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 2.1 points lower than other critics. (0-100 point scale)

Liam Lacey's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Police, Adjective
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
1300 movie reviews
    • 49 Metascore
    • 63 Liam Lacey
    With a curiously stubborn kind of integrity, Tron: Legacy follows what did and didn't work the first time – another weak story with sub-B-movie dialogue, partly compensated for by intensely conceived geometric design and special effects.
    • 49 Metascore
    • 63 Liam Lacey
    It's no great thing, just a better Thing than expected.
    • 49 Metascore
    • 0 Liam Lacey
    This is the sort of movie that ends up awash in sincere revelations, and not a moment of it feels remotely believable.
    • 49 Metascore
    • 50 Liam Lacey
    Awkward in ways both intended and not, the fourth feature from author and director Rebecca Miller is an attempt at a comic change of pace for the usually earnest Miller.
    • 49 Metascore
    • 50 Liam Lacey
    Performances, over all, are a mixed bag; Zeta-Jones does a fair, if incongruous, impersonation of a forties vamp, while Chandler and Pepper do well with limited screen time. As usual, Wright, as a Machiavellian police commissioner, transcends so-so-material to establish himself as the most complex character in the film.
    • 49 Metascore
    • 50 Liam Lacey
    The cast is so oddly interesting you wish you could see them doing something less wasteful
    • 49 Metascore
    • 50 Liam Lacey
    There are so many events here but no real story. Perhaps that is what's making the drowned kabuki ghost so irate: She's desperate to find a coherent script.
    • 49 Metascore
    • 50 Liam Lacey
    Though competent in its B-movie way, Terminator Salvation lacks the humour, heart-tugging moments and visual pleasure that made the first two movies of the series modern pop masterpieces.
    • 49 Metascore
    • 50 Liam Lacey
    The trouble is that Antichrist feels progressively symptomatic of a director losing heart.
    • 49 Metascore
    • 50 Liam Lacey
    A high-pedigree, low-interest affair that serves mostly as an exercise in postmortem speculation: Why is a project with so many prominent names attached to it so sterile and lifeless?
    • 49 Metascore
    • 63 Liam Lacey
    Short, flashy and about as complex as a beer belch, Men in Black II is also brisk. The film clocks in at 88 minutes total running time, and it's loaded with new special effects and monsters.
    • 49 Metascore
    • 50 Liam Lacey
    The major problem with Around the World is that there's just not quite enough Chan, or at least the Chan we want to see, which is the acrobatic clown.
    • 49 Metascore
    • 50 Liam Lacey
    By the conclusion, the movie turns into the ursine answer to "Free Willy," veering dangerously close to New Age parody: Free your inner bear -- and begin to heal from the last time you got mauled.
    • 49 Metascore
    • 50 Liam Lacey
    Overall, Stalingrad is a bizarre concoction, part Putin-era patriotic chest-thumping and part creaky war melodrama, all set in a superbly recreated ruined city.
    • 49 Metascore
    • 50 Liam Lacey
    One of those international co-productions full of good intentions and blandly polished results.
    • 49 Metascore
    • 63 Liam Lacey
    Lyrical, dreamy and too complicated for its own good.
    • 49 Metascore
    • 50 Liam Lacey
    Unassuming only in its title.
    • 49 Metascore
    • 50 Liam Lacey
    Having seen the TV series "Hogan's Heroes," we already know that a German prisoner of war camp can be cartooned; Hart's War goes further as a cartoon that takes itself seriously.
    • 49 Metascore
    • 50 Liam Lacey
    Has a deliberately minimalist, retro look to it as well.
    • 49 Metascore
    • 50 Liam Lacey
    All in all, it’s many prayers short of a revelation.
    • 49 Metascore
    • 75 Liam Lacey
    The superiority of the musical sequences, and laziness of the writing, creates a dynamic where you find yourself wishing the characters would shut up and dance.
    • 49 Metascore
    • 50 Liam Lacey
    Between a string of post-Friends dismal rom-coms, Aniston has succeeded in these kinds of grownup roles every few years. Here, she negotiates the character’s quirks and contradictions competently, but nothing short of a rewrite from scratch could make Cake palatable.
    • 48 Metascore
    • 50 Liam Lacey
    The differences between the two movies are, first, that Scoop is a comedy and, second, unlike "Match Point," it's not very good, as Allen also returns to pre-Match Point mediocre form.
    • 48 Metascore
    • 50 Liam Lacey
    Director David Dobkin, best known for comedies such as "Shanghai Nights" and "Wedding Crashers," demonstrates his serious intent mostly by paint-by-numbers psychology and a ponderous pace.
    • 48 Metascore
    • 50 Liam Lacey
    Too often, the script collapses into what feels like improvisation, in which the characters find a kind of common ground: Infantilism.
    • 48 Metascore
    • 63 Liam Lacey
    A spring-autumn romance that comes with side helpings of local colour and melodramatic backstory.
    • 48 Metascore
    • 75 Liam Lacey
    A high-school talent show, no doubt, but, at its best, well worth glorifying.
    • 48 Metascore
    • 50 Liam Lacey
    At almost 21/2 hours, Divergent is repetitiously brutal and drab, with sets that resemble warehouses and industrial junkyards; the action rarely emerges into the daylight before the climactic gun battle.
    • 48 Metascore
    • 50 Liam Lacey
    The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
    • 48 Metascore
    • 50 Liam Lacey
    Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
    • 48 Metascore
    • 50 Liam Lacey
    At each stage of the romance, the movie digresses with a series of swing-and-miss gags, often with an abusive twist.
    • 48 Metascore
    • 63 Liam Lacey
    At least as perplexing as it is creepy, with a time-jumping narrative, a chain of barely connected characters and an enraged shape-shifting ghost.
    • 48 Metascore
    • 50 Liam Lacey
    With its jazzy saxophone noodlings during the opening credits and its bruised black-and-blue look, it's so quaintly and conventionally pulp that you feel like filing a report with the cliché police.
    • 48 Metascore
    • 50 Liam Lacey
    Aside from Jones’s broadly entertaining performance as the egotistical Supreme Commander, the movie, directed by Peter Webber (The Girl with the Pearl Earring), is a dud.
    • 48 Metascore
    • 63 Liam Lacey
    The problem is that Chicken Little settles for what's expedient and safe and, over all, lives down to its title.
    • 48 Metascore
    • 75 Liam Lacey
    Chloe is director Atom Egoyan’s foray into the realm of what might be called artful trash. This is a high-toned erotic thriller, handled with style and some emotionally raw scenes, aiming for an effect that’s pleasingly unnerving, if not outright arousing.
    • 48 Metascore
    • 25 Liam Lacey
    The only pressing burden in this deep interior world is the question: What in or on Earth is a cast this good doing in a movie this ridiculous?
    • 48 Metascore
    • 63 Liam Lacey
    Frankly, if I were Mrs. Claus, I might be looking for Santa Clause 3, outlining the grounds for annulment.
    • 48 Metascore
    • 50 Liam Lacey
    Big, lavish and dumb as camel spit -- is proof that sometimes it's better to let sleeping genres lie.
    • 48 Metascore
    • 25 Liam Lacey
    Unlike Sacha Baron Cohen's rude semi-documentary satires (Borat, Bruno), I'm Still Here never finds a satiric justification for all this grotesque behaviour.
    • 48 Metascore
    • 50 Liam Lacey
    Though complete redemption of Brown's fiction may not be possible, Howard's new film at least represents an upgrade from a mortal to a venal movie sin.
    • 48 Metascore
    • 25 Liam Lacey
    Pretty limp, and works far better in theory than practice.
    • 48 Metascore
    • 63 Liam Lacey
    Though Sandler's resemblance to a pro athlete is indiscernible, his mockery of authority and his penchant for buffoonery and slapstick violence make him more of an heir to Reynolds than might be expected.
    • 48 Metascore
    • 63 Liam Lacey
    A first film from director Mark Palansky, written by sitcom veteran Leslie Caveny (Everybody Loves Raymond, Mad About You), and the two are obviously indebted to the fanciful imagination of Tim Burton.
    • 48 Metascore
    • 50 Liam Lacey
    Whatever glimmers of cleverness Martian Child offers, it all comes to Earth with a thud in the shamelessly manipulative climax.
    • 48 Metascore
    • 50 Liam Lacey
    This mix of titillation and sentimentality can pass as family entertainment because 17 Again is so weightless, a succession of one-liners, sincere monologues and logical absurdities.
    • 48 Metascore
    • 25 Liam Lacey
    This one's just painful.
    • 48 Metascore
    • 75 Liam Lacey
    May be well-trod territory, but worth a walk down the movie aisle.
    • 48 Metascore
    • 50 Liam Lacey
    Though Shark Tale will make waves at the multiplexes and move a lot of plastic toys at Burger King, the movie lacks real heart. It feels like a cold-blooded, always moving, profit-making machine.
    • 47 Metascore
    • 38 Liam Lacey
    None of this is funny enough to justify stealing 90 minutes of your viewing time.
    • 47 Metascore
    • 63 Liam Lacey
    If Pee-Wee wasn't the most engaging physical comedian since Dick Van Dyke, it would be disastrous. As it is, the opening works well enough to have viewers completely hooked by the time he sets out on the road, like Huck Finn, with his clothes wrapped up in a handerchief on a stick. [10 Aug 1985, p.E9]
    • The Globe and Mail (Toronto)
    • 47 Metascore
    • 63 Liam Lacey
    At its best the movie is still innocent enough to slide past your guard, and inventive and lively enough to make the average Hollywood comedy seem to be on heavy tranquilizers.
    • 47 Metascore
    • 63 Liam Lacey
    The mainstream prominence of pornography gets a shove forward with the teen comedy, The Girl Next Door, an improbably-not-terrible teen sex comedy.
    • 47 Metascore
    • 50 Liam Lacey
    Mostly feels as hackneyed as the first film felt fresh. It's a loud, puffed-up exercise in computer-generated heroics and battles that follows a pattern.
    • 47 Metascore
    • 50 Liam Lacey
    With its wry tone and mild emotional disturbances, In the Land of Women is less a chick flick than a chick flicker.
    • 47 Metascore
    • 50 Liam Lacey
    Lions for Lambs appears to have taken its inspiration from Al Gore's stolid "An Inconvenient Truth," using the stage lecture and Power Point presentation in lieu of dramatic momentum.
    • 47 Metascore
    • 50 Liam Lacey
    Falling in the pillowy cleavage between mildly awful and slightly entertaining, Burlesque is a clichéd rags-to-diva story that culminates in a series of Christina Aguilera videos.
    • 47 Metascore
    • 50 Liam Lacey
    Relentlessly twee as all this is, Wasikowska's warmth and Hopper's off-beat timing (he's the son of the late Dennis Hopper) are appealing to watch.
    • 47 Metascore
    • 38 Liam Lacey
    The lower orders seem to have been left out of The Lost City -- there just aren't any poor characters -- which for a movie about a workers' revolution seems downright slipshod.
    • 47 Metascore
    • 50 Liam Lacey
    As far as story is concerned, the whole thing feels like a rerun of a raucous Saturday-morning television show aimed at hell-raising five-year-olds.
    • 47 Metascore
    • 50 Liam Lacey
    A big bloated bore-o. Think of a combination of "Wild Wild West" and "Spy Kids."
    • 47 Metascore
    • 50 Liam Lacey
    Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.
    • 47 Metascore
    • 75 Liam Lacey
    An entertaining takeoff and a high-altitude ride eventually runs into some bumpy weather and a clumsy landing in Mike Newell's new comedy.
    • 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
    • 38 Liam Lacey
    After six years in development, this comedy starring and produced by Adam Sandler feels as slapped together one of the comedian's live-action buddy movies.
    • 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
    • 63 Liam Lacey
    Who really wants to go to an escape movie and have to work this hard to figure it out?
    • 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
    • 63 Liam Lacey
    Here's a vote of gratitude for Samuel L. Jackson, who has become a specialist in making mediocre movies far more entertaining than they should be.
    • 47 Metascore
    • 63 Liam Lacey
    A welcome antidote to the usual seasonal sweetness.
    • 47 Metascore
    • 63 Liam Lacey
    Narrative-driven and determinedly unpredictable, The Disappearance of Finbar is true to its mandate as a mystery story to a fault. [18 Jul 1987]
    • The Globe and Mail (Toronto)
    • 47 Metascore
    • 50 Liam Lacey
    The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
    • 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.
    • 46 Metascore
    • 63 Liam Lacey
    Eventually, Typhoon succumbs to the usual special-effects bombast and plot overkill.
    • 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
    • 63 Liam Lacey
    Where it stumbles is in the script by Matt Healy, which is often clever, but never quite takes hold.
    • 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
    • 63 Liam Lacey
    The resolution includes an overlong and underfunny chase scene.
    • 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.
    • 46 Metascore
    • 25 Liam Lacey
    Here's the kind of movie thriller that can make you scream (in annoyance) and bite your nails (to pass the time) and sit on the edge of your seat (ready to bolt the theatre).
    • 46 Metascore
    • 63 Liam Lacey
    This remake is distinctly a Farrelly brothers' flick -- sentimental, rambling and raunchy.
    • 46 Metascore
    • 63 Liam Lacey
    Fitfully daring, Pumpkin isn't quite sure what it's about -- the tone bounces between thudding satire and toothless camp parody -- but it's definitely a bad-mannered child of our times.
    • 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
    • 63 Liam Lacey
    Blade doesn't manage to work up a whole lot of suspense.
    • 45 Metascore
    • 63 Liam Lacey
    It's more like a filmed allegory.
    • 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.
    • 45 Metascore
    • 38 Liam Lacey
    A twisted, but not particularly clever, black comedy.
    • 45 Metascore
    • 63 Liam Lacey
    Never comes together as a persuasive whole. Instead of moral complexity, we get an overfamiliar pursuit tale and investigation story. Worse, the movie fails the first test of a thriller: It lacks any significant suspense.
    • 45 Metascore
    • 50 Liam Lacey
    The questions the movie raises have less to do with science than movie execution: Do the actors sound so robotic because they are playing robots well or humans badly? And did a machine write this dialogue? If so, could we please apply for an upgrade?
    • 45 Metascore
    • 50 Liam Lacey
    The Lost Skeleton also reminds you that real filmmaking -- the illusion of one event following another -- is actually a skill.
    • 45 Metascore
    • 63 Liam Lacey
    Director Steve Oedekerk, who also wrote the script, simply provides a frame for the string of Carrey sight gags, which come fast and constantly. Some work, some fall flat, but the overall momentum is never allowed to flag seriously.
    • 45 Metascore
    • 50 Liam Lacey
    The style here is much more in the spirit of the smash and slash of the Conan movies than the banter and computer-generated monsters of the Mummy movies.
    • 45 Metascore
    • 50 Liam Lacey
    A redemption allegory so poker-faced you might forget that redemption is supposed to be a good thing.
    • 44 Metascore
    • 25 Liam Lacey
    Unfortunately, it has the model of the 1939 film to remind us how lacking in delight this version is.
    • 44 Metascore
    • 50 Liam Lacey
    It's the same package with new wrapping.
    • 44 Metascore
    • 63 Liam Lacey
    When you watch Canadian actor Ryan Reynolds, there's often a sense that you're not just watching him perform in a movie, you're watching the next stage of his unfolding career plan.
    • 44 Metascore
    • 50 Liam Lacey
    Strictly for the midnight-movie crowd, Drive Angry serves up a non-stop stream of female nudity, flying body parts, gun battles and smart-alecky dialogue.
    • 44 Metascore
    • 50 Liam Lacey
    Actress Kristen Stewart – coolly intense, androgynous, and intelligent – remains the series' strongest asset, as Bela, the emotional centre of the story.
    • 44 Metascore
    • 50 Liam Lacey
    The plot is stale though some of the moves are fresh.
    • 44 Metascore
    • 63 Liam Lacey
    Estela Bravo's film Fidel, The Untold Story has the kitsch appeal of a farm implement on a restaurant wall, or an Andy Warhol Mao poster: Interesting, but not for its original purpose.
    • 44 Metascore
    • 50 Liam Lacey
    The pervasive gore overpowers the few clumsy attempts at wit here, though the film does have one funny line. As one of Poe's literary rivals watches a razor-edged pendulum slice into his abdomen, the man screams in protest: "But I'm only a critic!"
    • 44 Metascore
    • 12 Liam Lacey
    Mary Reilly comes across as too much brooding atmosphere and too little story. [23 Feb 1996]
    • The Globe and Mail (Toronto)
    • 44 Metascore
    • 63 Liam Lacey
    Watts evokes a classic Hitchcockian virgin-whore duality.
    • 44 Metascore
    • 50 Liam Lacey
    As with so many movies where the script constructs experiences that are contrived and off-putting, you hope the actors can capture the emotional truth of some scenes, even if the entire apparatus feels bogus.
    • 44 Metascore
    • 50 Liam Lacey
    Vardalos has a talent, and there is one sequence in the movie that works. In the romantic subplot, Connie falls for Peaches' brother Jeff (David Duchovny, as Vardalos's sleepy, hunk replacement for John Corbett in Greek Wedding).
    • 44 Metascore
    • 50 Liam Lacey
    Not only is The Village not credible, its shallowness makes it dislikable, a shopworn gothic plot focusing on stereotypical characters with disabilities, with no ambitions beyond playing a simple-minded audience head game.
    • 44 Metascore
    • 50 Liam Lacey
    If Jobs had been a producer on Jobs, he would have sent it back to the lab for a redesign.
    • 44 Metascore
    • 50 Liam Lacey
    Providing expectations are kept low, there’s some fun to be had in the elaborately preposterous action set-pieces, and especially Jason Patric’s campy performance as the movie’s villain.
    • 44 Metascore
    • 63 Liam Lacey
    [Hoffman] gives gross-out comedy a whole new depth.
    • 43 Metascore
    • 50 Liam Lacey
    The movie, which is roughly as predictable as the attraction of flies to dung, is a hackneyed mix of sentimentality and anarchic comedy.
    • 43 Metascore
    • 50 Liam Lacey
    With less expensive actors, it might just have been called Chase Movie, and played for laughs.
    • 43 Metascore
    • 50 Liam Lacey
    Sad news for Bard watchers: Julie Taymor's adaptation of William Shakespeare's The Tempest is not such stuff as dreams are made on.
    • 43 Metascore
    • 25 Liam Lacey
    Compared to Al Gore's new global-warming documentary, "An Inconvenient Truth," The Omen makes the Apocalypse look comforting and child-friendly.
    • 43 Metascore
    • 50 Liam Lacey
    For most of its duration, Suicide Kings turns into something like a hoary murder-mystery theatre piece in the Agatha Christie/Clue tradition.
    • 43 Metascore
    • 12 Liam Lacey
    A sweet and sloppy jumble of fantasy, sentimentality, comedy and soul-searching that feels like a sitcom that never got past the pilot stage.
    • 43 Metascore
    • 63 Liam Lacey
    Slick and slight.
    • 43 Metascore
    • 25 Liam Lacey
    Contrast this to "The Iron Lady," a film which managed to be both obnoxiously condescending and flattering to the divisive British leader Margaret Thatcher, and left those of all political stripes irritated. The Lady, devoid of either iron or irony, is merely forgettable, a much deeper insult to its subject.
    • 43 Metascore
    • 63 Liam Lacey
    Price has written a screenplay that may be complex and ambitious to a fault.
    • 43 Metascore
    • 50 Liam Lacey
    The main interest here is the acting, which is, by turns, entertaining or just entertainingly bad, with lots of grungy seriousness and Method-trained twitching, but also some moments of real gusto.
    • 43 Metascore
    • 63 Liam Lacey
    Director Roger Donaldson ("Smash Palace," "No Way Out," "Species"), working from a script by Leslie Bohem ("Daylight"),does a serviceable job, wrapping his narrative around the big kabooms, but the real interest comes from the extraordinary barrage of sound and spectacle.
    • 43 Metascore
    • 50 Liam Lacey
    Each of the actors has strong moments but the relentless intensity becomes monotonous.
    • 42 Metascore
    • 50 Liam Lacey
    Breezy, sleazy and a little bit wheezy, The Big Bounce combines a short running time, a portrait of island-life corruption, and a retro surf-and-scam plot. Throw in a vintage, funky-soul soundtrack and you have the ingredients of ever so many bad television shows.
    • 42 Metascore
    • 50 Liam Lacey
    In the battle between dystopian science-fiction movies about butt-kicking young heroines, the new Divergent movie, Insurgent, is actually slightly more believably glum than the third Hunger Games movie, "The Hunger Games: Mockingjay Part 1."
    • 42 Metascore
    • 50 Liam Lacey
    As a movie trying to make the case for parental management of the education process, Won't Back Down, doesn't make an entirely convincing case.
    • 42 Metascore
    • 63 Liam Lacey
    Apart from Mychael Danna’s portentous orchestral and electronic score, Transcendence simply lacks oomph: Shots don’t overwhelm, scenes don’t pop and nothing on the screen gets under your skin.
    • 42 Metascore
    • 50 Liam Lacey
    Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.
    • 42 Metascore
    • 25 Liam Lacey
    The film is a howler of illogical, overwrought emotion, inexplicable actions and sudden bursts of bloody violence. [03 Mar 1984]
    • The Globe and Mail (Toronto)
    • 42 Metascore
    • 50 Liam Lacey
    It's a movie about a nice guy with a lot of friends who dies. It's not really about the wider tragedy the film aspires to represent.
    • 42 Metascore
    • 75 Liam Lacey
    Crude, rude, nasty fun.
    • 42 Metascore
    • 25 Liam Lacey
    There is no tonal consistency from scene to scene, swinging from domestic drama to farce. Most of the actors -- especially Matthew Broderick -- look lost.
    • 42 Metascore
    • 25 Liam Lacey
    Somewhere in literary afterlife, dear reader, Jane Austen has just rolled over and reached for her musket.
    • 42 Metascore
    • 50 Liam Lacey
    This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.
    • 42 Metascore
    • 75 Liam Lacey
    The film is too slapdash and self-serving to take seriously (it’s release is timed to the precede thesame-named album’s release next month), but it’s a casually entertaining trip, aimed at fans of the charismatic rapper and his recreational substance of choice.
    • 42 Metascore
    • 25 Liam Lacey
    The one thing that’s briefly enjoyable about From Paris with Love is John Travolta’s appearance. In a black leather jacket, with a shaved bald head and a goatee and a perpetual scarf to hide his jowls, he looks like a well-fed pimp or a gay bear.
    • 42 Metascore
    • 50 Liam Lacey
    Trying to pick faults with a sound-and-spectacle juggernaut like Armageddon is like taking an ant gun to an elephant: All the movie's staggering conventional weaknesses -- ludicrous plot, weak characterization, incomprehensible staging and ambient racket -- are irrelevant.
    • 42 Metascore
    • 50 Liam Lacey
    All of this is accomplished with buckets of blood, but almost no sense of flesh: It's hard to recall a more sexless vampire flick.
    • 42 Metascore
    • 50 Liam Lacey
    But don't worry about remembering the characters - the movie certainly doesn't.
    • 42 Metascore
    • 63 Liam Lacey
    Well-intentioned but emotionally straitjacketed.
    • 42 Metascore
    • 50 Liam Lacey
    Ultimately, Next is just the next Nic Cage vehicle, another quirky story that allows him to do his patented neurotic balancing act in an askew world. The problem here is not just that Cage's shtick is wearing as thin as his hair; the role is a bad fit.
    • 42 Metascore
    • 50 Liam Lacey
    The Loss of Sexual Innocence is not bad, as in the sense of inept; it's artful enough to show how truly trite it is.
    • 41 Metascore
    • 38 Liam Lacey
    Feels like a five-year-old with a megaphone, excitedly yelling about his latest bulldozer-soldier-dinosaur smash-kill-squash-everything game.
    • 41 Metascore
    • 38 Liam Lacey
    Talky, crude and sexist, Mallrats is significantly less funny, a flatulent sequel to the director's small start.
    • 41 Metascore
    • 50 Liam Lacey
    As shrill, partly-animated musicals about singing vermin go, Alvin and the Chipmunks: The Squeakquel really isn't all that bad.
    • 41 Metascore
    • 50 Liam Lacey
    Remember Pam? Lost in the Himalayas of big egos and overacting, she's the invisible character here. If they create a special Oscar for the most thankless part in an ensemble comedy, Teri Polo is a shoe-in.
    • 41 Metascore
    • 38 Liam Lacey
    The problems with First Sunday extend well beyond the hokey premise and predictable performances to the fundamentals of script, direction and tone.
    • 41 Metascore
    • 75 Liam Lacey
    Korean-American actor and former model Yune (who played a similar role in "Die Another Day," the last Pierce Brosnan James Bond film) makes a colourful villain – handsome and insufferably assured, and also an unchivalrous sadist who kicks around the Secretary of Defense (Melissa Leo in a pageboy wig) as though she’s a hacky sack.
    • 41 Metascore
    • 63 Liam Lacey
    In a film that offers itself as a Gump-esque moral fable, Phenomenon could serve as a case study of When Smart Films Fail.
    • 41 Metascore
    • 50 Liam Lacey
    Most of the personality work in the film is left to Steve Zahn.
    • 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.
    • 41 Metascore
    • 25 Liam Lacey
    The movie feels like a form of aversion therapy designed to take the fun out of dumb.
    • 41 Metascore
    • 50 Liam Lacey
    Running Scared's relationship to "The Cooler" is roughly that of industrial metal to a quaint torch song.
    • 41 Metascore
    • 50 Liam Lacey
    Throbbing musical crescendos and flickery flashbacks abound but apart from some outlandish plot machinations, nothing here is good or bad enough to be memorable.
    • 41 Metascore
    • 50 Liam Lacey
    White Chicks could and should be a much more mischievous movie. A half-dozen writers have managed to create a succession of thin sketches that add up to "Some Like It Warmed Over," with a touch of stink.
    • 41 Metascore
    • 50 Liam Lacey
    A movie about a robot policeman given a childlike conscience, Chappie is one of those incongruous Franken-films that’s simultaneously bombastically brutal and treacly. Like E.T. the Extra-Terrestrial crossed with Transformers, or RoboCop starring Jar Jar Binks, it’s a recipe guaranteed to produce aesthetic indigestion.
    • 41 Metascore
    • 63 Liam Lacey
    Hop
    In this Willy Wonka-like animated world where multihued candies move about on assembly lines, the constant introduction to Rube Goldberg-style devices and slapstick action grows increasingly tiresome.
    • 41 Metascore
    • 50 Liam Lacey
    Yes, Final Destination 3 is a roller-coaster ride of a movie from start to -- well, only about 10 minutes later. The fun part is over and we settle down to watch a sadistic assembly line of characters making premature exits.
    • 40 Metascore
    • 50 Liam Lacey
    Quaid and Whitaker, who serve more or less as the designated humans in this clockwork contraption of a film, are capable in corny roles, but otherwise Vantage Point is as stuffed with cardboard performances and expositional speeches as any seventies disaster flick.
    • 40 Metascore
    • 25 Liam Lacey
    One of those non-stop jabbering cartoons in which most of the lines sound like the spontaneous riffs from a couple of comics sitting around a diner.
    • 40 Metascore
    • 63 Liam Lacey
    A movie so hysterical it worked best as a black comedy.
    • 40 Metascore
    • 50 Liam Lacey
    With its glum litany of naked corpses and mutilations, and understated actors looking bluish under the morgue's fluorescent lights, Nightwatch drains the fun out of horror. [17 Apr 1998]
    • The Globe and Mail (Toronto)
    • 40 Metascore
    • 25 Liam Lacey
    Phantom still an auditory lobotomy.
    • 40 Metascore
    • 50 Liam Lacey
    3 Days to Kill is a comic variation on the "Taken" movies, which Besson also co-wrote and produced, starring Liam Neeson as a daughter-rescuing spy.
    • 40 Metascore
    • 50 Liam Lacey
    The movie is like a glass of Sprite that has been left on the counter too long: transparent, sweet and flat.
    • 40 Metascore
    • 63 Liam Lacey
    In a summer of low movie expectations and worse results, Fantastic Four is a not-so-bad mindless bit of camp escapism that doesn't try to eclipse its dime-store comic book roots.
    • 40 Metascore
    • 38 Liam Lacey
    A plot so preposterous it could only have emerged from the underground comic world.
    • 40 Metascore
    • 63 Liam Lacey
    Deep Impact, a triple-strand ensemble disaster flick, has a few good opening minutes, the biggest tidal wave you've ever seen in the closing minutes, and a cluster of little meandering melodramas in between.
    • 40 Metascore
    • 50 Liam Lacey
    There's a scientific law to be discerned here that producers would be well to heed: Mediocre movies start to drag as soon as the action speeds up; when the explosions start, they fall to pieces.
    • 40 Metascore
    • 50 Liam Lacey
    Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.
    • 40 Metascore
    • 50 Liam Lacey
    The new Jason Statham movie Homefront aims to be retro, greasy comfort food but despite its lowly ambitions, there’s barely enough spice here to merit a decent burp.
    • 40 Metascore
    • 50 Liam Lacey
    Director Irwin Winkler (Night and the City)is rarely better than pedestrian in handling this story. At worst, the dramatic elements are plain clumsy.
    • 40 Metascore
    • 50 Liam Lacey
    None of it rings true, except perhaps the presence of an ambitious local TV news reporter (Kyra Sedgwick) who begins recording every macabre moment with relish.
    • 40 Metascore
    • 50 Liam Lacey
    As a message movie, it's preachy without being serious; for an action movie, there's a lot of racket but not much fun.
    • 40 Metascore
    • 38 Liam Lacey
    The intriguing thing about The Peaceful Warrior is that nothing else in the movie feels haphazard.
    • 40 Metascore
    • 63 Liam Lacey
    There are moments of salty wit to its teen TV sensibility, and the story offers proof, once again, than there are few stories that can't be adapted to the theme of teenaged popularity politics.
    • 40 Metascore
    • 38 Liam Lacey
    Brick Mansions is a non-starter: It chokes on its déjà vu, the hyperactive Mixmaster editing is exhausting and the characters’ banter is so leaden it might violate federal emission standards.
    • 39 Metascore
    • 50 Liam Lacey
    What gets sacrificed on the altar of this new franchise launch is any real sense of fun.
    • 39 Metascore
    • 50 Liam Lacey
    The terror sequences (not only animals but monsoons and earthquakes and quicksand) are scary until they get monotonous: after a while, you have a sense you're watching a clip reel from every Hollywood disaster flick ever made.
    • 39 Metascore
    • 50 Liam Lacey
    There’s little here to improve upon the stilted quality of the original, and it’s even more cumbersomely plotted.
    • 39 Metascore
    • 38 Liam Lacey
    The high point might be the opening scene, before the stars arrive on screen.
    • 39 Metascore
    • 63 Liam Lacey
    Irresistibly funny in its brightest moments. At other times, this comedy about a black-white culture clash sags until it scrapes bottom.
    • 39 Metascore
    • 50 Liam Lacey
    Coming from writers responsible for such material as "Snow Dogs" and "The 6th Day," National Treasure is not so much a no-brainer as a brain-stunner, so audaciously ridiculous you are initially intrigued, then soon irritated by its incoherence.
    • 39 Metascore
    • 50 Liam Lacey
    Every stage of the race and chase is announced on a webcast conducted by the secret impresario of the illegal De Leon race, a billionaire car enthusiast known as the Monarch, who “nobody knows.” Actually, the Monarch is clearly visible in a corner of the computer screen and he’s played, with jive-spouting brio by Michael Keaton. Hey, the movie isn’t called Need for Logic.
    • 39 Metascore
    • 50 Liam Lacey
    No doubt the audiences in the Coliseum would offer a thumbs-up to the scale of the destruction, though even they might have had some quibbles about the special effects, which, too often, resemble a very large pile of melting crayons.
    • 39 Metascore
    • 25 Liam Lacey
    Sean Penn smokes, glowers and shows off his knotty naked torso in this vain, risible misfire of a thriller about a reformed killer, from "Taken" director Pierre Morel.
    • 39 Metascore
    • 63 Liam Lacey
    Apparently intended as a blend of "Bridesmaids" and "The First Wives Club," it’s often oddly engrossing, almost despite itself, largely thanks to the performances and the free rein the director gives his stars.
    • 39 Metascore
    • 38 Liam Lacey
    Reign of Fire never comes close to recovering from its demented premise, but it does sustain an enjoyable level of ridiculousness.
    • 38 Metascore
    • 50 Liam Lacey
    Though there are a few annoying moments when the actors get in the way of the scenery, mostly it succeeds.
    • 38 Metascore
    • 50 Liam Lacey
    Gruesome enough; what it lacks is a distinctive revolting personality of its own.
    • 38 Metascore
    • 50 Liam Lacey
    The November Man is one of those thrillers that grows progressively more incoherent, and it simply isn’t fast enough to glide over its gaping narrative holes.
    • 38 Metascore
    • 38 Liam Lacey
    Some of the most memorable performances from great actors are also their worst: Add to that list Anthony Hopkins's turn as a sinister old Jesuit.
    • 38 Metascore
    • 50 Liam Lacey
    Whether you fully embrace the Harry Potter phenomenon or simply live with it, there's no question that J. K. Rowling is an imaginative story-spinner. The trouble is that she has ruined the field for the legions of the second-rate.
    • 38 Metascore
    • 38 Liam Lacey
    Well-intended but maladroit, with a clever premise and cute animation that are undermined by the trite sci-fi parody plot and manic, unfunny banter.
    • 38 Metascore
    • 50 Liam Lacey
    Occasionally, the cast rises above the material.
    • 38 Metascore
    • 50 Liam Lacey
    A movie with a confident sense of its own worthlessness, it speeds by in a flurry of candy-coloured cars, bare midriffs, screaming engines and a pulsing rap soundtrack.
    • 38 Metascore
    • 50 Liam Lacey
    Sporadically funny, twisted for sure, it risks becoming as repetitive and shrill as the kinds of programs it satirizes.
    • 38 Metascore
    • 50 Liam Lacey
    The best sequence is a five-minute set-piece where Clouseau struggles with an accent coach to learn how to order a hamburger like an American.
    • 38 Metascore
    • 38 Liam Lacey
    Both cautionary and comforting (yes, some kids today prefer conversation to cybersexting), Men, Women & Children is as anxious to seem contemporary as any after-school special.
    • 38 Metascore
    • 38 Liam Lacey
    Dull Blade just doesn't cut it.
    • 38 Metascore
    • 50 Liam Lacey
    For a movie aimed at children, Shark Boy and Lava Girl is gloomy.
    • 37 Metascore
    • 38 Liam Lacey
    Distinctly humdrum, The Last Legion, a boy's adventure story that seems to have been dragged out of the vaults of some early-sixties TV series.
    • 37 Metascore
    • 50 Liam Lacey
    What should have sizzled fizzles.
    • 37 Metascore
    • 25 Liam Lacey
    The most gratifying thing about xXx: State of the Union is that nobody wastes much time on character, motivation, plausibility, dialogue or sex -- all that slow stuff that drags down ordinary movies.
    • 37 Metascore
    • 50 Liam Lacey
    Eccentric and misguided enough to be almost perversely fascinating, the film doesn’t lack nerve; it’s just not very good.
    • 37 Metascore
    • 63 Liam Lacey
    Though far from a disaster of Biblical proportions, Evan Almighty is a mild, sporadically funny comedy in an oversized sentimental frame.
    • 37 Metascore
    • 25 Liam Lacey
    What "serious" means for young actors, as we know from Miley Cyrus's "The Last Song," is maudlin, and Charlie St. Cloud is no exception.
    • 37 Metascore
    • 50 Liam Lacey
    Throughout, Terence Blanchard's score swells and sweeps, reminding us, at every moment, what we're supposed to feel. If only we knew what we were supposed to think of this trite mess.
    • 37 Metascore
    • 50 Liam Lacey
    Feels stale, bloated and willing to get by on sheer familiarity.
    • 37 Metascore
    • 50 Liam Lacey
    The music, at least, is welcome.
    • 37 Metascore
    • 50 Liam Lacey
    Mediocre movie.
    • 37 Metascore
    • 38 Liam Lacey
    The United States of Leland has a resonance of "Elephant" without the visual poetry or structural sophistication, or "American Beauty" without the leavening comedy, but it's neither an insightful nor well-made film.
    • 37 Metascore
    • 50 Liam Lacey
    The French director’s follow-up to his Oscar-winning silent movie comedy, "The Artist," is everything "The Artist" was not: long, unoriginal and heavy-handed.
    • 37 Metascore
    • 25 Liam Lacey
    Everything about Are You Here feels like a bottom-drawer script idea that was put together too casually and carelessly.
    • 37 Metascore
    • 50 Liam Lacey
    As for De Niro, he seems to have licence to do what he wants here, without much help from the writers.
    • 37 Metascore
    • 63 Liam Lacey
    The most disturbing aspect of the movie is not the sex scenes (shot from the waist up) but her face, especially in her porn-star persona: a frozen little smiling mask that suggests a paradoxically intense vacancy.
    • 37 Metascore
    • 50 Liam Lacey
    Love Ranch bounces between tongue-in-cheek wackiness and soapy melodrama while rarely hitting a true note.
    • 37 Metascore
    • 38 Liam Lacey
    The most disturbing aspect of Cold Creek Manor -- a predictable, disjointed "Cape Fear" knockoff -- is that a script this disjointed and unoriginal could actually get the Hollywood green light.
    • 37 Metascore
    • 63 Liam Lacey
    The trouble is that the plot is so elliptical to be almost unfollowable (though it helps to have seen the trailer).
    • 37 Metascore
    • 38 Liam Lacey
    Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
    • 37 Metascore
    • 63 Liam Lacey
    This movie is exceptionally brutal, cruel, savage and without conscience -- and that's just the comic parts. In contrast, the violent action sequences are quite entertaining.
    • 36 Metascore
    • 50 Liam Lacey
    It doesn't take a foolish romantic to hope that Myles and Elisabeth live happily ever after. The world just isn't ready for 20 More Dates.
    • 36 Metascore
    • 50 Liam Lacey
    The fun of Biker Boyz should be in the racing, and though director Reggie Rock Bythewood throws around a lot of techniques, nothing really ignites.
    • 36 Metascore
    • 50 Liam Lacey
    A paint-by-numbers vigilante movie with the usual rogue cop, murdered wife and trail of vengeance.
    • 36 Metascore
    • 50 Liam Lacey
    Big Fat Liar becomes a progression of increasingly elaborate slapstick stunts, in the brutal, noisy "Home Alone" vein, in which the complexity of the pranks rarely yields a commensurate comic reward.
    • 36 Metascore
    • 50 Liam Lacey
    The characters don't stay still long enough for the audience to worry about them. The high-priced actors (Freeman is especially wasted) are so much flotsam in the big water-tank action scenes.
    • 36 Metascore
    • 25 Liam Lacey
    The Art of Getting By is distinguished by a dullness that's almost akin to being in high school again.
    • 36 Metascore
    • 50 Liam Lacey
    Parental Guidance is one of those intergenerational embarrassment comedies in the "Meet the Fockers" line, where children can enjoy seeing grown-ups looking ridiculous.
    • 36 Metascore
    • 63 Liam Lacey
    When you pay good money to see an action movie, it's understood that you want it to be action-packed. You do not want it to be action-enhanced or action-flavoured or featuring accents of action.
    • 36 Metascore
    • 0 Liam Lacey
    Just how dumb is Senseless? So dumb it even takes the fun out of stupid.
    • 36 Metascore
    • 25 Liam Lacey
    Crazy as this might sound, it turns out that self-indulgent ramblings designed to put your children to sleep are pretty much the opposite of art.
    • 36 Metascore
    • 50 Liam Lacey
    Like its characters, That Awkward Moment has commitment issues: It lacks the courage of its bad taste.
    • 36 Metascore
    • 50 Liam Lacey
    Alig's superficiality seems to have been his only talent. His banality is a problem that the film can't overcome.
    • 36 Metascore
    • 38 Liam Lacey
    Runner Runner is a bad run of cliché clichés.
    • 36 Metascore
    • 25 Liam Lacey
    There are a couple of minutes of unscheduled surgery to put this in the sadistic fantasy genre of "Saw" and "Hostel," but mostly the movie plays out like a cheap survivalist copy of the television series "Lost."
    • 36 Metascore
    • 50 Liam Lacey
    Without a thin tether to credibility, this fussy, morbid fantasy simply slides off into the void.
    • 36 Metascore
    • 50 Liam Lacey
    Notable for its enthusiastic abandonment of any semblance of narrative coherence.
    • 36 Metascore
    • 50 Liam Lacey
    Over all, the movie is just funny enough to make you wish it were much better than it is.
    • 36 Metascore
    • 50 Liam Lacey
    The story, of course, is a line on which to pin the comic set-pieces, and that's where Pink Panther 2 comes up lustreless. Zwart has no discernible sense of comic rhythm, beyond managing to punctuate scenes with a wall crashing in.
    • 36 Metascore
    • 50 Liam Lacey
    The Invisible isn't the formulaic horror film that the studio is selling it as but surely it wasn't supposed to be an accidental comedy either.
    • 36 Metascore
    • 38 Liam Lacey
    You leave Stolen Summer with the feeling that you have watched acrobats stumble on a tightrope with no net below. Not a great show, but at least nobody got badly hurt.
    • 36 Metascore
    • 50 Liam Lacey
    Suggestive of "X-Men," "The Matrix" and the television show "Heroes," Push is one of those time-mangling thrillers that manages to seem both complicated and superficial.
    • 35 Metascore
    • 25 Liam Lacey
    Everyone in the movie, of course, is anxious to see these comeback seniors beat each other up, except, perhaps, the viewing audience.
    • 35 Metascore
    • 25 Liam Lacey
    Cohen (The Fast and the Furious, xXx) is no stranger to cornball excess but Stealth is his chef-d'oeuvre, a movie so audaciously preposterous and jingoistic it plays like a parody of the genre.
    • 35 Metascore
    • 50 Liam Lacey
    The real weak point is Reiner's listless direction, with too few scenes that almost gel and too many that fall flat.
    • 35 Metascore
    • 25 Liam Lacey
    The latest iteration of Sylvester Stallone’s aging warrior franchise, The Expendables 3, is proof that sometimes even your low expectations can be far too high.
    • 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.
    • 35 Metascore
    • 38 Liam Lacey
    Mostly, the plot is busy and incomprehensible and the action sequences directed with all the art of a detonation.
    • 35 Metascore
    • 25 Liam Lacey
    Ronan, youthfully elegant as always, tries hard, but the material defeats her.
    • 35 Metascore
    • 50 Liam Lacey
    Contraryto its exciting advertising, Event Horizon is not the most frightening movie ever made. If anything, the conventional pop-up scares and gross-out effects of this British haunted-space-ship story seem less terrifying than quaint.
    • 35 Metascore
    • 25 Liam Lacey
    This one is headed straight for star Tommy Lee Jones's career-blooper reel.
    • 35 Metascore
    • 50 Liam Lacey
    Like Frankenstein's monster before the lightning strikes, it's all recycled cold flesh and bolts, without a twitch of originality.
    • 35 Metascore
    • 50 Liam Lacey
    The ninth film in the franchise is competent enough but it won’t freeze the heart or fire the imagination.
    • 35 Metascore
    • 50 Liam Lacey
    Once again Anna Faris manages to be the best thing in another not very good Anna Faris movie.
    • 35 Metascore
    • 63 Liam Lacey
    This time out, writer and director Mark Steven Johnson has bounced back with a movie so full of camp spirit it should come with tents and a marshmallow roast.
    • 35 Metascore
    • 38 Liam Lacey
    All the borderline pantomime acting and wigged buffoonery is deliberate and silly, but The Three Musketeers remains charmless, a romp brought down by its lead-footed script.
    • 35 Metascore
    • 63 Liam Lacey
    The missing ingredient, of course, is script.
    • 35 Metascore
    • 25 Liam Lacey
    Not quite repellent enough to avoid tedium, Hannibal Rising is both too familiar in portraying Hannibal as a Dracula-like aristocrat monster, and crud in its exploitation of wartime atrocities.
    • 34 Metascore
    • 25 Liam Lacey
    Mostly though, The Back-up Plan feels like a movie aimed right at the funny bones of four-year-olds.
    • 34 Metascore
    • 25 Liam Lacey
    Isn't just ordinarily lame, it easily exceeds any normal requirements for witless sleaze.
    • 34 Metascore
    • 38 Liam Lacey
    Riding that fine line between misjudged and deliberately anti-p.c., Get Hard is lewd, crude and rude but, despite its disastrous reception at SxSW, not entirely unfunny.
    • 34 Metascore
    • 25 Liam Lacey
    Perhaps the best that can be said for Year One is that it aims low and hits the mark.
    • 34 Metascore
    • 38 Liam Lacey
    The plot's not so hot -- it feels like it was jotted down by someone on an after-dinner napkin.
    • 34 Metascore
    • 50 Liam Lacey
    Otherwise, Brody, Scott and Jenifer Lewis (as Montana’s imperious oft-married mom) give this formulaic material maximum comic spin.
    • 34 Metascore
    • 38 Liam Lacey
    If you thought "300" was silly, think of 10,000 BC as 33.333 times sillier.
    • 34 Metascore
    • 63 Liam Lacey
    This is a movie fantasy, folks -- like James Bond, without the smarm and martinis.
    • 34 Metascore
    • 63 Liam Lacey
    A formulaic thriller, treated in a style that's just shy of outright parody.
    • 34 Metascore
    • 12 Liam Lacey
    The Real Cancun is no crime; at worst, it's a kind of staged tribute to "Porky's" done by amateur actors.
    • 34 Metascore
    • 0 Liam Lacey
    Unlike Griswold vacations past, the peril in which the family finds itself isn’t leavened by anything funny.
    • 33 Metascore
    • 63 Liam Lacey
    Morally simple, action packed and explosive.
    • 33 Metascore
    • 38 Liam Lacey
    An Adam Sandler movie without Adam Sandler, it turns out, is not necessarily an improvement.
    • 33 Metascore
    • 50 Liam Lacey
    Bedtime Stories does divide into two types of comedy: There's the story comedy, in which Skeeter dresses in costume when he performs slapstick and insults people, and then there are the real-life scenes, when he does the same things in regular clothes.
    • 33 Metascore
    • 50 Liam Lacey
    Instead of a madcap farce, the movie grinds along into a series of laboured comic bits.
    • 33 Metascore
    • 50 Liam Lacey
    With a couple of more drafts to mend the plot holes and restructure the middle act, Awake could have been saved.
    • 33 Metascore
    • 50 Liam Lacey
    Most of this is blandly palatable, at least for the first half. Cyrus, though she seldom strays from her two primary modes, pouting rebel or toothy girlfriend, has a winning on-screen presence, if only for her enjoyably abrasive edge in this deep well of pathos.
    • 33 Metascore
    • 63 Liam Lacey
    Strictly a middle-aged comedy, which consists of more easy lobs than sharp smacks, but manages to get the job done.
    • 33 Metascore
    • 25 Liam Lacey
    Within this bloated fantasy hodgepodge, there are few grace notes: In the role of the creepy fortune teller, Madame Dorothea, CCH Pounder is evil fun. And a few special effects, including a Rottweiller who turns into a skinned hellhound, leave an impression. Otherwise, Mortal Instruments manages to occupy 130 minutes of frantic, numbing, activity.
    • 33 Metascore
    • 25 Liam Lacey
    As coy sleaze goes, the new Olsen twins' movie doesn't match Britney Spears's "Crossroads," but it comes close.
    • 33 Metascore
    • 25 Liam Lacey
    Eventful, polished, and knuckle-bitingly dull, the 10th film adapted from a novel by Nicholas Sparks, combines fate, bull riding and some powerful Hollywood bloodlines among its young cast.
    • 33 Metascore
    • 25 Liam Lacey
    At least Adams and Goode are always watchable, even when you occasionally feel embarrassed for them.
    • 32 Metascore
    • 63 Liam Lacey
    Critic-proof, devoid of plot or acting, and quick to mock anyone who might make something of it.
    • 32 Metascore
    • 50 Liam Lacey
    Pimenthal's script consists of the scantiest storyline, framed around a succession of strained Farrelly Brothers-style gags that feel as though they were peeled off the floor of the editing room for "There's Something About Mary."

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