For 1,313 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

Liam Lacey's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Particle Fever
Lowest review score: 0 Dead Man on Campus
Score distribution:
1313 movie reviews
    • 55 Metascore
    • 50 Liam Lacey
    The old carnival phrase "Close, but no cigar" comes to mind when watching The Brothers Bloom , a globetrotting heist film that starts off terrifically and then progressively deflates.
    • 35 Metascore
    • 50 Liam Lacey
    Taken on its own, this is a masterful little slice of computer-generated animation, but it gets lost here in the visual racket.
    • 78 Metascore
    • 50 Liam Lacey
    A bland, workaday detective flick that should have been much better than it is.
    • 76 Metascore
    • 50 Liam Lacey
    Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
    • 76 Metascore
    • 50 Liam Lacey
    Ultimately, the best thing about (500) Days of Summer isn't its gimmicky script. It's the constant performance of Gordon-Levitt, who shifts, scene-by-scene, from moments of ebullience to abject dejection.
    • 74 Metascore
    • 50 Liam Lacey
    The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
    • 73 Metascore
    • 50 Liam Lacey
    Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
    • 72 Metascore
    • 50 Liam Lacey
    Gran Torino skids into the narrative ditch. By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them.
    • 72 Metascore
    • 50 Liam Lacey
    Isn't really a dull film so much as an oddly quaint one that seems to find a comfortable perspective about drastic circumstances.
    • 71 Metascore
    • 50 Liam Lacey
    Plays precariously close to an unfunny sociopathic case study.
    • 71 Metascore
    • 50 Liam Lacey
    Less an adaptation of its source material than a therapeutic response to it.
    • 70 Metascore
    • 50 Liam Lacey
    Perhaps the most regrettable crime here is the way that Mann, trying to do too much, robs himself of a great opportunity. Here was a chance to capture the drama of the Thirties.
    • 70 Metascore
    • 50 Liam Lacey
    Perhaps the film's biggest weakness is that all the characters are so naive and petty you can't really work up much fervour about who sleeps with whom. That would never be a question in a movie like "Casablanca."
    • 70 Metascore
    • 50 Liam Lacey
    The trouble is, once you get past the historical information and chummy interviews, you have to put up with the inevitable risk of any ad-hoc jam session: It Might Get Boring.
    • 70 Metascore
    • 50 Liam Lacey
    This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."
    • 69 Metascore
    • 50 Liam Lacey
    A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
    • 68 Metascore
    • 50 Liam Lacey
    By turns raw, naturalistic and indebted to John Cassavetes, both stylistically and thematically.
    • 68 Metascore
    • 50 Liam Lacey
    Superficial but giddily entertaining backstage documentary.
    • 68 Metascore
    • 50 Liam Lacey
    Like "Little Miss Sunshine," the movie stars Toni Collette and Steve Carell in a story about a dysfunctional family trip, though like "Adventureland," it’s really about a teenager finding acceptance at a local theme park.
    • 67 Metascore
    • 50 Liam Lacey
    Both original and good; the problem is the original parts aren't good and the good parts aren't original.
    • 67 Metascore
    • 50 Liam Lacey
    As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
    • 67 Metascore
    • 50 Liam Lacey
    A Master Builder really doesn’t work, hampered by odd casting, theatrical performances and a reductive interpretation of Ibsen’s play.
    • 67 Metascore
    • 50 Liam Lacey
    One disappointment here is that Patricia Clarkson, the queen of indie film, is missing much of her usual spark. Her performance may be aiming for sensual, but too often it comes across more as listless.
    • 67 Metascore
    • 50 Liam Lacey
    There's an easy familiarity and charm in the creased, middle-aged faces of Nimoy, Shatner and DeForest Kelly (the perpetually irascible Dr. McCoy), all of whom now play their parts with an ever-present twinkle. Their behavior rarely has anything to do with the motives provided by the plot; rather, they wear their characters like old habits, as they boldly go where they've always gone before. [26 Nov. 1986, p.C5]
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 50 Liam Lacey
    Without either the effect of a full concert spectacle, or up close and personal backstage intimacy, This Is It is neither one thing nor the other.
    • 66 Metascore
    • 50 Liam Lacey
    The effect of so much pretension and so many lovely images eventually becomes soporific.
    • 41 Metascore
    • 50 Liam Lacey
    Only a few events happen in this minimalist film, and most of them keep getting repeated through most of its running time.
    • 65 Metascore
    • 50 Liam Lacey
    All of this unfolds with such predictability, the title might as well be The Great Foregone Conclusion.
    • 65 Metascore
    • 50 Liam Lacey
    The Imaginarium of Doctor Parnassus takes us deep into the imagination of Terry Gilliam, which once was a splendid place to visit. And might prove so again. But not here, because this film is less a coherent exercise of imagination than a haphazard lecture on its importance, a lecture that eventually dwindles into self-indulgence.
    • 65 Metascore
    • 50 Liam Lacey
    Certainly, this imagineered version of P.L. Travers’s life provides an orderly drama, but it’s uncomfortably reductive. It may be a small world, after all, but it comes in a lot more shades than Saving Mr. Banks suggests.

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