Kirk Honeycutt

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For 995 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 The Social Network
Lowest review score: 0 Your Highness
Score distribution:
  1. Negative: 91 out of 995
995 movie reviews
    • 64 Metascore
    • 60 Kirk Honeycutt
    If sheer cleverness were everything, Robots would be the best computer-animated cartoon yet…Yet, unlike the very best CG animation, Robots doesn't quite connect with the emotions and humor for which one yearns in cartoons.
    • 73 Metascore
    • 60 Kirk Honeycutt
    Ray
    Unlike his songs, the film holds something back. It goes deep into a life filled with as much trouble and pain as triumph and accomplishment but never quite gets at the root of who Ray is.
    • 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.
    • 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.

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