For 1,300 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 points lower than other critics. (0-100 point scale)

Liam Lacey's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Winter Sleep
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
1300 movie reviews
    • 47 Metascore
    • 50 Liam Lacey
    The movie is no religious fringe event. It’s from a major studio (Sony), with an Oscar-nominated star (Greg Kinnear), adapted for the screen by "Braveheart" screenwriter Randall Wallace.
    • 47 Metascore
    • 50 Liam Lacey
    21 years later, in the wake of "The Hunger Games", "Divergent" and "The Lego Movie," another movie about a kid rebelling against socially imposed “sameness” is a case of the same old, same old.
    • 47 Metascore
    • 50 Liam Lacey
    Where this PG-rated adaptation of a hit Broadway show, adapted by Adam Shankman falls down is by being far too mild for its supposedly outrageous subject.
    • 47 Metascore
    • 50 Liam Lacey
    The story is shockingly ordinary. The movie plays like an extended mediocre episode of the X-Files TV show or, for that matter, even a contemporary crime series such as CSI.
    • 47 Metascore
    • 50 Liam Lacey
    It's not so much a movie as a joint promotion for the National Basketball Association and teenaged rap and adolescent poster-boy Lil' Bow Wow.
    • 47 Metascore
    • 50 Liam Lacey
    Rousing? Sort of. Never before, one feels, have so few given so much for so much real estate.
    • 47 Metascore
    • 50 Liam Lacey
    As anodyne as it is, Timothy Green may represent the last gasp of a genre, the live-action family fable, that has been an entertainment staple for a couple of generations of moviegoers.
    • 47 Metascore
    • 50 Liam Lacey
    Even the visions of attractive half-dressed bodies lolling about in various Madrid bedrooms or leaping into spontaneous music videos don't prove compelling for long.
    • 47 Metascore
    • 50 Liam Lacey
    The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
    • 46 Metascore
    • 50 Liam Lacey
    In the last third, Payback turns into a joke.
    • 46 Metascore
    • 50 Liam Lacey
    While Bale speaks in an anachronistically modern American vernacular, the Chinese cast recite grammatically perfect, phonetic English so stilted you find yourself wishing the film would stick to subtitles. This is not so much a question of a story being lost in translation as a movie that never finds the right story to tell.
    • 46 Metascore
    • 50 Liam Lacey
    More ambitious, but also much harder to swallow than the average Hollywood hack effort, In the Cut is a muddle of thriller and art-house phantasmagoria.
    • 46 Metascore
    • 50 Liam Lacey
    The result is that, rather than tragedy, this unfolds like a plodding morality tale in which Wrath and Cowardice play out their respective parts.
    • 46 Metascore
    • 50 Liam Lacey
    A comedy about a middle-aged dad who has an affair with his neighbour's daughter, The Oranges does not taste freshly squeezed.
    • 46 Metascore
    • 50 Liam Lacey
    It’s less startling than it was when the first Sin City was released in 2005, maybe even quaint, like a black-light Jimi Hendrix poster from the ’60s.
    • 46 Metascore
    • 50 Liam Lacey
    The goal is apparently a double exercise in heartfelt lessons and deep hilarity, but it's hard to tell because the pace feels so lethargic. Director and screenwriter Wil Shriner is a TV-sitcom veteran (Frasier, Everybody Loves Raymond) whose idea of directing a movie is to make another sitcom, only four times as long.
    • tbd Metascore
    • 50 Liam Lacey
    Great cast, too bad about the movie.
    • 46 Metascore
    • 50 Liam Lacey
    Mangold's larger problem is trying to hold together a movie that jerks about in tone as much as it does location, veering between grisly humour and cutesy sentiments.
    • 45 Metascore
    • 50 Liam Lacey
    The script’s occasional gestures toward making this an allegory of the failed American dream are extremely unconvincing in the context of a movie that revels in the excesses of macho culture while laughing at the hapless and stupid who can’t get it right.
    • 45 Metascore
    • 50 Liam Lacey
    The characters, full of blue-blood archness and angst, are partial to self-conscious speechifying.
    • 45 Metascore
    • 50 Liam Lacey
    The new heist movie Takers is surprisingly okay.
    • 45 Metascore
    • 50 Liam Lacey
    What big ambitions you have, Grandma. And what a disappointingly modest follow-through.
    • 45 Metascore
    • 50 Liam Lacey
    It's the most jumbled and tonally confused movie yet.
    • 45 Metascore
    • 50 Liam Lacey
    As Whatever Works creaks along, the attention-getting nastiness of the first half dissipates and it turns into just another Woody Allen overacted sex farce. Of all the insults hurled about in the film, perhaps the worst is its pandering conclusion. What exactly does Allen take his audience for? A bunch of mindless zombies?
    • 45 Metascore
    • 50 Liam Lacey
    A shrill and silly affair, bordering at times on camp.
    • 45 Metascore
    • 50 Liam Lacey
    A talented cast and moments of brutal violence can't dislodge a sense of ho-hum predictability in Pride and Glory.
    • 45 Metascore
    • 50 Liam Lacey
    Light to the point of disposability, Sweet Home Alabama is a small screwball comic idea that spins out far too long.
    • 45 Metascore
    • 50 Liam Lacey
    The film only really has a pulse when it switches to live action in a few brief archival snippets, most memorably in John Cleese's appropriately outrageous eulogy for his late friend, an offering in the name of "anything for him, but mindless good taste."
    • 45 Metascore
    • 50 Liam Lacey
    The movie is a competent formula kid flick stuffed to the dimples with movie deja vu, a sop to those Hollywood-bashing politicians who want old-fashioned family values on their celluloid. [17 Nov 1995]
    • The Globe and Mail (Toronto)
    • 45 Metascore
    • 50 Liam Lacey
    For all these references to the fairytale, Sydney White soon takes an easier path, recycling familiar "Mean Girls" and "Revenge of the Nerds" scenarios.

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