of attraction but rather the obsessive side of romantic behavior. This is mad love for sure, and that is not usually a pretty picture.
    • 48 Metascore
    • 60 Kenneth Turan
    Like the television medium it genially satirizes, EDtv is a grab bag that's both amusing and frustrating.
    • 59 Metascore
    • 60 Kenneth Turan
    Grainy as it looks in its massive Imax blowup, Mickey's misadventures with water and a broom still have the kind of magic even modern technology can't always manage.
    • 38 Metascore
    • 60 Kenneth Turan
    The film sacrifices playfulness and humor to concentrate on a relentless display of elaborate but ho-hum gadgets and gizmos.
    • 78 Metascore
    • 60 Kenneth Turan
    Though it has its charms, Monsters, Inc. does not measure up. As a childhood entertainment it is certainly fine, but Pixar's celebrated lure for adults is largely absent.
    • 58 Metascore
    • 60 Kenneth Turan
    Stays remarkably close to its predecessor in all the ways that count.
    • 48 Metascore
    • 60 Kenneth Turan
    As insistent as it is skillful -- and it is very skillful -- it does all it can to pound you into enjoying yourself. The result is rather like being force-fed a meal of your favorite foods by the Terminator.
    • 77 Metascore
    • 60 Kenneth Turan
    It's a film of exceptional technical virtuosity that could have used some help in the dramatic department.
    • 48 Metascore
    • 60 Kenneth Turan
    This is a work of excess and passion, an untidy sprawl of a motion picture that is sometimes ragged, occasionally uncertain, but -- and this is what's important -- always warm, accessible and rich in emotional life.
    • 62 Metascore
    • 60 Kenneth Turan
    Director Taylor Hackford brings an appropriate level of pulpy energy to the telling, and star Kathy Bates... gives a better performance than the film deserves as the grumpy and possibly homicidal title character.
    • 78 Metascore
    • 60 Kenneth Turan
    Drive is a Los Angeles neo-noir, a neon-lit crime story made with lots of visual style. It's a film in love with both traditional noir mythology and ultra-modern violence, a combination that is not ideal.
    • 65 Metascore
    • 60 Kenneth Turan
    What's surprising about this traditional thriller, moderately successful but not completely satisfying, is exactly how genteel and unsurprising the execution turns out to be.
    • 47 Metascore
    • 60 Kenneth Turan
    It's an intriguing film, one of the year's most interesting, but involving as much of it is, it leaves an unsatisfied taste when it's over.
    • 57 Metascore
    • 60 Kenneth Turan
    The film's drawback, and it is a serious one, is that few of its characters wear very well. The more we see them, the less they involve us and hold our interest, a situation not helped by the bombastic, theatrical style of acting a few of the performers have felt free to employ.
    • 52 Metascore
    • 60 Kenneth Turan
    Unashamedly silly, inevitably erratic, it has so much fun sending up the world of exploitation filmmaking that even the most serious film student won't be able to suppress a laugh or two. Maybe even more.
    • 50 Metascore
    • 60 Kenneth Turan
    A Perfect Murder begins better than it ends, and the pleasures it offers turn out to be more of a transitory nature.
    • 36 Metascore
    • 60 Kenneth Turan
    Half science-fiction tale, half espionage thriller, it's a pleasantly far-fetched endeavor that moves along so briskly that it leaves no time to consider its implausibilities, which are many.
    • 62 Metascore
    • 60 Kenneth Turan
    Those who enjoy the old-fashioned Hollywood pleasure of seeing divergent threads neatly pulled together will be more than satisfied.
    • 61 Metascore
    • 60 Kenneth Turan
    The result is solid and efficient, if unadventurous, illustrating both the lure and the limitations of comic book extravaganzas.
    • 50 Metascore
    • 60 Kenneth Turan
    A brisk and violent action programmer that can't help being unintentionally silly at times.
    • 47 Metascore
    • 60 Kenneth Turan
    Impressive but uninviting, Wyatt Earp is easier to admire from a distance than pull up a chair and enjoy close-up. A self-conscious attempt at epic filmmaking that feels orchestrated as much as directed, it has noticeable virtues but chooses not to wear them lightly. And at three hours plus, it finally encourages audiences to feel as trail weary and exhausted as any of its characters. [24 Jun 1994, p.1]
    • Los Angeles Times
    • 66 Metascore
    • 60 Kenneth Turan
    The result is that "Spider-Man" goes in and out of focus. This is a film that is memorable in pieces but not as a whole.
    • 58 Metascore
    • 60 Kenneth Turan
    K-19's determination to push hard for self-congratulatory morals and convenient resolutions undercut the film's strengths and make it more conventional.
    • 48 Metascore
    • 60 Kenneth Turan
    Does have a satisfying ending and it's nice to see a G-rated film without bathroom humor, but there is too much formula and not enough reason to pay attention here.
    • 55 Metascore
    • 60 Kenneth Turan
    There is often not enough space for all these personalities to truly play out. They tend to become types rather than people, representatives of classes and points of view more than individual human beings.
    • 56 Metascore
    • 60 Kenneth Turan
    Snyder stands revealed here as more of a beginner than a visionary in his uncertain approach to making an on-screen world come alive.
    • 59 Metascore
    • 60 Kenneth Turan
    Shyamalan's great gift is the creation of atmosphere, the conjuring of spooky, unseen menace. When he gets around to doing this in Signs, all is well, but it's a tossup as to whether the film offers enough of a payoff considering how long it takes to get where it's going.
    • 44 Metascore
    • 60 Kenneth Turan
    Sometimes sweet, sometimes scary, sometimes sour, Oz the Great and Powerful is a film that doesn't know its own mind. A partially effective jumble whose elements clash rather than cohere, this solid but not spectacular effort stubbornly refuses to catch fire until it's almost too late.
    • 47 Metascore
    • 60 Kenneth Turan
    So meticulous in its craftsmanship and so earnest in its storytelling that it feels both physically and spiritually airbrushed.
    • 48 Metascore
    • 60 Kenneth Turan
    Chomsky deserves a more thoughtful documentary than Power and Terror, and in fact he got it in 1993's "Manufacturing Consent: Noam Chomsky and the Media" --The film's main flaw is the absence of other voices -- From a cinematic point of view, two sides of an issue are always better than one.
    • 49 Metascore
    • 60 Kenneth Turan
    A typically energetic urban action melodrama, offering car chases, beatings, murders, a dog mauling, attempted arson, frequent double-crosses and pitched street battles worthy of Fallouja.
    • 66 Metascore
    • 60 Kenneth Turan
    Daniels' pulp instincts do lead to vivid sequences...but this is one significant film where less would have been a whole lot more.
    • 35 Metascore
    • 60 Kenneth Turan
    It may be standard-issue stuff, but it looks great and it almost makes you nostalgic for the days when stuntmen reigned supreme and mayhem and computers never knew how much they had in common.
    • 86 Metascore
    • 60 Kenneth Turan
    Even when Griffin has a heart of stone, Tim Robbins is lacking in the knid of ice-cold magnetism that allows a thorough bastard to hold the screen like nobody's business. [10 Apr 1992]
    • Los Angeles Times
    • 76 Metascore
    • 60 Kenneth Turan
    A tragedy devastating to experience can feel generic when transferred to the screen, and that, despite everyone's best intentions and an outstanding performance by Nicole Kidman, is what happens with Rabbit Hole.
    • 45 Metascore
    • 60 Kenneth Turan
    Ends up insisting on pat and overly tidy resolutions that are at variance with the emotional chaos it's nominally attempting to convey. [12 March 1999, Calendar, p.F-1]
    • Los Angeles Times
    • 33 Metascore
    • 60 Kenneth Turan
    That rare comic book movie that actually feels like a comic book. Which turns out to be mostly, but not entirely, a good thing.
    • 46 Metascore
    • 60 Kenneth Turan
    It's hardly a perfect film, not even close, but it is the most entertaining made-for-adults studio movie of the summer, and one of the reasons it works at all is the great skill and commitment Cruise brings to the starring role.
    • 49 Metascore
    • 60 Kenneth Turan
    For a disorganized film that has trouble deciding what it's about, When Comedy Went to School can be a lot of fun.
    • 54 Metascore
    • 60 Kenneth Turan
    Despite a weakness for trying to tie things up with melodramatic violence, Singleton remains a fluid filmmaker who works well with actors. He may not be there yet, but he is on the road.
    • 52 Metascore
    • 60 Kenneth Turan
    For very much like Peter, it has clearly gotten harder for this director to break free of the lure of material things and believe in simple magic. And whatever problems his Hook has, there are none that making the film on half of its budget wouldn't have cured.
    • 47 Metascore
    • 60 Kenneth Turan
    Not as satisfying as the old and unimproved version. In a zealous attempt to broaden its appeal, the Zorro franchise has drifted from the qualities that made the previous film so successful.
    • 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.
    • 62 Metascore
    • 60 Kenneth Turan
    Better than the fiasco that was "Ocean's Twelve" (how could it not be?) but not as engaging as "Ocean's Eleven."
    • 68 Metascore
    • 60 Kenneth Turan
    Loving and well-intentioned though this film is, it never convinces you that its subject matter merits this kind of idealized, worshipful attention. [09 Oct 1992]
    • Los Angeles Times
    • 60 Metascore
    • 60 Kenneth Turan
    The remarkable things about the new film, adapted by Vicente Leñero and directed by Carlos Carrera, are how smoothly it has been transposed to today's Mexico and how far good acting and skillful directing have gone toward tempering those melodramatic roots.
    • 56 Metascore
    • 60 Kenneth Turan
    THE Kingdom has some power but not enough sense. A ripped-from-today's-headlines thriller, it wants us to feel as if we're watching something relevant when what's really going on is a slick excuse for efficient mayhem that's not half as smart as it would like to be.
    • 62 Metascore
    • 60 Kenneth Turan
    Even if Dan and Gretta charm each other more than they charm us, the music they make is harder to resist than they are.
    • 46 Metascore
    • 60 Kenneth Turan
    One overstuffed movie, but it's by no means a turkey.
    • 42 Metascore
    • 60 Kenneth Turan
    The sheer physical presence of these creatures is much more believable and convincing than what can be generously characterized as the film's plot.
    • 68 Metascore
    • 60 Kenneth Turan
    We have a right to yawn, but we don't, and Sarah Polley is the reason.
    • 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.
    • 58 Metascore
    • 60 Kenneth Turan
    Overall, these brief sections, which feature both authors on camera, come off more like self-congratulatory infomercials than they should.
    • 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.
    • 65 Metascore
    • 60 Kenneth Turan
    With characters this alive, it's a pity that no one was able to build a more convincing film around them, instead of leaving everyone more or less out there on their own. [13 May 1994, p.1]
    • Los Angeles Times
    • 59 Metascore
    • 60 Kenneth Turan
    This is a film bound and determined to do whatever it takes to be your Valentine. If it had trusted itself more, it might even have succeeded.
    • 69 Metascore
    • 60 Kenneth Turan
    This film feels completely haphazard, thrown together without much concern for organizing intelligence.
    • 64 Metascore
    • 60 Kenneth Turan
    Though everyone tries her or his hardest to make it otherwise, this is by definition a place-holder film that exists not so much for itself but to smooth the transition from its hugely successful predecessors to a presumably glorious finale one year hence.
    • 71 Metascore
    • 60 Kenneth Turan
    A forced march toward certain disaster, a scenario only passionate believers in predestination are likely to savor.
    • 64 Metascore
    • 60 Kenneth Turan
    Yes, it's inventive, yes, it's out-there and audacious, but no, it's not always as funny as those good things would lead you to hope.
    • 61 Metascore
    • 60 Kenneth Turan
    The Kite Runner is a house divided against itself. The Marc Forster-directed version of the Khaled Hosseini novel does one part of the story so well that its success underlines what's lacking in what remains.
    • 52 Metascore
    • 60 Kenneth Turan
    Veteran director Roger Spottiswoode has tried to pep the old warhorse up, but the combined inertia of all those pictures over 35 years proves hard to budge.
    • 72 Metascore
    • 60 Kenneth Turan
    This melding of two cinematic sensibilities, though effective at moments, is finally not as exciting or involving as it we'd like it to be.
    • 70 Metascore
    • 60 Kenneth Turan
    Bardem's performance is so good it tends to mask how lacking much of what surrounds it is.
    • 61 Metascore
    • 60 Kenneth Turan
    Although the pulp energy that Blomkamp brings to this material makes it consistently watchable, the film doesn't feel as singular as we would have hoped.
    • 66 Metascore
    • 60 Kenneth Turan
    Genuinely moving at times, Philadelphia is trying, perhaps too hard, to break America's heart. [22 Dec 1993, p.1]
    • Los Angeles Times
    • 60 Metascore
    • 60 Kenneth Turan
    Tentpoles are rarely guilty of overreaching, but Tomorrowland has a tendency to feel out of control, a film that is finally more ambitious than accomplished.
    • 40 Metascore
    • 60 Kenneth Turan
    Salerno, as if he's unsure of what he's got, goes to great lengths to heighten the drama with crisp editing, a strong score, frequent sound effects and snappy visuals.
    • 44 Metascore
    • 60 Kenneth Turan
    This Walking Tall does have the Rock, and that, both physically and metaphorically, is no small thing.
    • 55 Metascore
    • 60 Kenneth Turan
    At once too neat and too messy, but films like this are too rare to leave it at that. Ragged but ambitious, it retains a core of genuine emotion -- this picture is doing the best it can, and although that may not be everything, it ought to count for something.
    • 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.
    • 60 Metascore
    • 60 Kenneth Turan
    Though it is a vivid, promising piece of work from first-time director Ernest R. Dickerson, it also shows how difficult it's becoming to deal with this material in any kind of fresh manner.
    • 56 Metascore
    • 60 Kenneth Turan
    The problem with Anna and the King is that it's caught halfway between then and now--- the film tries to throw in notions of cultural relativism and big power imperialism, but can't do without corny shtick.
    • 59 Metascore
    • 60 Kenneth Turan
    In a sense it's a shame that Cocaine Cowboys is so obsessed by violence, because the film has interesting points to make.
    • 47 Metascore
    • 60 Kenneth Turan
    After a summer of numbing mindlessness, there is something frankly refreshing about a movie that deals even superficially with as significant a figure as the rebellious 16th century theologian Martin Luther, one of the founders of Protestantism and the man who put the reform in the Reformation.
    • 56 Metascore
    • 60 Kenneth Turan
    All this is good as far as it goes, but the problem is the good parts don't last long enough.
    • 52 Metascore
    • 60 Kenneth Turan
    Disorganized but engaging, full of visual pyrotechnics and earnest emotion, it is diverting, if not necessarily convincing.
    • 63 Metascore
    • 60 Kenneth Turan
    Things are sporadically troublesome about the film. The story goes in and out of being self-consciously earnest and ponderous, a situation that numerous tight close-ups of people's eyes does nothing to help.
    • 71 Metascore
    • 60 Kenneth Turan
    "Breakdown" gets the music right and has the benefit of strong acting, but its unapologetically melodramatic plot has a tendency to throw everything at you but the kitchen sink.
    • 67 Metascore
    • 60 Kenneth Turan
    A sweet and somber film that works hard to overcome its limitations.
    • 35 Metascore
    • 60 Kenneth Turan
    A slick piece of summer entertainment that is counting on elaborate special effects to make its derivative, convoluted story line all but irrelevant.
    • 62 Metascore
    • 60 Kenneth Turan
    Story and soul are never going to be kings on Skull Island, but they could have fared better than this.
    • 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.
    • 72 Metascore
    • 60 Kenneth Turan
    But bearing witness can be a complex thing and in its concern to illuminate Sarajevo is prone to overkill, to trying too hard to squeeze in every troubling wartime incident.
    • 61 Metascore
    • 60 Kenneth Turan
    This is a film without a center, a film whose young protagonist should have more texture, more of a compelling voice than she does. Through no real fault of the acting, young Astrid does not compel our attention the way she must if White Oleander is to succeed completely on the screen.
    • 82 Metascore
    • 60 Kenneth Turan
    It's a nervy, quasi-documentary scheme that's often successful, perhaps more so than you'd expect for this kind of a hybrid endeavor. But Macdonald's technique eventually turns out to be as distancing as it is involving, paradoxically undercutting the reality as often as it enhances it.
    • 69 Metascore
    • 60 Kenneth Turan
    Exhilarating and frustrating at the same time... the Coens' skill is such that you're not averse to following them anywhere, but every once in a while you can't help wishing they weren't so dead set against throwing the rest of us at least a hint of what's on their minds. [21 Aug 1991]
    • Los Angeles Times
    • 48 Metascore
    • 60 Kenneth Turan
    Frustrating though it can be, Spanglish still proves to be as resilient as its characters.
    • 56 Metascore
    • 60 Kenneth Turan
    Aside from Paltrow's performance, Sylvia is neither a film so spectacular it shouldn't be missed nor something so tepid you have to stay away.
    • 58 Metascore
    • 60 Kenneth Turan
    Directed by Mike Gabriel and Eric Goldberg, Pocahontas is on the formulaic side, a copy that duplicates what its predecessors have done, only a little less adroitly and with a little less style. [16Jun1995 Pg. F.01]
    • Los Angeles Times
    • 73 Metascore
    • 60 Kenneth Turan
    Comes off as convincing but never compelling. There's a ponderous quality to it, as if it's forever clearing its throat to say something of value that doesn't quite get articulated.
    • 43 Metascore
    • 60 Kenneth Turan
    What The Peacemaker doesn't do well, though it tries, is bring much in the way of emotion or character development to the table.
    • 54 Metascore
    • 60 Kenneth Turan
    This is an earnest and way-contrived endeavor that manages, due largely to Costner's efforts, to be genially diverting in a gee-whiz kind of way.
    • 51 Metascore
    • 50 Kenneth Turan
    Unfortunately, although Gilliam has always had a taste for the outre, he has allowed it to get out of hand here and swallow the picture whole. There's an excessiveness, an unwelcome too-muchness to "Grimm's" creepy moments.
    • 63 Metascore
    • 50 Kenneth Turan
    Does benefit from Gibson's charisma...Whether it is quite good enough is another question.
    • 48 Metascore
    • 50 Kenneth Turan
    A warmhearted horror show that puts cliched movie people into a realistic situation, the signals it sends out are nothing but mixed.
    • 58 Metascore
    • 50 Kenneth Turan
    Isn't good and isn't bad, it just isn't. A lethargic would-be entertainment as well as a dispiriting vanity project, it is such a misfire that it makes it hard to remember what was special about its predecessor.
    • 45 Metascore
    • 50 Kenneth Turan
    A movie we might like to buy into if left to our own devices, but that idea is anathema to Turteltaub, intent on pushing us so hard that we end up pushing back.
    • 56 Metascore
    • 50 Kenneth Turan
    What results is a film with some bright spots but whose effect is finally as muddled and wearying as the event itself sometimes is.
    • 64 Metascore
    • 50 Kenneth Turan
    Harron has said she was determined to be nonjudgmental about Page, to do justice to the woman's "mystery and ambiguity." In practice, however, that attitude plays as coldness, and Page, for all her remarkable zest, comes off as a not terribly interesting person we're given no incentive to become involved with.
    • 55 Metascore
    • 50 Kenneth Turan
    Its heart is so much in the right place it is difficult to get really peeved at it.
    • 53 Metascore
    • 50 Kenneth Turan
    The film is well intentioned and mildly diverting, but in attempting to modernize its story it has lost many of the things that make the original so memorable and not gained much in return.
    • 48 Metascore
    • 50 Kenneth Turan
    Unfortunately, absent a more objective context, Trudell's gnomic utterances do little to support those sentiments. By preaching so relentlessly to the choir, this film misses an opportunity to show what got them to sing in the first place.
    • 42 Metascore
    • 50 Kenneth Turan
    A reasonably diverting albeit frequently improbable thriller.
    • 57 Metascore
    • 50 Kenneth Turan
    Thor has its strengths, but it is finally something of a mishmash with designs on being more interesting than it manages to be.
    • 48 Metascore
    • 50 Kenneth Turan
    It does not have as much invigorating freshness as audiences have come to expect in computer animation.
    • 72 Metascore
    • 50 Kenneth Turan
    Not without its funny moments, much of Birdcage seems pro forma and predictable. What felt original in 1978 is no longer half so inspired.
    • 52 Metascore
    • 50 Kenneth Turan
    This single cautionary tale of how drug innocence gives way to woeful, hung-over experience proves to be way too predictable to effectively caution or even involve anyone.
    • 63 Metascore
    • 50 Kenneth Turan
    Above all this is a film for gluttons for punishment, for those who never ever can get enough of Sylvester Stallone. Everyone else, please leave the building.
    • 34 Metascore
    • 50 Kenneth Turan
    It's a wonderful piece of filmmaking, but once any mouth is opened the magic is immediately tarnished.
    • 56 Metascore
    • 50 Kenneth Turan
    Though it is always pleasant and agreeable, this film has the bland and undemanding texture that characterizes movies made for network TV.
    • 45 Metascore
    • 50 Kenneth Turan
    Though the film's second half has some good action moments, it never fulfills the promise of its earliest scenes.
    • 38 Metascore
    • 50 Kenneth Turan
    Like "The Addams Family" before it, this is one of those clever, lively and ultimately wearying pieces of showy Hollywood machinery where a glut of creativity has gone into the visuals with only scraps left over for the plot and the dialogue. [27 May 1994 Pg.F1]
    • Los Angeles Times
    • 45 Metascore
    • 50 Kenneth Turan
    A motion picture with one foot in artistic expression and one in pulp fiction and commercialized violence. It wants the respect that goes with a quality production, but it can't resist providing the brutality and exploitation the film's core audience expects.
    • 44 Metascore
    • 50 Kenneth Turan
    Watching it is like being in a room with a couple locked in a torrid embrace. It might be fun for them, but what's in it for everyone else?
    • 68 Metascore
    • 50 Kenneth Turan
    A film whose reach exceeds its grasp. Hugely ambitious and not without moments of success, this indulgent 2 hour and 40 minute epic ends up as unwieldy as its elongated title. It's a movie in love with itself, and few things are more fatal than that.
    • 81 Metascore
    • 50 Kenneth Turan
    The Wrestler doesn't add up. It's constructed with great care around a lead performance that is everything it could possibly be, but the picture itself is off-putting and disappointing.
    • 58 Metascore
    • 50 Kenneth Turan
    The result is a film that is solid and acceptable instead of soaring and exceptional, one unnecessarily hampered in its quest to reach the magical heights of the trilogy.
    • 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.
    • 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.
    • 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.
    • 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
    xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
    • 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
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 76 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.
    • 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.
    • 48 Metascore
    • 50 Kenneth Turan
    It's not the story that's the story here, it' the film' bravura visual look.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 50 Kenneth Turan
    It is an acceptable enough thriller, neither the worst you've seen nor the opposite.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 49 Metascore
    • 50 Kenneth Turan
    A pleasant enough entertainment raised above its station by the quality of its acting.
    • 47 Metascore
    • 50 Kenneth Turan
    The whale is wondrous but the drama not so much in In the Heart of the Sea.
    • 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
    • 68 Metascore
    • 50 Kenneth Turan
    Batman Returns, the most eagerly awaited and aggressively hyped film of the summer, is, for better and worse, very much the product of director Tim Burton's morose imagination. His dark, melancholy vision is undeniably something to see, but it is a claustrophobic conception, not an expansive one, oppressive rather than exhilarating, and it strangles almost all the enjoyment out of this movie without half trying.
    • 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.
    • 48 Metascore
    • 50 Kenneth Turan
    Intermittently appealing movie romance.
    • 42 Metascore
    • 50 Kenneth Turan
    Burnt is mildly diverting.
    • 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.
    • 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.
    • 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.
    • 55 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.
    • 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.
    • 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.
    • 35 Metascore
    • 50 Kenneth Turan
    Simultaneously jokey and scary, sentimental and ruthless, tediously everyday and grotesquely out of the ordinary.
    • 48 Metascore
    • 50 Kenneth Turan
    A shrewd, pulpy crowd-pleaser.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Kenneth Turan
    The sophistication gap between the character Cheadle has created and the film that contains him is so great it begins to feel like you're watching two different stories that have been unaccountably spliced together.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    Its warped, disconnected sensibility makes for an oddly distant piece of work.
    • Los Angeles Times
    • 58 Metascore
    • 50 Kenneth Turan
    Keeps its filmmakers behind the camera and does without the personality-driven "Fahrenheit's" sarcastic sense of humor.
    • 54 Metascore
    • 50 Kenneth Turan
    A sense of lethargy hangs uneasily over the lumbering new version of The Magnificent Seven. Despite its sturdy plot, seasoned director and capable cast toplined by Denzel Washington, Chris Pratt and Ethan Hawke, it arrives in a comatose state, a film unlikely to arouse passions one way or another.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Kenneth Turan
    Suicide Squad is a concept in search of a story worth telling. Both energized and betrayed by its “Worst.Heroes.Ever” theme and writer-director David Ayer’s trademark visceral filmmaking, it ends up in a kind of limbo, not as strong as partisans will insist or as worthless as its weakest elements would have you believe.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Kenneth Turan
    A measured, decorous, at times pat film that manages to be quietly moving because it touches on something real.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 41 Metascore
    • 50 Kenneth Turan
    Part outer-space romantic comedy, part science-fiction thriller, Passengers leave us feeling we’ve been taken for a ride.
    • 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.
    • 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
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Kenneth Turan
    Passable, moderately diverting dramatic entertainment.
    • 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.

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