Kirk Honeycutt

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For 999 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.6 points lower than other critics. (0-100 point scale)

Kirk Honeycutt's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Flags of Our Fathers
Lowest review score: 0 Your Highness
Score distribution:
  1. Negative: 92 out of 999
999 movie reviews
    • 74 Metascore
    • 60 Kirk Honeycutt
    The movie boils down to one character, acting under enormous pressures of space and time, racing to solve a mystery. In this case, that may be good enough.
    • 37 Metascore
    • 60 Kirk Honeycutt
    The curious thing here is that Alexander Payne and Jim Taylor rewrote this long-in-development screenplay. Yet the authors of such smart comedies as "Sideways," "About Schmidt" and "Citizen Ruth" can't move the film away from the world of easy laughs and sitcom jokes into a realm where sexual prejudices and presumptions get examined in a whimsical yet insightful manner.
    • 71 Metascore
    • 60 Kirk Honeycutt
    "Phoenix" might go down as the problematic film, full of plot but little fun.
    • 65 Metascore
    • 60 Kirk Honeycutt
    Director Steven Spielberg seems intent on celebrating his entire early career here. Whatever the story there is, a vague journey to return a spectacular archeological find to its rightful home -- an unusual goal of the old grave-robber, you must admit -- gets swamped in a sea of stunts and CGI that are relentless as the scenes and character relationships are charmless.
    • 74 Metascore
    • 60 Kirk Honeycutt
    A temperate, evenhanded perhaps overly timid film about an intemperate time in South Africa.
    • 40 Metascore
    • 60 Kirk Honeycutt
    What the film most damagingly lacks though is a sense of mystery and danger.
    • 51 Metascore
    • 60 Kirk Honeycutt
    Indeed a wary viewer must get past the film's infatuation with celebrity culture to enjoy this movie's charms. But charms it has.
    • 39 Metascore
    • 60 Kirk Honeycutt
    If you're going to tell a wildly implausible tale of fortune hunting and unlikely heroes, you could do worse than National Treasure.
    • 64 Metascore
    • 60 Kirk Honeycutt
    Some may find the film overly schematic, but Garcia smartly uses three parallel narratives to probe the extraordinary nature of motherhood.
    • 56 Metascore
    • 60 Kirk Honeycutt
    Boys will be happy at the mild grossness; parents will tolerate anything that entertains their hyperkinetic boys; and sisters will agree with the film's lone girl.
    • 61 Metascore
    • 60 Kirk Honeycutt
    In The Weather Man, Nicolas Cage doesn't so much play a protagonist, warts and all, as he plays a protagonist who is all warts.
    • 45 Metascore
    • 60 Kirk Honeycutt
    For all its biographical truth, Get Rich's journey into a ghetto of hustlers, gangstas and mindless violence is all too familiar.
    • 30 Metascore
    • 60 Kirk Honeycutt
    While Kirkpatrick does a fine job in establishing a gritty inner-city milieu and a collection of more than credible street characters caught up in an endless cycle of crime and violence, his body count reaches the proportions of the worst sort of studio schlock. Going for a shock effect, he instead strains credulity and risks unintended laughs.
    • 69 Metascore
    • 60 Kirk Honeycutt
    The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized.
    • 65 Metascore
    • 60 Kirk Honeycutt
    The biggest surprise in Roman Polanski's Oliver Twist is that there are no surprises.
    • 37 Metascore
    • 60 Kirk Honeycutt
    The movie isn't nearly as bad as you would expect when the studio holds its only press screening the night before a national opening.
    • 52 Metascore
    • 60 Kirk Honeycutt
    The director is chasing a mood here -- a mood, an atmosphere and feelings -- much as he did in "In the Mood for Love."
    • 40 Metascore
    • 60 Kirk Honeycutt
    A dramatic thriller with a large cast playing the hell out of some very juicy roles. Nieman's script shuffles nimbly among an array of colorful characters and offers unexpected twists that keep you off-balance.
    • 63 Metascore
    • 60 Kirk Honeycutt
    The film is fresh and funny, but it is also meandering, at times vague and defiantly uncommercial.
    • 35 Metascore
    • 60 Kirk Honeycutt
    Aniston gets marooned here: Her comic instincts are muted by all the identity angst, yet there isn't sufficient dramatic material into which she can sink her teeth. Costner strolls through this role with disarming ease.
    • 72 Metascore
    • 60 Kirk Honeycutt
    Eastwood has always had the gift for comedy in his acting repertoire, but he indulges in it only rarely. His fans might embrace this return to comedy.
    • 59 Metascore
    • 60 Kirk Honeycutt
    Day Watch does dazzle and even at times amuse. But its imagination is limited. The backstory is shallow and pat. Its characters are mostly one-note. And everything goes on much too long at 133 minutes.
    • 56 Metascore
    • 60 Kirk Honeycutt
    Where the best Coen brothers comedy is a matter of finely tuned tone, diction, attitude and visual rhythms, everything in The Ladykillers feels out of kilter. With Tom Hanks delivering -- arguably -- one of the most perplexing performances of his career.
    • 52 Metascore
    • 60 Kirk Honeycutt
    It contains terrific sequences, and Nicholson and Sandler team up better than one might expect. But the film plays like two characters in search of a story and runs a good 15 minutes too long.
    • 61 Metascore
    • 60 Kirk Honeycutt
    A mildly diverting naughty comedy, lacking the pure comic nastiness of "Bad Santa" or the sheer audacity of "Up in Smoke."
    • 51 Metascore
    • 60 Kirk Honeycutt
    If one thinks of "Babel" minus the melodrama and histrionics, you get a clearer picture of what Moodysson has done here.
    • 33 Metascore
    • 60 Kirk Honeycutt
    Cheerfully disconnected from the real world, bearing a great resemblance to screwball comedies of old.
    • 55 Metascore
    • 60 Kirk Honeycutt
    A must for Doors fans as the film attempts to disentangle the facts from the myths surrounding the legendary band.
    • 37 Metascore
    • 60 Kirk Honeycutt
    A complex and often compelling melodrama, at times almost verging on soap opera.
    • 63 Metascore
    • 60 Kirk Honeycutt
    ATL
    Several good ideas for a movie rumble around inside ATL, but they never coalesce.
    • 56 Metascore
    • 60 Kirk Honeycutt
    Despite shortcomings and implausibility linked to their roles as written, Rogen and Banks come off with surprising charm and grace.
    • 61 Metascore
    • 60 Kirk Honeycutt
    In Channing Tatum, who also starred in "Saints," the film has a good-looking, magnetic hunk to draw a crowd. Terrence Howard lends the pedigree of great screen acting, and Zulay Henao adds charm and glamour.
    • 74 Metascore
    • 60 Kirk Honeycutt
    By avoiding sentimentality, Millions emerges as a simple tale told with sympathy for a child's point of view.
    • 56 Metascore
    • 60 Kirk Honeycutt
    This odd collection of oddballs doesn't quite play out as a satisfying movie.
    • 53 Metascore
    • 60 Kirk Honeycutt
    What should have been an inspirational story about fortitude and courage in the face of mind-numbing tragedy becomes a compendium of sports cliches.
    • 53 Metascore
    • 60 Kirk Honeycutt
    More character study than sports movie, the people in this film come across very much as flesh-and-blood personalities despite the script's tendency to indulge in cliches and let characters deliver highly emotional speeches.
    • 48 Metascore
    • 60 Kirk Honeycutt
    It contains all the elements from the original film...But that's the problem: It's virtually the same movie with new locations. Oh, plus Helen Mirren. Not a bad addition, but the popcorn fun is gone.
    • 63 Metascore
    • 60 Kirk Honeycutt
    Cross "Body Heat" with "No Way Out" and you wind up with Out of Time, a slick crime melodrama with more style than substance.
    • 45 Metascore
    • 60 Kirk Honeycutt
    While the film bristles with cinematic verve, it also is as second-hand as an antique store.
    • 62 Metascore
    • 60 Kirk Honeycutt
    Taylor does capture the Jim Crow era and its anxieties well, but his characters tend toward the facile and his white heroine is too idealized.
    • 59 Metascore
    • 60 Kirk Honeycutt
    A more accomplished film than "Yards." Yet it will fail to satisfy police movie buffs, as procedures are de-emphasized, and the drama is too perfunctory and obvious.
    • 43 Metascore
    • 60 Kirk Honeycutt
    Enough goodwill has been built up in the early sections that most viewers will not take offense when the movie abandons its plot and characters.
    • 69 Metascore
    • 60 Kirk Honeycutt
    The film is by no means terrible -- its two hours and 32 minutes running time races by -- but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing.
    • 60 Metascore
    • 60 Kirk Honeycutt
    The real problem is that Brugge and Haythe fail to satisfactorily pull off either the thriller or the marital deconstruction.
    • 55 Metascore
    • 60 Kirk Honeycutt
    As an introduction to this mind-spinning festival, the film gets the job done.
    • 48 Metascore
    • 60 Kirk Honeycutt
    This is a hand-me-(dumbed)-down chick flick that is counting on Kutcher's tabloid popularity and Peet's unmistakable though here underutilized talents to cover up for rote characterizations, tired plot devices and a general lack of inspiration.
    • 46 Metascore
    • 60 Kirk Honeycutt
    Chases romance and comedy across Europe for nearly two hours without ever quite catching either. Essentially a teenage rendition of William Wyler's immortal "Roman Holiday."
    • 36 Metascore
    • 60 Kirk Honeycutt
    The film's Italian director does achieve in his second American outing a pleasing blend of Hollywood professional sheen and European sensitivity to character details and nuances.
    • 47 Metascore
    • 60 Kirk Honeycutt
    The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
    • 45 Metascore
    • 60 Kirk Honeycutt
    The saving grace to the utter predictability in Christina Mengert and Joseph Muszynski's screenplay is reasonably personable characters and spirited acting by director Bruce Beresford's cast.
    • 62 Metascore
    • 60 Kirk Honeycutt
    Unlike "The Matrix," all fights and stunts -- including a 14-minute freeway chase -- have a disturbing tendency to repeat intricately choreographed action. Thus, computer technology and overkill supplant the ingenuity of the original film's action.
    • 47 Metascore
    • 60 Kirk Honeycutt
    A respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots.
    • 55 Metascore
    • 60 Kirk Honeycutt
    While it can be labeled a thriller or a murder mystery, the film is talky, unhurried, contains little action and shows more interest in how characters think and behave than in its plot.
    • 65 Metascore
    • 60 Kirk Honeycutt
    Not a bad film and veteran star Daniel Auteuil makes any film he inhabits an interesting place to visit. Perversely, its tissue-thin substance may even make the comedy more commercial in North America than such films of his as "Monsieur Hire" and "Ridicule."
    • 39 Metascore
    • 60 Kirk Honeycutt
    Since the movie lacks a vision of what Alexander was really about as a man and a figure in history, it falls back all too frequently on movie spectacle.
    • 55 Metascore
    • 60 Kirk Honeycutt
    A meticulously rendered romantic drama, very well acted and featuring solid production values and location work that makes New York feel like one of the movie's characters. The only problem is the story is rather flat.
    • 64 Metascore
    • 60 Kirk Honeycutt
    This is a slick studio production with a huge movie star and top professionals occupying every production role so that the polish of this well-made film makes even homelessness look neat and tidy.
    • 36 Metascore
    • 60 Kirk Honeycutt
    One either likes this sort of thing or not. Even fans might not buy the ending in which more people get wiped out than in Hurricane Katrina.
    • 45 Metascore
    • 60 Kirk Honeycutt
    Certainly their musicianship and onstage professionalism are smooth, though maybe a bit too smooth. There is little spontaneity in anything they do.
    • 63 Metascore
    • 60 Kirk Honeycutt
    The large cast, costumed and made up as filthy scalawags and sinister buccaneers, gives tremendous energy to every scene.
    • 58 Metascore
    • 60 Kirk Honeycutt
    Much of the bite and a good deal of the wit of the first two films are missing here. The rude send-up of beloved fairy tale conventions remains -- somewhat -- but these playful jabs no longer come as pleasing surprises. You expect them. And you expect better.
    • 47 Metascore
    • 60 Kirk Honeycutt
    As usual, Zombie has added an element of camp fun to the proceedings with his clever casting of B-movie icons in small roles, including Dee Wallace, Brad Dourif, Danny Trejo and Sid Haig.
    • 71 Metascore
    • 60 Kirk Honeycutt
    Where the film falters is Jonze and novelist Dave Eggers' adaptation, which fails to invest this world with strong emotions.
    • 35 Metascore
    • 60 Kirk Honeycutt
    Mild vulgarity and discreet nudity garner the sought-after R rating, but this effort feels forced. The real "bad" here is the sheer formulaic nature of everything. There are no surprises but for once you don't much mind.
    • 42 Metascore
    • 60 Kirk Honeycutt
    It's too loose and casual, all too willing to trade the writer's trademark wit and literary mischief for slapstick comedy.
    • 76 Metascore
    • 60 Kirk Honeycutt
    The film does achieve moments of catharsis, but it can be heavy going.
    • 91 Metascore
    • 60 Kirk Honeycutt
    As drama the film mostly serves to illustrate the two sides of this crucial social debate in Africa.
    • 39 Metascore
    • 60 Kirk Honeycutt
    Although wholly predictable in its every beat and featuring bland, unremarkable WASPs as romantic leads, "Life" is not without its charms.
    • 49 Metascore
    • 60 Kirk Honeycutt
    Alas, this is a remake without a reason. Alfie can no longer shock us.
    • 53 Metascore
    • 60 Kirk Honeycutt
    While it aspires to draw the same audiences who admired "Crouching Tiger, Hidden Dragon" and "Hero," The Promise is but a pale imitation of those landmark films.
    • 77 Metascore
    • 60 Kirk Honeycutt
    This is a slicker, shallower exercise. It's hypnotic as it unfolds, but once the credit roll frees you from its grip, it doesn't bear close scrutiny.
    • 47 Metascore
    • 60 Kirk Honeycutt
    The comedy is sloppy, crude and contains far too many misfires, but the film does capture the old ABA spirit in its ungainly struggles to wrestle laughs from seriously mediocre material.
    • 49 Metascore
    • 60 Kirk Honeycutt
    The film never realizes its dramatic potential, choosing to take predictable story paths with obvious characters.
    • 59 Metascore
    • 60 Kirk Honeycutt
    Predictable, cutesy and surprisingly short on genuine humor, Legally Blonde gets by thanks to the magnetic presence of Witherspoon.
    • 53 Metascore
    • 60 Kirk Honeycutt
    The Hughes Brothers' measured, well-paced direction complements the comic-book simplicity of this narrative.
    • 43 Metascore
    • 60 Kirk Honeycutt
    In the midst of this didactic, self-conscious movie about a high school shooting comes an extraordinary and intense performance by a young actress named Busy Philipps, which elevates the whole picture.
    • 30 Metascore
    • 60 Kirk Honeycutt
    Geoffrey Sax, a British television director making his theatrical debut, lavishes enough craft on the paranormal thriller to send more than a few chills down the spine.
    • 44 Metascore
    • 60 Kirk Honeycutt
    Unlike "The Sixth Sense," the film's key revelation might be too mild to jolt audiences. Some may even feel cheated.
    • 49 Metascore
    • 60 Kirk Honeycutt
    A slick enough thriller about a presidential assassination attempt. It is also a rather mechanical, soulless affair that avoids politics or anything else that might clearly define who these characters are and why we should care.
    • 36 Metascore
    • 60 Kirk Honeycutt
    A teen comedy that possesses a wickedly satirical streak.
    • 65 Metascore
    • 60 Kirk Honeycutt
    As a thriller, The Debt performs many if not all the right moves. Where the John Madden-directed film gets into trouble is in wanting to deal with the Holocaust without being entirely a period film.
    • 58 Metascore
    • 60 Kirk Honeycutt
    Jarhead refuses to engage in its own point of view toward events it depicts. So the film feels empty and tentative, uncertain of what if anything these events add up to.
    • 34 Metascore
    • 60 Kirk Honeycutt
    Jennifer Lopez carries this thin concept about as far and as well as she can, with Alex O'Loughlin in his first leading-man outing managing not to get lost in the shuffle.
    • 66 Metascore
    • 60 Kirk Honeycutt
    The effect is impressionistic and provocative, with the emphasis falling differently on scenes because of our knowledge or lack thereof.
    • 56 Metascore
    • 60 Kirk Honeycutt
    An underwhelming vampire romance long on camp but short on emotional insight
    • 45 Metascore
    • 60 Kirk Honeycutt
    The film, well made in every way, smartly focuses on an unlikely friendship between Gretel and the athlete who ultimately replaced her -- a high jumper who was later revealed to be a man!
    • 73 Metascore
    • 60 Kirk Honeycutt
    Eyre does a fine job overseeing performances by a terrific cast that rings true until female hysteria takes over the final act. But in tone and theme, the film has all the hallmarks of playwright-screenwriter Marber's stark, uncompromising misanthropy, if not misogyny.
    • 44 Metascore
    • 60 Kirk Honeycutt
    A throwback to the days when Disney would recruit second- and third-tier stars to stroll through indifferently written, modestly produced comic fluff that served as family entertainment.

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