For 1,227 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 0.2 points lower than other critics. (0-100 point scale)

Liam Lacey's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Nebraska
Lowest review score: 0 Dead Man on Campus
Score distribution:
1,227 movie reviews
    • 65 Metascore
    • 63 Liam Lacey
    In the end, the commercial necessity of wrapping up a family comedy in less than 100 minutes seems to have trumped anything real about Dan's life.
    • 59 Metascore
    • 63 Liam Lacey
    Creaky in its plotting, occasionally electrifying in its direction, We Own the Night is even more of a throwback to old-fashioned crime dramas than Martin Scorsese's "The Departed."
    • 65 Metascore
    • 63 Liam Lacey
    After its promising opening, I Am Legend devolves into a generic zombie slaughterfest.
    • 63 Metascore
    • 63 Liam Lacey
    The movie manages a couple of popcorn-spitting-funny jokes for each biographical decade the film covers, though typically it's no better than moderately clever.
    • 70 Metascore
    • 63 Liam Lacey
    The most unexpected thing about the Lebanese film Caramel is its predictability.
    • 62 Metascore
    • 63 Liam Lacey
    Unlike Guillermo del Toro's "Pan's Labyrinth," which was also inspired by Rackham, The Spiderwick Chronicles is more whimsical than scary.
    • 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.
    • 57 Metascore
    • 63 Liam Lacey
    Although veteran choreographer Yuen Woo-Ping ( Kill Bill, The Matrix) handles the wire action, the camera work is merely okay and the sequences are on the familiar side. Still, it's fun to see Chan resurrect his loopy, staggering "drunken master" fighting style.
    • 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.
    • 57 Metascore
    • 63 Liam Lacey
    No political tract, but it can be surprisingly bold.
    • 54 Metascore
    • 63 Liam Lacey
    Mixes broad slapstick and off-hand one-liners in a sometimes surprisingly funny mixture.
    • 78 Metascore
    • 63 Liam Lacey
    Like a lot of well-staged parties, though, the affair peaks shortly after the introductions, and then devolves into intrigues, fights and mayhem.
    • 57 Metascore
    • 63 Liam Lacey
    Not exactly a movie in the usual sense, not exactly a ride, Journey is more of a virtual theme-park simulation and possibly a milestone of immersive entertainment.
    • 55 Metascore
    • 63 Liam Lacey
    Hoary, rather than whore-y, Irina Palm is shameless only in its mawkish sincerity.
    • 61 Metascore
    • 63 Liam Lacey
    The arc of Nazneen's character, from drudge to feminist heroine, is predictably saintly. Chanu is a far more intriguingly human figure, the redeemed fool.
    • 51 Metascore
    • 63 Liam Lacey
    Taken for what it is – a fluffy, intergenerational farce as a frame for some seventies musical nostalgia – Mamma Mia! just gets away with it, in spite of director Lloyd's lack of cinematic inexperience.
    • 53 Metascore
    • 63 Liam Lacey
    Silly, and unashamedly second-hand, the movie is essentially a Jack Black movie without Jack Black, which is, arguably, an improvement.
    • 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.
    • 53 Metascore
    • 63 Liam Lacey
    Give Quarantine credit: Without resorting to computer-generated monsters or supernatural explanations, it uses consistent logic and confinement to find new ways of being scary.
    • 45 Metascore
    • 63 Liam Lacey
    It's more like a filmed allegory.
    • 57 Metascore
    • 63 Liam Lacey
    The problem with Flash of Genius is that a windshield wiper is an awfully thin mechanism on which to hang a feature movie.
    • 58 Metascore
    • 63 Liam Lacey
    The movie begs for a a third-act showdown but, instead, the dramatic tension is allowed to leak away.
    • 82 Metascore
    • 63 Liam Lacey
    Shiver-making moments aside, in a important way 127 Hours suffers from the filmmaker's lack of nerve, a reluctance to let the audience taste Ralston's dread and the expectation of a slow, absurd death.
    • 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.
    • 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.
    • 57 Metascore
    • 63 Liam Lacey
    Some of the later scenes capture the spirit of majestic sweetness of "Close Encouners of the Third Kind" and "E.T: The Extra-Terrestrial" period, but the elevated moments don't last. They're relentlessly undermined by the f-bombs, groin kicks, and anal-probing jokes.
    • 67 Metascore
    • 63 Liam Lacey
    A typical mixture of the artful and the repellent.
    • 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.
    • 65 Metascore
    • 63 Liam Lacey
    Walks a line between didactic allegory and realistic drama.
    • 64 Metascore
    • 63 Liam Lacey
    The new version is mildly entertaining with some fun performances.
    • 49 Metascore
    • 63 Liam Lacey
    It's no great thing, just a better Thing than expected.
    • 56 Metascore
    • 63 Liam Lacey
    Essentially an affectionate and personal project to honour Thompson's memory, The Rum Diary occasionally strains to evoke the journalist's surreal black humour.
    • 59 Metascore
    • 63 Liam Lacey
    Tower Heist is as over-inflated as those Macy's Thanksgiving Day Parade balloons that are featured in the movie's climax. Also similarly, it's entertaining in its own predictable way.
    • 68 Metascore
    • 63 Liam Lacey
    Ezra Miller's sneering, absurdly precocious evil-child performance makes him just another bad-seed horror villain.
    • 71 Metascore
    • 63 Liam Lacey
    Almost everyone is scum. The venality spreads from the slums or favelas, up the ranks of local militias, crooked police and pandering politicians.
    • 73 Metascore
    • 63 Liam Lacey
    The movie rolls on, with more clever but increasingly repetitive action sequences that entertain, but drain the film of any credible sense of jeopardy.
    • 72 Metascore
    • 63 Liam Lacey
    Sumptuous and schmaltzy, Steven Spielberg's First World War drama, War Horse, is a strange beast of a film.
    • 67 Metascore
    • 63 Liam Lacey
    Serving as his own director of photography under the pseudonym Peter Andrews, Soderbergh picks his angles artfully and allows Carano to demonstrate her arsenal of acrobatic fighting tricks in extended, no-cheating single takes.
    • 64 Metascore
    • 63 Liam Lacey
    The film sustains some suspense and brooding atmosphere for its first half, but eventually the clichés of character and dialogue drag it struggling to ground.
    • 62 Metascore
    • 63 Liam Lacey
    Though Radcliffe occasionally seems too stiffly callow to be completely convincing in this grown-up role, the movie is a proficient thriller with a potential appeal beyond the star's fan-girl audience.
    • 71 Metascore
    • 63 Liam Lacey
    Compared to many of last year's documentaries (Pina, Paradise Lost 3: Purgatory, Cave of Forgotten Dreams or The Interrupters), this film is distinctly minor league. But it does provide the thumbs-up emotional lift of a bumper-sticker message on game day.
    • 66 Metascore
    • 63 Liam Lacey
    Low on nuance and high on body count, the movie is primarily of interest to fans of Asian action spectacles and followers of the charismatic Chow Yun-fat (Crouching Tiger, Hidden Dragon), here cast as both a dandyish villain and his idiotic double.
    • 65 Metascore
    • 63 Liam Lacey
    Overall, The Salt of Life has more bite but less charm than "Mid-August Lunch."
    • 57 Metascore
    • 63 Liam Lacey
    Blend sound with sight, though, and the package becomes more difficult to take.
    • 69 Metascore
    • 63 Liam Lacey
    Brave feels like a merely good-enough children's movie.
    • 68 Metascore
    • 63 Liam Lacey
    At best, it shows how intense sexual attraction can be a form of temporary insanity.
    • 54 Metascore
    • 63 Liam Lacey
    The current postcard from abroad is not great, but not grating.
    • 67 Metascore
    • 63 Liam Lacey
    Very charming but very slight.
    • 65 Metascore
    • 63 Liam Lacey
    Roughly-made but illuminating, the Iraq documentary In My Mother's Arms is a brief immersion into life in a Baghdad boys' orphanage.
    • 57 Metascore
    • 63 Liam Lacey
    In its second half, the movie tips into familiar Gallic farce territory before settling for a formulaic sentimental kicker. As middling comedies go, the French approach has certain virtues. If good wine and long talks with friends can't prevent the inevitable, at least they make the waiting more tolerable.
    • 55 Metascore
    • 63 Liam Lacey
    Even at three hours, the film feels truncated, which raises the question of whether the entire adaptation exercise might have chosen the wrong form. Stretched out to 10 or 12 hours on cable television, Cloud Atlas, the series, would be the talk of the fall television season, and the stories, rather than the thematic scaffolding, would be the right focus of attention.
    • 64 Metascore
    • 63 Liam Lacey
    A stylish, brutal affair that delivers grim atmosphere and punishing violence but loses impact in telegraphing its political punches.
    • 58 Metascore
    • 63 Liam Lacey
    In this fitfully engaging, but often patience-straining preamble to Hobbit adventures to come, there is one transporting 10 minutes of screen time. It happens when Bilbo meets the freakish, ring-obsessed creature Gollum.
    • 81 Metascore
    • 63 Liam Lacey
    Tarantino's approach is so enamoured of the exploitation cinema he emulates, there is a serious risk that noble intentions get smothered in juvenile comedy and cinematic grandstanding.
    • 64 Metascore
    • 63 Liam Lacey
    Essentially Masterpiece Theatre comfort food, a chance to watch fine actors act without too many complications.
    • 59 Metascore
    • 63 Liam Lacey
    Warm Bodies is for audiences who prefer stories about mending hearts to munching brains, and ideally, for girls who aren't quite sure yet if they want a slightly scary boyfriend, or a living doll they can dress up.
    • 73 Metascore
    • 63 Liam Lacey
    For all its incident, A Royal Affair is slow and picturesquely framed – more of a languorously animated coffee-table book than a gripping drama.
    • 55 Metascore
    • 63 Liam Lacey
    While paying lip service to the spirit of invention and adventure, the movie doesn’t do much for the evolution of children’s animated entertainment.
    • 57 Metascore
    • 63 Liam Lacey
    The movie ends up exactly what it sounds like: a good film for filling the midnight slot at a review cinema or genre festival.
    • 57 Metascore
    • 63 Liam Lacey
    So long as you grit your teeth and keep your eyes on the screen, it’s an enjoyable, if almost academic, exercise in bad taste.
    • 73 Metascore
    • 63 Liam Lacey
    In a contest between passion and pretension, Laurence Anyways reaches a kind of draw. What holds up here isn’t Dolan’s overly decorative filmmaking, but what he gets from his performers.
    • 62 Metascore
    • 63 Liam Lacey
    The real question for audiences isn’t whether Tony Stark/Iron Man defeats the latest supervillain (of course he does), but whether the movie itself rises above the dreaded third-in-a-sequel torpor of "Spider-Man" and "The Dark Knight." Spoiler alert: Yes, mostly, it does.
    • 72 Metascore
    • 63 Liam Lacey
    For those who enjoyed J.J. Abrams’s frisky relaunch of Star Trek back in 2009, the good news is that the new Star Trek Into Darkness is more of the same. The bad news is that Star Trek Into Darkness is, well, a bit too familiar.
    • 55 Metascore
    • 63 Liam Lacey
    Here are a few adjectives that do not apply to the new Superman movie: Beguiling. Frisky. Nuanced. Quiet. Even the title, Man of Steel, sounds too flighty for this film. Man of Lead, or Man of Plutonium, maybe.
    • 65 Metascore
    • 63 Liam Lacey
    The background designs are beautiful and there are plenty of lively sight gags, but magic isn’t in the cards.
    • 63 Metascore
    • 63 Liam Lacey
    A bit thin on plot, but an unequivocal technical tour de force.
    • 66 Metascore
    • 63 Liam Lacey
    The Butler may be a sanctimonious cartoon, but it points to events in the civil rights struggle that were as grotesque and extraordinary as any fiction can invent.
    • 66 Metascore
    • 63 Liam Lacey
    Character development and plotting are rudimentary, though the tongue-in-cheek never gets dislodged while the body count rises.
    • 72 Metascore
    • 63 Liam Lacey
    There are sequences in Hong Kong director Wong Kar-wai’s new film, The Grandmaster, that are as gorgeous as anything you’ll see on a screen this year, or perhaps this decade.
    • 68 Metascore
    • 63 Liam Lacey
    Fittingly, it’s finally a film about transience and continuity.
    • 66 Metascore
    • 63 Liam Lacey
    What becomes increasingly apparent is that Gordon-Levitt hasn’t exactly decided what Jon’s problem is, in a character that seems partly an expression of male wish fulfilment.
    • 51 Metascore
    • 63 Liam Lacey
    Touchy Feely seems poised to explore the same issues of embarrassing intimacy Shelton mined in her two last films, Humpday and Your Sister’s Sister. But here there’s a new fantastical element, the kind of magical device that might pop up in a minor Woody Allen film.
    • 63 Metascore
    • 63 Liam Lacey
    The Summit is a mixture of the inventive and the misguided in its attempt to recreate the circumstances of the August, 2008, disaster on the world’s second-highest mountain, K2, when 11 climbers were killed.
    • 50 Metascore
    • 63 Liam Lacey
    The Human Scale uses plenty of globe-hopping examples to make up for what it sometimes lacks in depth.
    • 71 Metascore
    • 63 Liam Lacey
    Like the Irish film "Once," it’s a drama about the lives of musical performers who sing songs within the film to illustrate the emotional journey of a relationship. Broken Circle, though, is painted in much darker hues.
    • 63 Metascore
    • 63 Liam Lacey
    If the downbeat plot is depressingly familiar, it’s partly salvaged by the quality of the performances.
    • 52 Metascore
    • 63 Liam Lacey
    Filmmaker Evan Jackson Leong, who began following Lin when he played for Harvard, also emphasizes the importance of Lin’s tight bonds with his family and the importance of his evangelical Christianity (“I only play for God,” Lin says).
    • 42 Metascore
    • 63 Liam Lacey
    Well-intentioned but emotionally straitjacketed.
    • 52 Metascore
    • 63 Liam Lacey
    Though this RoboCop can’t come close to capturing the clever-silly audacity of the original, one area in which the current film easily surpasses it is in the quality of the cast.
    • 57 Metascore
    • 63 Liam Lacey
    Actor Liev Schreiber’s voice-over narration is filled with sonorous urgency, but as the film’s commentators acknowledge, some ideas are a hard sell: How do politicians and regulators convince the public on the benefits of a financial diet when a spending spree sounds much more fun?
    • 59 Metascore
    • 63 Liam Lacey
    Parents will get the historical jokes but are unlikely to be amused; kids won’t get them, but might laugh anyway.
    • 48 Metascore
    • 63 Liam Lacey
    A spring-autumn romance that comes with side helpings of local colour and melodramatic backstory.
    • 61 Metascore
    • 63 Liam Lacey
    The crimes and Gervais and Fey’s performances get stale quickly, though the song-and-dance numbers are fairly clever.
    • 60 Metascore
    • 63 Liam Lacey
    Volume 2 picks up the story with an older Joe, now played by Gainsbourg, with her watchful sad face showing the character’s unsatisfied hunger. It seems more von Trier’s script than any great social taboos that cause Joe to go into free fall in a world that becomes more kinky and sinister.
    • 68 Metascore
    • 63 Liam Lacey
    As a story about a war that is unresolved, it seems better suited to a provisional “To be continued” than the certainty of “The end.”
    • 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.
    • 68 Metascore
    • 63 Liam Lacey
    Some of the most striking moments in Bears are during the film’s closing credits, when we see how alarmingly close the camera crew was to the animals. We’re reminded us that while the movie Bears is both sweet and humane, the real bears are neither.
    • 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.
    • 59 Metascore
    • 63 Liam Lacey
    Firth gives the performance his all as a man trapped in a vortex of grief, shame and hate, but as in Scott Hicks’s "Shine," which the film occasionally resembles, there’s an overtidy relationship between trauma and catharsis.
    • 53 Metascore
    • 63 Liam Lacey
    Less “amazing” than persistent.
    • 68 Metascore
    • 63 Liam Lacey
    Rogen’s always a dominating presence, but the doll-like Australian actress, who showed her comic chops in "Bridesmaids," comes close to stealing the movie here, in an uncorked performance full of volatile, liberating mischief.
    • 78 Metascore
    • 63 Liam Lacey
    All this is initially fascinating, and then progressively less so. The problem is the usual serial-killer issue – things, no matter how weird and kinky, get repetitive.
    • 61 Metascore
    • 63 Liam Lacey
    Lucy, you may have twigged, is named after our 3.2-million-year-old hominid ancestor.
    • 54 Metascore
    • 63 Liam Lacey
    One distraction is that everything feels smothered in an extra helping of déjà vu sauce: another movie featuring a middle-aged misanthrope with a dewy younger woman; another film with stage magic as a theme.
    • 68 Metascore
    • 63 Liam Lacey
    Land Ho! is both loose (shot over 18 days, with an improv quality to the acting) and overcalculated in its series of encounters, small revelations and life-affirming beats. The movie is pleasant and mostly forgettable, except for the character of Mitch.
    • 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
    The cast is so oddly interesting you wish you could see them doing something less wasteful
    • 37 Metascore
    • 50 Liam Lacey
    Feels stale, bloated and willing to get by on sheer familiarity.
    • 51 Metascore
    • 50 Liam Lacey
    Though it is shaped as a woman-in-peril thriller about obsession, Cherish is about being winningly kooky, not violently insane.
    • 27 Metascore
    • 50 Liam Lacey
    Marks the emergence of a talented young actress. Not Britney -- who has the amateur's tendency to stand looking awkward after delivering her lines -- but Manning (Crazy/Beautiful), who plays Mimi with the gusto of a young Holly Hunter. Though she has little competition here, when she's on the screen she pretty much owns it.
    • 16 Metascore
    • 50 Liam Lacey
    Brainless, but enjoyably over-the-top, the retro gang melodrama, Deuces Wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism.
    • 61 Metascore
    • 50 Liam Lacey
    A lazy and mediocre movie, a sort of tepid parody blend of "The Breakfast Club" and "Invasion of the Body Snatchers."
    • tbd Metascore
    • 50 Liam Lacey
    Great cast, too bad about the movie.
    • 52 Metascore
    • 50 Liam Lacey
    [The soundtrack] manages to serve up new rock, eighties dance music, rap and Barry Manilow -- a combination custom-made to annoy audiences of all ages.
    • 50 Metascore
    • 50 Liam Lacey
    The question is, is the interspecies wrestling match really worth the ineptly acted spy antics, the big flatulence jokes and Steve-o's endless grandstanding? Not without a handy remote control with a mute button, it isn't.
    • 63 Metascore
    • 50 Liam Lacey
    The result is a movie that's both odd and mediocre: not as bad as doing hard time, but not a particularly good time, either.
    • 48 Metascore
    • 50 Liam Lacey
    Big, lavish and dumb as camel spit -- is proof that sometimes it's better to let sleeping genres lie.
    • 31 Metascore
    • 50 Liam Lacey
    This is an excellent movie for watching Jolie, one of the more entertaining sidelines in recent Hollywood movie going. There are two firsts for her here: Angelina does blonde and, more importantly, Angelina does comedy.
    • 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.
    • 60 Metascore
    • 50 Liam Lacey
    Sugary but well-acted little emotional button-presser.
    • 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.
    • 59 Metascore
    • 50 Liam Lacey
    Fans of Allen, the comedian, will be glad to hear there are more chuckles here than in his last film, "Bullets Over Broadway." Fans of Allen, the plot craftsman, will find a lot less discipline and imagination in the writing. In truth, Mighty Aphrodite is mighty slight.
    • 51 Metascore
    • 50 Liam Lacey
    Feels like a period film in clumsy modern-day dressup.
    • 45 Metascore
    • 50 Liam Lacey
    A redemption allegory so poker-faced you might forget that redemption is supposed to be a good thing.
    • 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.
    • 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.
    • 17 Metascore
    • 50 Liam Lacey
    The stunt work is top-notch; the dialogue and drama often food-spittingly funny. I can hardly wait for Extreme Ops II, perhaps set atop a South Sea island volcano, with North Korean agents and parasailing.
    • 59 Metascore
    • 50 Liam Lacey
    Even if it's accepted simply as glitter-sprayed trash, sophomorically plotted and incompetently acted, Femme Fatale is a uniquely De Palma kind of effluence, an exercise in auteur self-parody.
    • 47 Metascore
    • 50 Liam Lacey
    The updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Liam Lacey
    At this point, the effect of Myers' one-man Sixties love-in already feels less shagadelic than just shagged out.
    • 38 Metascore
    • 50 Liam Lacey
    Sporadically funny, twisted for sure, it risks becoming as repetitive and shrill as the kinds of programs it satirizes.
    • 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.
    • 16 Metascore
    • 50 Liam Lacey
    There's potential here for a macabre cult favourite touching on themes of technology and the body-mind split, but the movie's progression into rambling incoherence gives new meaning to the phrase "fatal script error."
    • 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.
    • 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.
    • 64 Metascore
    • 50 Liam Lacey
    This is a guy movie, a gothic creepshow.
    • 53 Metascore
    • 50 Liam Lacey
    All this holding back is a bad idea, especially as the subject of an entire movie.
    • 32 Metascore
    • 50 Liam Lacey
    The contrived script is stretched to the breaking point by Reiner's listless direction.
    • 46 Metascore
    • 50 Liam Lacey
    In the last third, Payback turns into a joke.
    • 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."
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    The movie becomes an American salute to military patriotism, anybody's military patriotism. Think of it as "A Few Good Reds."
    • 30 Metascore
    • 50 Liam Lacey
    When Queen of the Damned knows it's ridiculous, it's moderately entertaining fun; when it tries to be serious, it's truly ridiculous.
    • 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.
    • 29 Metascore
    • 50 Liam Lacey
    With his heavy features and grimacing shyness, Dante provides the best entertainment in Swimfan.
    • 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.
    • 57 Metascore
    • 50 Liam Lacey
    Spy Kids 3-D: Game Over, is still offbeat, but more in the sense of unco-ordinated than syncopated.
    • 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.
    • 22 Metascore
    • 50 Liam Lacey
    Jawbreaker breaks ground in one way. The movie is notably unpleasant, not just because it's morally offensive, but because it strives for this arch, artificial John Waters tone without any accompanying pay-off in wit.
    • 28 Metascore
    • 50 Liam Lacey
    The movie is, however, generous in its condescension: Given enough tolerance, cash and a good sex manual, it says, even the mentally handicapped can be just as middle-class and cute as you or me.
    • 59 Metascore
    • 50 Liam Lacey
    Finally, an Adam Sandler comedy that you can sit through without wanting to throw a mallet through the screen.
    • 52 Metascore
    • 50 Liam Lacey
    One of those headed-for-cable oddities that must have sounded like a good idea at the time.
    • 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
    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.
    • 50 Metascore
    • 50 Liam Lacey
    Not terribly funny. When it does strain for humour, it opts for Farrelly brothers-style gross-outs -- vomit and chewed food and blocked drains -- which makes the movie itself seem like some kind of undigested expulsion rather than a well thought-out idea.
    • 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.
    • 38 Metascore
    • 50 Liam Lacey
    Gruesome enough; what it lacks is a distinctive revolting personality of its own.
    • 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.
    • 32 Metascore
    • 50 Liam Lacey
    The mould for all these stories of hot lust and burning cities, creamy-skinned rich girls and their bitter lovers is that grand and grotesque cinema monument, was "Gone With the Wind." You can't go there again and you shouldn't want to.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    It might better be titled The Awkward.
    • 28 Metascore
    • 50 Liam Lacey
    Plays out like a 1950s B-movie with a fat special-effects budget. Brain-numbing dialogue, incoherent action and glaring improbabilities aside, it's a bearable combination of sci-fi paranoia and historical fantasy that drags modern viewers, and the robotic hero of "The Fast and the Furious" movies, Paul Walker, back to the centre of the Hundred Years War.
    • 37 Metascore
    • 50 Liam Lacey
    The music, at least, is welcome.
    • 64 Metascore
    • 50 Liam Lacey
    Lush, loud and sparkling, and not nearly as innocent as you might imagine.
    • 23 Metascore
    • 50 Liam Lacey
    The movie is sentimental and reliant on bodily-function humour, but it also has a generous spirit, a multicultural rainbow of characters, and a social message about approaching fatherhood responsibly.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Liam Lacey
    By turns raw, naturalistic and indebted to John Cassavetes, both stylistically and thematically.
    • 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.
    • 33 Metascore
    • 50 Liam Lacey
    Instead of a madcap farce, the movie grinds along into a series of laboured comic bits.
    • 49 Metascore
    • 50 Liam Lacey
    Seems overstuffed and, in its own way, preachy.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Liam Lacey
    Rousing? Sort of. Never before, one feels, have so few given so much for so much real estate.
    • 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).
    • 56 Metascore
    • 50 Liam Lacey
    The movie meanders on and on, like a bad sexual dream, until you finally wake up mumbling: Stella, please: leave that groove thang alone.
    • 51 Metascore
    • 50 Liam Lacey
    The word "arachnid," as it's said so contemptuously in the movie, begins to sound suspiciously like "Iraqi," and indeed, we soon see the elite bugs are hunkered down in their desert fortress, resisting the mighty air assaults of the Federation. The conclusion of our story involves unearthing the chief bug.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    Much of Dodgeball feels competent but lazy. The nerds are barely distinguishable, except for one who thinks he's a pirate and says arghh a lot to no humorous effect.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Liam Lacey
    There's a big budget, big cast and big themes about religion, science and life on other planets. But Contact, which aims for awe, ends up with piffle.
    • 53 Metascore
    • 50 Liam Lacey
    This might be tolerable if Nair hadn't missed the central point, that Becky Sharp isn't sharp like spice, she's sharp like a razor.
    • 66 Metascore
    • 50 Liam Lacey
    The effect of so much pretension and so many lovely images eventually becomes soporific.
    • 56 Metascore
    • 50 Liam Lacey
    Waters's rude, lewd and occasionally nude extended skit takes a simple idea and beats it limp.
    • 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.
    • 37 Metascore
    • 50 Liam Lacey
    Mediocre movie.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Liam Lacey
    Rather than invoke sympathy, the technique creates annoyance with Harris's writing: Sure, these characters may be clichés, but haven't they suffered enough?
    • 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.
    • 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.
    • 64 Metascore
    • 50 Liam Lacey
    A screwball comedy about the abortion issue? First-time writer-director Alexander Payne gives it a college try.
    • 59 Metascore
    • 50 Liam Lacey
    The script, despite doses of irreverent humour, feels manipulative, and the music is oblivious to nuance, with a spectacular misuse of Johnny Cash singing "Hurt."
    • 55 Metascore
    • 50 Liam Lacey
    In a few sound bites, we get the picture and the picture's motto: the smug and selfish coast is an order of disaster-flick toast waiting to burn.
    • 31 Metascore
    • 50 Liam Lacey
    The problem lies with Williamson's script, which feels as if it has been torn from different places and glued back together like a ransom note.
    • 41 Metascore
    • 50 Liam Lacey
    Most of the personality work in the film is left to Steve Zahn.
    • 59 Metascore
    • 50 Liam Lacey
    The movie never actually gets to winter: The title is just a clumsy play on the family's surname.
    • 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.
    • 63 Metascore
    • 50 Liam Lacey
    The movie espouses a kind of Unitarian ecumenical egalitarianism that has about as much to do with medieval times as quantum physics. No one should be offended except -- of course -- those who like movies that excite the mind as well as the pulse.
    • 38 Metascore
    • 50 Liam Lacey
    For a movie aimed at children, Shark Boy and Lava Girl is gloomy.
    • 57 Metascore
    • 50 Liam Lacey
    A tart-coated sugar pill of a movie.
    • 59 Metascore
    • 50 Liam Lacey
    The Rock is just typical big American dumb fun.
    • 52 Metascore
    • 50 Liam Lacey
    Bean falls well short of a work of genius. Indeed, the unbearable slightness of Bean feels like nothing so much as a betrayal of the television series on which it is based.
    • 29 Metascore
    • 50 Liam Lacey
    The trouble with Undiscovered isn't that it's actively annoying but it's so dramatically listless it seems determined to become Unremembered.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Liam Lacey
    By the final act, involving possibly the most far-fetched scheme since Dr. Evil aimed his death ray at Earth in "Austin Powers: The Spy Who Shagged Me," the indifference has become completely contagious.
    • 54 Metascore
    • 50 Liam Lacey
    Director Joel Schumacher has pulled no mawkish punches, wringing every drop of emotional potential from the script (adapted by screenwriter Akiva Goldsman from John Grisham's popular novel) down to the last manipulative glance and close-up. Call it A Time to Overkill.
    • 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.
    • 62 Metascore
    • 50 Liam Lacey
    A glum meditation on isolation and romantic malaise.
    • 47 Metascore
    • 50 Liam Lacey
    A big bloated bore-o. Think of a combination of "Wild Wild West" and "Spy Kids."
    • 58 Metascore
    • 50 Liam Lacey
    Prime seems aimed at prime-time television, with endless iterations on the same theme of "frustrated relationship" that will finally get resolved during sweeps week in the season before cancellation. Call it: My Mama, the Shrink.
    • 52 Metascore
    • 50 Liam Lacey
    This is the stage experience documented on film, from the perspective of someone sitting front row centre watching actors pitching for the back rows of the balcony.
    • 45 Metascore
    • 50 Liam Lacey
    What big ambitions you have, Grandma. And what a disappointingly modest follow-through.
    • 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.
    • 52 Metascore
    • 50 Liam Lacey
    Queen Latifah's energy may be winning and her self-reliance message righteous, but Last Holiday grossly overextends her credit
    • 53 Metascore
    • 50 Liam Lacey
    With the two American actresses miscast, and the two young British lads behaving like a couple of "Brideshead Revisited" rejects, most of the dramatic heavy lifting is left to veteran English actor Wilkinson.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Liam Lacey
    Running Scared's relationship to "The Cooler" is roughly that of industrial metal to a quaint torch song.
    • 51 Metascore
    • 50 Liam Lacey
    Simultaneously salacious and sugary.
    • 52 Metascore
    • 50 Liam Lacey
    There are scenes that may make your stomach feel uncomfortable for a moment but rarely stories that will upset your equilibrium.
    • 54 Metascore
    • 50 Liam Lacey
    The narrative of Lonesome Jim pokes about aimlessly, trying to mine nuggets of amusement.
    • 55 Metascore
    • 50 Liam Lacey
    The whole thing has all the spontaneity of high-school morning announcements.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Liam Lacey
    Begins audaciously but goes to extremes to assert conventional wisdom about grownup life, that what is called "normal" is about just holding on.
    • 52 Metascore
    • 50 Liam Lacey
    This is a comedy at cross-purposes -- by turns low-key, bombastic, mildly amusing, manically slapstick. At least there are the fart jokes as a connecting thread.
    • 53 Metascore
    • 50 Liam Lacey
    To be very generous toward the filmmakers' intentions, Beowulf & Grendel might be seen as a misguided attempt to lend some modern nuance to a traditional tale of good and emphatic evil. But why pussyfoot? The movie is a lumbering and ludicrous mess.
    • 65 Metascore
    • 50 Liam Lacey
    Feels a little like the new "Pirates of the Caribbean" -- a similar wet fizzle of a sequel for sequel's sake -- but what do we know?
    • 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.
    • 78 Metascore
    • 50 Liam Lacey
    A bland, workaday detective flick that should have been much better than it is.
    • 54 Metascore
    • 50 Liam Lacey
    Fascinating, even when it's fascinatingly bad.
    • 51 Metascore
    • 50 Liam Lacey
    A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
    • 55 Metascore
    • 50 Liam Lacey
    As it exists, Tenacious D in the Pick of Destiny is strictly for the tenaciously devoted.
    • 64 Metascore
    • 50 Liam Lacey
    Both Smith and his son are appealing presences, but The Pursuit of Happyness seems to take place in a sociological vacuum. Gardner's insight into his difficulties begins and ends with the thought that, in the pursuit of happiness, there's a lot more pursuit involved than happiness, and unasked political questions seem to dangle ominously over the entire movie.
    • 28 Metascore
    • 50 Liam Lacey
    After the first hour or so of strained puns and wisecracks, you start feeling that the sooner the ending comes, the happier it will be.
    • 44 Metascore
    • 50 Liam Lacey
    The plot is stale though some of the moves are fresh.
    • 55 Metascore
    • 50 Liam Lacey
    Rarely have I seen a movie which made me feel more skeptically Canadian. Please -- it's not true that you can do anything. Stop trying. You might make things worse.
    • 52 Metascore
    • 50 Liam Lacey
    This is one of those ludicrous, semi-offensive, semi-entertaining potboilers that feels as if the script were dragged out from someone's naughty-book stash.
    • 64 Metascore
    • 50 Liam Lacey
    The movie does offer one historical first: Ferrell, who previously appeared with comedian Sacha Baron Cohen ( Borat) in "Talladega Nights," now appears with skater Sasha Cohen (one point).
    • 36 Metascore
    • 50 Liam Lacey
    Notable for its enthusiastic abandonment of any semblance of narrative coherence.
    • 29 Metascore
    • 50 Liam Lacey
    Pathfinder is aimed more at the action-figure crowd than the history buffs.
    • 53 Metascore
    • 50 Liam Lacey
    The shipwreck comes too late to rescue movie from endless banalities. [02 Feb 1996]
    • The Globe and Mail (Toronto)
    • 50 Metascore
    • 50 Liam Lacey
    For a screwball comedy, it takes a long time to wind up, and Kline's Frenchman is an outright cartoon. But Ryan manages to hold attention. [6 Oct 1995, p.C2]
    • The Globe and Mail (Toronto)
    • 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.
    • 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.
    • 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.
    • 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)
    • 27 Metascore
    • 50 Liam Lacey
    The movie features Eddie Murphy as a vampire who is both cool and sucks. The same evaluation might apply to the entire film, which is neither as good as it might be nor as bad as you might expect. The long- in-the-tooth Dracula story, which has been updated and set in the black community of contemporary Brooklyn, is a pulpy mishmash of horror and comedy, equal parts the product of its comedian star and its creepshow director, Wes Craven. [1 Nov 1995, p.C2]
    • The Globe and Mail (Toronto)
    • 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.
    • 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)
    • 55 Metascore
    • 50 Liam Lacey
    In the end, Eagle vs. Shark represents a convincing triumph for Dumb.
    • 64 Metascore
    • 50 Liam Lacey
    You Kill Me is not so much a bad film as one filled with missed potential and marked by the seams of compromise.
    • 45 Metascore
    • 50 Liam Lacey
    The characters, full of blue-blood archness and angst, are partial to self-conscious speechifying.
    • 50 Metascore
    • 50 Liam Lacey
    The script's attempt to splice together a fumbling love story with a portrait of toxic personality disorder feels incongruous, like a serving of porridge flambé au whisky.
    • 55 Metascore
    • 50 Liam Lacey
    Feels like one of those misguided high-school-teacher exercises in making literary history sound contemporary.
    • 44 Metascore
    • 50 Liam Lacey
    It's the same package with new wrapping.
    • 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.
    • 51 Metascore
    • 50 Liam Lacey
    The movie begins to feel more like a buffet of contrivance than a feast of love.
    • 56 Metascore
    • 50 Liam Lacey
    The Kingdom is a barely coherent compendium of Middle East fantasies, fears and doubts.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    A bit of a docu-mess.
    • 45 Metascore
    • 50 Liam Lacey
    A shrill and silly affair, bordering at times on camp.
    • 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?
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Liam Lacey
    All of this unfolds with such predictability, the title might as well be The Great Foregone Conclusion.
    • 47 Metascore
    • 50 Liam Lacey
    Almost everything about this starring vehicle for Katharine Heigl feels borrowed from some previous romantic comedy.
    • 51 Metascore
    • 50 Liam Lacey
    Audiences can watch any number of similarly talented comics on late-night television or, even better, get close to the action at a downtown comedy club.
    • 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.
    • 56 Metascore
    • 50 Liam Lacey
    Leatherhead's a comedy of stock setups and kooky digressions in which nothing really comes to a head, and running at close to two hours, it lacks the essential brevity of the form.
    • 52 Metascore
    • 50 Liam Lacey
    Even with dyed hair, heavy makeup and a cigarette dangling from her bottom lip, Portman still looks like a schoolgirl pretending to be somebody's mom.
    • 55 Metascore
    • 50 Liam Lacey
    A painfully predictable movie.
    • 49 Metascore
    • 50 Liam Lacey
    One of those international co-productions full of good intentions and blandly polished results.
    • 61 Metascore
    • 50 Liam Lacey
    Playing characters familiar to the fans, we have William Hurt as a blustering general, Tim Blake Nelson as a kooky scientist and Tim Roth as an evil soldier who morphs into a monster. All of them seem to be directing themselves.
    • 61 Metascore
    • 50 Liam Lacey
    History repeats itself, the first time as tragedy, the second time as farce, Karl Marx said. That might explain the possibility of even making a movie such as Stuck.
    • 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.
    • 53 Metascore
    • 50 Liam Lacey
    All in all, Australia is so damnably eager to please that it feels like being pinned down by a giant overfriendly dingo and having your face licked for about three hours: theoretically endearing but, honestly, kind of gross.
    • 52 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.
    • 30 Metascore
    • 50 Liam Lacey
    What a shame that The Spirit isn't nearly as good as it looks.
    • 57 Metascore
    • 50 Liam Lacey
    The sickly feeling that Body of Lies leaves at its conclusion isn't just about the brutality of its subject; it's the realization that real-life barbarism translates so easily into adrenaline kicks for the multiplex.
    • 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.
    • 43 Metascore
    • 50 Liam Lacey
    With less expensive actors, it might just have been called Chase Movie, and played for laughs.
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    What is puzzling is how Edward Zwick has taken an extraordinary real-life story about a handful of people who defied huge odds, and turned it into an utterly conventional war movie.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    In the world of pulp movies, where horror, westerns and Asian exploitation borrow and blend with each other, there's a point where the cross-genre mishmash begins to feel like gobbledegook. That's definitely the case with Sukiyaki Western Django.
    • 54 Metascore
    • 50 Liam Lacey
    Near the end of the movie, Django jokes that, after the protests, people may still not know what the WTO is, but "they know it's bad." That's a fair summation of how much insight Battle in Seattle provides for its viewers.
    • 51 Metascore
    • 50 Liam Lacey
    If you're going to a no-frills action film, though, at least you want the action to be entertaining, which is where Transporter 3 falls down.
    • 61 Metascore
    • 50 Liam Lacey
    By the time the film reaches its big mushy climax, in which the slackers discover their inner caring during a dopey medieval role-playing battle, the movie starts to feel something like a pleasure again.
    • 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.
    • 56 Metascore
    • 50 Liam Lacey
    Like a lot of things about Zack and Miri, the porn title feels like it's trying too hard.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Liam Lacey
    Most of the cast range from tolerable to appealing (especially Molina and Pena), with a conspicuous exception. Debra Messing, as the career-driven outsider, is consistently stilted.
    • 53 Metascore
    • 50 Liam Lacey
    The movie is a freakish creature, with lush, painterly animation inspired by Dutch and Flemish masters, attached to a convoluted, gloomy narrative punctuated with scenes of sadism that rival "The Dark Knight."
    • 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.
    • 57 Metascore
    • 50 Liam Lacey
    Distinctly middling, London-set romance.
    • 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
    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.