For 1,290 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 0.4 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 Species II
Score distribution:
1,290 movie reviews
    • 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
    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.
    • 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)
    • 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.
    • 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).
    • 57 Metascore
    • 63 Liam Lacey
    Bring on the sequel please, because, as fine as Denzel is, director Antoine Fuqua’s The Equalizer is not so good – a self-consciously stylized, stop-and-start hodgepodge of Death Wish street vengeance, Bond-style Russian villainy, and moodily shot Boston locale.
    • 42 Metascore
    • 63 Liam Lacey
    Well-intentioned but emotionally straitjacketed.
    • 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.
    • 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
    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.”
    • 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.
    • 72 Metascore
    • 63 Liam Lacey
    Sumptuous and schmaltzy, Steven Spielberg's First World War drama, War Horse, is a strange beast of a film.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Liam Lacey
    A typical mixture of the artful and the repellent.
    • 69 Metascore
    • 63 Liam Lacey
    The problem is, the last section of the movie doesn't follow the career path of Greene: It traces the blander character of Hughes. Cheadle, who galvanizes the first half of the film, fades from view, and the best part of the conversation in Talk to Me goes with him.
    • 76 Metascore
    • 63 Liam Lacey
    Not super, but not bad, the teen comedy, Superbad, is another comic dance across the hormonal minefield of late high school.
    • 57 Metascore
    • 63 Liam Lacey
    No political tract, but it can be surprisingly bold.
    • 59 Metascore
    • 63 Liam Lacey
    A beautifully shot, well-acted, and worthy-to-a-fault Second World War survivor story that only intermittently achieves the kind of emotional impact for which it aims.
    • 56 Metascore
    • 63 Liam Lacey
    The Corruptor is visually lively and filled with gratuitous destruction. [12 Mar 1999]
    • The Globe and Mail (Toronto)
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 63 Liam Lacey
    The most unexpected thing about the Lebanese film Caramel is its predictability.
    • 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.
    • 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.
    • 54 Metascore
    • 63 Liam Lacey
    Mixes broad slapstick and off-hand one-liners in a sometimes surprisingly funny mixture.
    • 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.
    • 61 Metascore
    • 63 Liam Lacey
    Lucy, you may have twigged, is named after our 3.2-million-year-old hominid ancestor.
    • 63 Metascore
    • 63 Liam Lacey
    Like any good religious sermon, it follows its scary vision of hell with a possibility of last-minute redemption.
    • 49 Metascore
    • 63 Liam Lacey
    It's no great thing, just a better Thing than expected.
    • 59 Metascore
    • 63 Liam Lacey
    An overqualified cast (including Vincent D’Onofrio and an uncredited Nick Nolte) brings more gravity than required to repeated “this is me staring you down” confrontations.
    • 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.
    • 56 Metascore
    • 63 Liam Lacey
    The film is visually bland, with only a couple of bookending outdoor sequences around a handful of interior sets.
    • 62 Metascore
    • 63 Liam Lacey
    If Ocean's Thirteen were compared to a gem, it would have to be considered something of a flashy fraud: Initially impressive for cut and colour, it lacks either clarity or weight.
    • 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.
    • 56 Metascore
    • 63 Liam Lacey
    Focus, which was co-written and directed by "Crazy Stupid Love" creators, Glen Ficarra and John Requa, is drunk on its perfume-ad cinematography and doesn’t know when to quit with its double-double cross plotting.
    • 60 Metascore
    • 63 Liam Lacey
    A resonant journalistic cautionary tale gets packaged as a hokey thriller in Kill the Messenger, a movie with a message that isn’t nearly as urgent as it needs to be.
    • 85 Metascore
    • 63 Liam Lacey
    Sciamma (Water Lilies, Tomboy) gets unaffected performances from her non-professional cast.
    • 72 Metascore
    • 63 Liam Lacey
    Still Alice is being called a career performance for Moore, and although it may be one of her most poignant roles (it has earned her a fifth Oscar nomination), the part barely scratches the surface of her ability.
    • 54 Metascore
    • 63 Liam Lacey
    There’s a flicker of déjà vu seeing Max Irons step into the role of a posh Oxford University student in The Riot Club. Irons has inherited the cheekbones and silky voice of his father, Jeremy Irons.
    • 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.
    • 59 Metascore
    • 63 Liam Lacey
    Fortunately, director-writer Marc Lawrence (he also created the Hugh Grant-Sandra Bullock comedy "Two Weeks Notice") manages saccharine saturation by tempering his stars' familiar appeal with enough dry wit to make this low-key romantic comedy a not-too-sticky Valentine's Day offering.
    • 51 Metascore
    • 63 Liam Lacey
    Once again, a first-rate cast helps slightly elevate this sentimental Britcom.
    • 64 Metascore
    • 63 Liam Lacey
    A stylish, brutal affair that delivers grim atmosphere and punishing violence but loses impact in telegraphing its political punches.
    • 63 Metascore
    • 63 Liam Lacey
    Apart from the mobile camera and a moderately challenging time-jumping script, this is weepy women's cable-television fare of the tears-and-cuddles variety.
    • 55 Metascore
    • 63 Liam Lacey
    Hoary, rather than whore-y, Irina Palm is shameless only in its mawkish sincerity.
    • 50 Metascore
    • 63 Liam Lacey
    The Human Scale uses plenty of globe-hopping examples to make up for what it sometimes lacks in depth.
    • 50 Metascore
    • 63 Liam Lacey
    A passable romantic dish, a good-looking, old-fashioned date movie set in an idealized Greenwich Village, evocative of the better Woody Allen films.
    • 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.
    • 60 Metascore
    • 63 Liam Lacey
    All this is more amusing in theory than practice, partly because Leonard’s world of wiseguys and slapstick violence has become so familiar – the caper-movie default mode.
    • 63 Metascore
    • 63 Liam Lacey
    If the downbeat plot is depressingly familiar, it’s partly salvaged by the quality of the performances.
    • 53 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.
    • 65 Metascore
    • 63 Liam Lacey
    Walks a line between didactic allegory and realistic drama.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 63 Liam Lacey
    Feels like a missed opportunity to do a country romantic melodrama in grand style.
    • 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.
    • 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.
    • 53 Metascore
    • 63 Liam Lacey
    Less “amazing” than persistent.
    • 62 Metascore
    • 50 Liam Lacey
    A glum meditation on isolation and romantic malaise.
    • 45 Metascore
    • 50 Liam Lacey
    A redemption allegory so poker-faced you might forget that redemption is supposed to be a good thing.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    In the end, Eagle vs. Shark represents a convincing triumph for Dumb.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 50 Liam Lacey
    The contrived script is stretched to the breaking point by Reiner's listless direction.
    • 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.
    • 29 Metascore
    • 50 Liam Lacey
    Pathfinder is aimed more at the action-figure crowd than the history buffs.
    • 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.
    • 64 Metascore
    • 50 Liam Lacey
    This is a guy movie, a gothic creepshow.
    • 45 Metascore
    • 50 Liam Lacey
    The characters, full of blue-blood archness and angst, are partial to self-conscious speechifying.
    • 37 Metascore
    • 50 Liam Lacey
    Mediocre movie.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Liam Lacey
    By turns raw, naturalistic and indebted to John Cassavetes, both stylistically and thematically.
    • 66 Metascore
    • 50 Liam Lacey
    The effect of so much pretension and so many lovely images eventually becomes soporific.
    • 57 Metascore
    • 50 Liam Lacey
    A tart-coated sugar pill of a movie.
    • 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.
    • 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
    • 59 Metascore
    • 50 Liam Lacey
    The movie never actually gets to winter: The title is just a clumsy play on the family's surname.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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).
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 50 Liam Lacey
    In the last third, Payback turns into a joke.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Liam Lacey
    Simultaneously salacious and sugary.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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
    The plot is stale though some of the moves are fresh.
    • 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.

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