For 1,242 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 Hugo
Lowest review score: 0 People Like Us
Score distribution:
1,242 movie reviews
    • 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.
    • 61 Metascore
    • 50 Liam Lacey
    Fighting is a crude love letter to seventies' New York cinema but set in the present.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    The old carnival phrase "Close, but no cigar" comes to mind when watching The Brothers Bloom , a globetrotting heist film that starts off terrifically and then progressively deflates.
    • 73 Metascore
    • 50 Liam Lacey
    Rude, lewd and occasionally in the nude, The Hangover brings a collection of fresh faces to the familiar raucous male-bonding comedy.
    • 70 Metascore
    • 50 Liam Lacey
    Perhaps the film's biggest weakness is that all the characters are so naive and petty you can't really work up much fervour about who sleeps with whom. That would never be a question in a movie like "Casablanca."
    • 50 Metascore
    • 50 Liam Lacey
    What doesn't work so persuasively is Elkoff's script, particularly the overuse of voice-over.
    • 64 Metascore
    • 50 Liam Lacey
    There's a whole lot of "American Beauty" and "The Ice Storm" packed into Lymelife.
    • 54 Metascore
    • 50 Liam Lacey
    One of those comedies that is more peculiar than actually funny.
    • 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.
    • 68 Metascore
    • 50 Liam Lacey
    Superficial but giddily entertaining backstage documentary.
    • 61 Metascore
    • 50 Liam Lacey
    As a drama, The Soloist is stuck before it starts.
    • 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.
    • 76 Metascore
    • 50 Liam Lacey
    Ultimately, the best thing about (500) Days of Summer isn't its gimmicky script. It's the constant performance of Gordon-Levitt, who shifts, scene-by-scene, from moments of ebullience to abject dejection.
    • 71 Metascore
    • 50 Liam Lacey
    Less an adaptation of its source material than a therapeutic response to it.
    • 70 Metascore
    • 50 Liam Lacey
    Perhaps the most regrettable crime here is the way that Mann, trying to do too much, robs himself of a great opportunity. Here was a chance to capture the drama of the Thirties.
    • 55 Metascore
    • 50 Liam Lacey
    An efficiently engineered piece of studio product, enjoyable enough at times, but with an unmistakable assembly-line quality.
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    Shot in country fields and interiors of fading Georgian glory, Easy Virtue has enough traces of Coward's wit to keep you hoping for the first hour or so, but then the film collapses under the weight of too many misguided innovations.
    • 54 Metascore
    • 50 Liam Lacey
    An Eddie Murphy comedy that's actually endearing.
    • 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?
    • 57 Metascore
    • 50 Liam Lacey
    Guy Ritchie's Holmes reboot feels both too complicated and too elementary, dear Watson.
    • 70 Metascore
    • 50 Liam Lacey
    The trouble is, once you get past the historical information and chummy interviews, you have to put up with the inevitable risk of any ad-hoc jam session: It Might Get Boring.
    • 61 Metascore
    • 50 Liam Lacey
    As a statement on capitalism or anything else, Capitalism: A Love Story is often embarrassingly simplistic, self-contradictory.
    • 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?
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    The result is an erratically funny but often frustrating comedy, with an interesting premise hobbled by internal inconsistencies and uneven writing.
    • 58 Metascore
    • 50 Liam Lacey
    It tries too hard too early.
    • 61 Metascore
    • 50 Liam Lacey
    A larger discomfort with Extract is an ambivalent attitude about comedy and social class. Mocking an officious middle-manager is always fair game; ridiculing blue-collar workers who resent their mindless jobs just feels mean.
    • 49 Metascore
    • 50 Liam Lacey
    The trouble is that Antichrist feels progressively symptomatic of a director losing heart.
    • 67 Metascore
    • 50 Liam Lacey
    Without either the effect of a full concert spectacle, or up close and personal backstage intimacy, This Is It is neither one thing nor the other.
    • 54 Metascore
    • 50 Liam Lacey
    These Stooges-like antics are more about showing what good sports his stars are than honing any real satiric edge.
    • 58 Metascore
    • 50 Liam Lacey
    Richard Curtis, the writer of "Four Weddings and a Funeral," "Notting Hill" and "Love, Actually," goes off-shore and out of his depth with Pirate Radio .
    • 65 Metascore
    • 50 Liam Lacey
    The Imaginarium of Doctor Parnassus takes us deep into the imagination of Terry Gilliam, which once was a splendid place to visit. And might prove so again. But not here, because this film is less a coherent exercise of imagination than a haphazard lecture on its importance, a lecture that eventually dwindles into self-indulgence.
    • 55 Metascore
    • 50 Liam Lacey
    The larger shell game here is that Edge of Darkness is offered as a political thriller, but with real-world politics removed. What we’re left with is a familiar mechanism for delivering a vicarious, violent, wish-fulfilment fantasy, with Mel in a familiar position, in the driver’s seat, pedal to the metal.
    • 63 Metascore
    • 50 Liam Lacey
    Screenwriter Brian Helgeland (L.A. Confidential, Mystic River) is the real culprit here, creating a crude paint-by-numbers fiction that keeps yelling about the importance of the truth while hurtling in the opposite direction.
    • 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.
    • 76 Metascore
    • 50 Liam Lacey
    Fitfully interesting, occasionally cringe-worthy, this is the sort of stagy production that mixes ribaldry and campy overacting that evokes summer theatre productions.
    • 49 Metascore
    • 50 Liam Lacey
    Unassuming only in its title.
    • 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.
    • 61 Metascore
    • 50 Liam Lacey
    Smith’s charisma isn’t always an asset to the movie though. Unlike the unknown Macchio in the original Kid, there’s nothing vulnerable about Smith except for his diminutive size, which is its own problem.
    • 51 Metascore
    • 50 Liam Lacey
    As angst-filled as if it were "Amadeus" and "Lust for Life" rolled into one.
    • 43 Metascore
    • 50 Liam Lacey
    Each of the actors has strong moments but the relentless intensity becomes monotonous.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Liam Lacey
    Sincere performances and the beautiful gold-and-grey Donegal landscape can only go so far in A Shine of Rainbows, a family film that risks drowning in its own syrup.
    • 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.
    • 57 Metascore
    • 50 Liam Lacey
    With seemingly twice as much action, a whole new complex of villainy, competing Iron Man suits, robots and love interests, Iron Man 2 sequel cashes in hard on the unexpected success of the first Iron Man from 2007 and somehow loses much of its soul in the process.
    • 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.
    • 20 Metascore
    • 50 Liam Lacey
    The story is a much more serious problem, a run-on, overstuffed narrative that feels like a very long prologue for a climax that never comes.
    • 37 Metascore
    • 50 Liam Lacey
    Love Ranch bounces between tongue-in-cheek wackiness and soapy melodrama while rarely hitting a true note.
    • tbd Metascore
    • 50 Liam Lacey
    More entertaining in concept than execution. What starts as geek comedy gradually slides into a familiar morality play about the savagery beneath the veneer of civility.
    • 36 Metascore
    • 50 Liam Lacey
    A paint-by-numbers vigilante movie with the usual rogue cop, murdered wife and trail of vengeance.
    • 56 Metascore
    • 50 Liam Lacey
    There's plenty here to keep summer comedy fans satiated, if not entirely satisfied.
    • 67 Metascore
    • 50 Liam Lacey
    One disappointment here is that Patricia Clarkson, the queen of indie film, is missing much of her usual spark. Her performance may be aiming for sensual, but too often it comes across more as listless.
    • 64 Metascore
    • 50 Liam Lacey
    Have you ever seen a movie you half-liked a lot?
    • 55 Metascore
    • 50 Liam Lacey
    The title – Hugh Hefner: Playboy, Activist and Rebel – is fine as far as it goes. But if you leave out "octogenarian mammophile" and "calendar fetishist," you leave something essential out of the story.
    • 53 Metascore
    • 50 Liam Lacey
    Piranha 3D is more funny than disgusting, even when screen fills with half-nude swimmers, bobbing like human dumplings in a roiling vat of borscht. This isn't just sick, it's clas-sick!
    • 45 Metascore
    • 50 Liam Lacey
    The new heist movie Takers is surprisingly okay.
    • 61 Metascore
    • 50 Liam Lacey
    The dread in the film is so quickly forgotten. What remains is an urge to fly to Italy, rent an apartment in a medieval city and invent your own adventure.
    • 63 Metascore
    • 50 Liam Lacey
    It might be called "It's Kind of a Thin Movie."
    • 60 Metascore
    • 50 Liam Lacey
    A discordant mix of melodrama and chaotic farce.
    • 60 Metascore
    • 50 Liam Lacey
    RED
    The star turns are Red's raison d'être, with the winking performances filling the place of any credible dramatic tension.
    • 56 Metascore
    • 50 Liam Lacey
    Hereafter is unpredictable enough to be consistently watchable.
    • 53 Metascore
    • 50 Liam Lacey
    The principle suspense is wondering when the suspense is going to start, as you scan the darkly-lit screen looking for any hint of imminent horror.
    • 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.
    • 37 Metascore
    • 50 Liam Lacey
    What should have sizzled fizzles.
    • 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.
    • 49 Metascore
    • 50 Liam Lacey
    Has a deliberately minimalist, retro look to it as well.
    • 53 Metascore
    • 50 Liam Lacey
    The movie is nothing if not anxious to please. There's a big, diverse, celebrity voice cast – Maggie Smith, Hulk Hogan and Dolly Parton as well as Caine and Osbourne.
    • 70 Metascore
    • 50 Liam Lacey
    This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."
    • 56 Metascore
    • 50 Liam Lacey
    The art of the classic Hitchcockian thriller is about style, pace and misdirection – and though Unknown is occasionally baffling and involves running and car chases, the film rarely manages to thrill.
    • 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.
    • 64 Metascore
    • 50 Liam Lacey
    This parade of admiration is almost as exhausting as the experience of a Motörhead concert.
    • 52 Metascore
    • 50 Liam Lacey
    Throughout, Wilson and Byrne play these parts straightforward and there's an undercurrent of real anguish in the struggle of parents coping with a child's long-term care.
    • 59 Metascore
    • 50 Liam Lacey
    Though it's undoubtedly ingenious, for such a clever movie, it's a shame Rubber couldn't be more fun.
    • 55 Metascore
    • 50 Liam Lacey
    Redford hasn't moved too far here from an earlier political-thriller template: With its skulduggery, late-night meetings and the contemptuous political cabal out to thwart justice, The Conspirator can be thought of as "All the President's Men – The Lincoln Edition."
    • 48 Metascore
    • 50 Liam Lacey
    Ultimately, his (Silver) film settles for a queasy mix of high-toned intentions and commercial compromises.
    • 39 Metascore
    • 50 Liam Lacey
    What gets sacrificed on the altar of this new franchise launch is any real sense of fun.
    • 57 Metascore
    • 50 Liam Lacey
    Just who is Pixar aiming this movie at? Contemporary children or their great-grandparents?
    • 42 Metascore
    • 50 Liam Lacey
    But don't worry about remembering the characters - the movie certainly doesn't.
    • 64 Metascore
    • 50 Liam Lacey
    While a lot of geography is covered, as a concert film, Conan O'Brien Can't Stop is decidedly thin entertainment.
    • 59 Metascore
    • 50 Liam Lacey
    By the time we reach the climactic ending, the script clearly calls for an exorcist with a chainsaw to trim back this metaphor run amok.
    • 74 Metascore
    • 50 Liam Lacey
    The narrative, cobbled together from various Pooh stories by an army of writers, is held together reasonably well by John Cleese's soothing narration.
    • 50 Metascore
    • 50 Liam Lacey
    Periodically, thanks to the 3-D, a long and pointy object emerges from the screen, threatening to impale the viewers through their eyeballs, enhancing the movie's guilty pleasure by reminding us that we, too, are made of vulnerable flesh and bone.
    • 31 Metascore
    • 50 Liam Lacey
    5 Days of War feels low-budget in everything except its battle sequences.
    • 64 Metascore
    • 50 Liam Lacey
    A potentially appealing story about a rescued disabled dolphin gets smothered with inspirational family values guff.
    • 35 Metascore
    • 50 Liam Lacey
    Once again Anna Faris manages to be the best thing in another not very good Anna Faris movie.
    • 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.
    • 56 Metascore
    • 50 Liam Lacey
    It's a combination that seems ideal for 10-year-old boys who adore violence, and could well be the cornerstone of the next DreamWorks franchise.
    • 61 Metascore
    • 50 Liam Lacey
    Kenneth Lonergan's new film, Margaret, finally released six years after it was shot, now seems destined to become part of film history as one of the more stunning examples of a filmmaker's sophomore slump.
    • 53 Metascore
    • 50 Liam Lacey
    The result is an offence-free, mild entertainment in which everyone from cast to scriptwriter seems to be winging it.
    • 59 Metascore
    • 50 Liam Lacey
    The first 45 minutes of this film feel like far too much normal and not nearly enough para.
    • 52 Metascore
    • 50 Liam Lacey
    A sporadically amusing, occasionally off-putting French farce.
    • 50 Metascore
    • 50 Liam Lacey
    The less you know about Shakespeare, the more you're likely to enjoy Anonymous.
    • 45 Metascore
    • 50 Liam Lacey
    It's the most jumbled and tonally confused movie yet.
    • 71 Metascore
    • 50 Liam Lacey
    Plays precariously close to an unfunny sociopathic case study.
    • 54 Metascore
    • 50 Liam Lacey
    The Iron Lady is a performance in search of a film.
    • 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.
    • 52 Metascore
    • 50 Liam Lacey
    A movie with a double-crossing intelligence plot that's so generic it's an irritating intrusion in a lively chase through the streets and shantytowns of Cape Town, South Africa.
    • 31 Metascore
    • 50 Liam Lacey
    This Means War is a Valentine's date dud: Think wilted roses, squashed chocolates and flat champagne.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    Whom is this movie for, really? It's too tame for the whooping crowds of women who made hits of the "Sex and the City" movies and "Bridesmaids." And for sure it isn't for parents with kids. You can probably find them, diaper bags in the aisles and toddlers on their laps, watching "Dr. Seuss: The Lorax."
    • 69 Metascore
    • 50 Liam Lacey
    A try-anything, fitfully amusing muddle that wears its mocking cynicism a bit too proudly.
    • 62 Metascore
    • 50 Liam Lacey
    A lot more cutting would have made this movie much funnier – but it should have taken place in the editing room, not on the screen.
    • 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!"
    • 62 Metascore
    • 50 Liam Lacey
    Unfortunately, the script, based on Deborah Moggach's 2004 novel "These Foolish Things," might better be described as pure British stodge: high-starch English comfort food of more sentimental than nutritional value.
    • 58 Metascore
    • 50 Liam Lacey
    While Baron Cohen's lanky physical slapstick and verbal manglings are funny, the movie begins to feel like one of the later, worn-out Pink Panther 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.
    • 59 Metascore
    • 50 Liam Lacey
    So why does Savages feel so calculated, cutesy, free of suspense and trashy only in the uninteresting sense? No doubt, Stone is trying... but it all feels more like flexing atrophied muscles rather than creating a believable experience.
    • 48 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.
    • 58 Metascore
    • 50 Liam Lacey
    It attempts to take local history of the illegal whisky trade and raise it to the level of myth.
    • 55 Metascore
    • 50 Liam Lacey
    For all the talent involved, The Eye of the Storm is an incident-stuffed but lacklustre affair – a case of lots of sturm, but not enough drang – that reaches for a satiric sting and emotional depth it never achieves.
    • 67 Metascore
    • 50 Liam Lacey
    As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.
    • 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.
    • 53 Metascore
    • 50 Liam Lacey
    A mixed bag of old-school and contemporary horror tricks that occasionally raises a hair prickle of intrigue.
    • 51 Metascore
    • 50 Liam Lacey
    A good-looking but anecdotally slight dramedy about life and lifestyles in Los Angeles's hip Silver Lake district.
    • 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.
    • 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."
    • 57 Metascore
    • 50 Liam Lacey
    From time to time, as Alexandre Desplat's insistent score surged yet again while the characters rushed by, I found myself wanting the movie to slow down. Some of these images are too beautiful to disappear so quickly.
    • 27 Metascore
    • 50 Liam Lacey
    Though the script takes pains to paint George as a passive boy-man, there's just not enough lovable here and too much of the thoughtless lout. Butler beware: In acting as in soccer, if you keep taking dives, sooner or later you pay the penalty.
    • 50 Metascore
    • 50 Liam Lacey
    World-weariness is not really the energetic star's best driving gear. Nor are declarations of menace intended to identify Jack Reacher as a modern-day mythic avenger. When he tells an enemy, through his clenched choppers, "I mean to beat you to death and drink your blood from a boot," the effect is, unintentionally, popcorn-spitting funny. Talk about overreaching.
    • 55 Metascore
    • 50 Liam Lacey
    Promised Land is a low-budget effort, far too awkward and contrived a drama to change many hearts and minds.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Liam Lacey
    What promised to be a teen screwball comedy with a supernatural twist soon descends into special-effects overkill and camp acting from the overqualified supporting cast.
    • 51 Metascore
    • 50 Liam Lacey
    While it’s fine for a director to explore his childhood inspirations, you hope he would bring something a bit more personal to it. Instead, Jack the Giant Slayer, while well-crafted, feels entirely generic.
    • 62 Metascore
    • 50 Liam Lacey
    Lewy’s script doesn’t cop out with any sentimental redemption, but neither does it establish why the self-destructive Lachlan deserves our sympathy.
    • 51 Metascore
    • 50 Liam Lacey
    For its last third, the entire thing gets a Frankensteinian head transplant, and turns into derivative serial-killer nonsense.
    • 56 Metascore
    • 50 Liam Lacey
    On the downside, Rosebraugh’s own film is too self-righteous and his attempts to play a humour-challenged, lightweight version of Michael Moore in front of the camera is a misfire. The climate-change deniers are comforting, though obviously wrong. Greedy Lying Bastards is grating, even if it’s right.
    • 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.
    • 67 Metascore
    • 50 Liam Lacey
    There's an easy familiarity and charm in the creased, middle-aged faces of Nimoy, Shatner and DeForest Kelly (the perpetually irascible Dr. McCoy), all of whom now play their parts with an ever-present twinkle. Their behavior rarely has anything to do with the motives provided by the plot; rather, they wear their characters like old habits, as they boldly go where they've always gone before. [26 Nov. 1986, p.C5]
    • The Globe and Mail (Toronto)
    • 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.
    • 60 Metascore
    • 50 Liam Lacey
    What remains “indie” about At Any Price is that this is an unabashed social-message film – one that plays out like a cross between the agribusiness exposé "Food, Inc." and Arthur Miller’s "Death of a Salesman."
    • 50 Metascore
    • 50 Liam Lacey
    There’s a fine line sometimes, as "This is Spinal Tap" reminded us, between stupid and clever. Now You See Me wobbles along that tightrope for much of its running time.
    • 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.
    • 52 Metascore
    • 50 Liam Lacey
    Formula action films don’t come much more formulaic that this.
    • 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.
    • 55 Metascore
    • 50 Liam Lacey
    Exuberantly campy.
    • 68 Metascore
    • 50 Liam Lacey
    Like "Little Miss Sunshine," the movie stars Toni Collette and Steve Carell in a story about a dysfunctional family trip, though like "Adventureland," it’s really about a teenager finding acceptance at a local theme park.
    • 54 Metascore
    • 50 Liam Lacey
    Pandora’s Promise is less an exploration of the subject than a well-constructed sales pitch.
    • 32 Metascore
    • 50 Liam Lacey
    There’s a scene in a members-only club where Wyatt and Goddard meet, giving the two veteran actors the chance to go eyeball to eyeball for a couple of minutes of barbed dialogue. It almost makes the movie worth it.
    • 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.
    • 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.
    • 29 Metascore
    • 50 Liam Lacey
    The 3-D is a pain, and the excitable editing, slo-mo and speeded-up action frustrate attempts to watch the athleticism on display, but the last half-hour takes it up a notch.
    • 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.
    • 38 Metascore
    • 50 Liam Lacey
    Occasionally, the cast rises above the material.
    • 54 Metascore
    • 50 Liam Lacey
    Thanks for Sharing might best be described as being like Steve McQueen’s sex-addiction drama, "Shame," if it were rewritten by Neil Simon at his most schmaltzy.
    • 58 Metascore
    • 50 Liam Lacey
    The film, shot in black-and-white at canted angles, suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way. Mickey Mouse is unlikely to be shaking in his big yellow shoes.
    • 48 Metascore
    • 50 Liam Lacey
    The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
    • 55 Metascore
    • 50 Liam Lacey
    There are the usual gaggle of embarrassing friends, a lot of voice-over and montages, a wedding, a funeral and wait … something’s missing. Oh, right. Hugh Grant.
    • 53 Metascore
    • 50 Liam Lacey
    Directed by Brian Percival, best known for his work on "Downton Abbey," the film has the similar quality of a well-appointed historical soap opera.
    • 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.
    • 65 Metascore
    • 50 Liam Lacey
    Certainly, this imagineered version of P.L. Travers’s life provides an orderly drama, but it’s uncomfortably reductive. It may be a small world, after all, but it comes in a lot more shades than Saving Mr. Banks suggests.
    • 60 Metascore
    • 50 Liam Lacey
    Unfortunately, this reverent and old-fashioned biopic is a prime example of the kind of inspirational movie that is, itself, uninspired.
    • 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.
    • 58 Metascore
    • 50 Liam Lacey
    Although a couple of performances here may earn Oscar nominations, by the time you’ve sat through the wreckage, you’re left with the sense that this really must have worked better onstage.
    • 36 Metascore
    • 50 Liam Lacey
    Like its characters, That Awkward Moment has commitment issues: It lacks the courage of its bad taste.
    • 52 Metascore
    • 50 Liam Lacey
    I can’t pardon Labor Day’s mush, not just because it’s mush, but because it comes with an unappetizing side order of condescension and contempt.
    • 52 Metascore
    • 50 Liam Lacey
    By the film’s end, one can’t help thinking that the story would be better served by a well-researched documentary on the real-life MFAA division (monuments, fine arts and archives.)
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Liam Lacey
    Although the film and the actors keep on looking good, this solemn, soppy, fantasy has nothing to say about science or faith.
    • 67 Metascore
    • 50 Liam Lacey
    A Master Builder really doesn’t work, hampered by odd casting, theatrical performances and a reductive interpretation of Ibsen’s play.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Liam Lacey
    Without a thin tether to credibility, this fussy, morbid fantasy simply slides off into the void.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Liam Lacey
    The movie’s compromised tone, wavering between emo introspection and rom-com cuteness, is awkward in all the wrong ways.
    • 31 Metascore
    • 38 Liam Lacey
    This briefly inspired bit of surreality quickly descends into gratuitous bondage, mayhem and dumb humour, marking the usual progression from mildly absurd premise to gratingly idiotic conclusion.
    • 50 Metascore
    • 38 Liam Lacey
    Though Lillard's excitable tone keeps promising wild comic adventures, the sequences are uniformly flat and humour-free.
    • 29 Metascore
    • 38 Liam Lacey
    It's the sort of visual joke you would wince at in a 1940s movie; to see it nowadays, you're tempted to dismiss it as unintentional.
    • 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.
    • 12 Metascore
    • 38 Liam Lacey
    Before immediately handing the movie an F and sending it off to summer school, give the filmmakers, and especially co-star Jason Schwartzman, credit for their anarchic willingness to try anything to shock a laugh loose from an audience.
    • 40 Metascore
    • 38 Liam Lacey
    A plot so preposterous it could only have emerged from the underground comic world.
    • 23 Metascore
    • 38 Liam Lacey
    Both syrupy and scatological, this is a typical family-dividing Sandler comedy: Parents will hate it but the kids will delight in its rudeness.
    • 25 Metascore
    • 38 Liam Lacey
    This time the action takes us out of the usual campgrounds and girls in underwear into the realm of outer space, where no one can hear you screaming "Enough already."
    • 18 Metascore
    • 38 Liam Lacey
    Serving Sara, which often feels more like serving time, is one of those tortured Hollywood romantic comedies that starts with a passable premise and turns into an inventory of flat gags and weak lines set against a travelogue backdrop.
    • 35 Metascore
    • 38 Liam Lacey
    Mostly, the plot is busy and incomprehensible and the action sequences directed with all the art of a detonation.
    • 30 Metascore
    • 38 Liam Lacey
    General Boredom meets Major Tedium on the Civil War fields of Virginia.
    • 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.
    • 26 Metascore
    • 38 Liam Lacey
    For about 20 minutes, Phantoms, based on Dean Koontz's bestseller, keeps you guessing. After that, it barely keeps you awake.
    • 53 Metascore
    • 38 Liam Lacey
    The script is definitely mediocrity mixed with complication.
    • 55 Metascore
    • 38 Liam Lacey
    There's no doubt the cast is driven and talented; some day, it might be interesting to watch a film about what such kids are really like.
    • 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.
    • 52 Metascore
    • 38 Liam Lacey
    A determined romantic comedy with a theme, and damned if it won't see it through.
    • 19 Metascore
    • 38 Liam Lacey
    A semi-intriguing abomination, the movie The Cat in the Hat takes a piece of classic childhood Americana and turns it into something garish, dumb, ugly and senseless.
    • 21 Metascore
    • 38 Liam Lacey
    A lazy, hasty effort that offers little beyond a few jack-in-the-box startles and a high body count, including Hewitt's bouncing about in a shirt half-unbuttoned over a bikini top.
    • 45 Metascore
    • 38 Liam Lacey
    A twisted, but not particularly clever, black comedy.
    • 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.
    • 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.
    • 15 Metascore
    • 38 Liam Lacey
    A vigorously cross-marketed product, with comics, collectable cards, games and a television series.
    • 30 Metascore
    • 38 Liam Lacey
    The devil is back in Exorcist: The Beginning, and he is more disgusting than ever. Not more scary, just really yucky, in a kind of maggots-on-a-pizza-slice way.
    • 27 Metascore
    • 38 Liam Lacey
    Very little of it works.
    • 53 Metascore
    • 38 Liam Lacey
    They are singing the jingle in the bath, in bed, in the car, ready to send you, like George, smack into a tree.
    • 38 Metascore
    • 38 Liam Lacey
    Dull Blade just doesn't cut it.
    • 41 Metascore
    • 38 Liam Lacey
    Talky, crude and sexist, Mallrats is significantly less funny, a flatulent sequel to the director's small start.
    • 24 Metascore
    • 38 Liam Lacey
    Is Kazaam racist? In effect, yes. But it'sracism linked to bad marketing: You can't really mix a black-pride rap film with a revamped version of "Free Willie" and expect them to magically jibe.
    • 54 Metascore
    • 38 Liam Lacey
    The problem is that director Wayne Wang seems deaf to the tonal differences between coming-of-age, magic realism and children's comedy.
    • 30 Metascore
    • 38 Liam Lacey
    Director Adam Shankman pushes together scenes with little rhythm or flow. Writers Thomas Lennon and Robert Ben Garant ignore credibility, throw in pointless sight gags, treat humiliation as comedy and use tiresome ethnic stereotypes. In short, Diesel doesn't get the help he needs.
    • 53 Metascore
    • 38 Liam Lacey
    The results are so listless, dated and characterless.
    • 58 Metascore
    • 38 Liam Lacey
    It's difficult to say who is more misguided here: the men (director, screenwriter and producer) who made the movie, or the women who signed on to play the parts.
    • 47 Metascore
    • 38 Liam Lacey
    None of this is funny enough to justify stealing 90 minutes of your viewing time.
    • 33 Metascore
    • 38 Liam Lacey
    An Adam Sandler movie without Adam Sandler, it turns out, is not necessarily an improvement.
    • 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.
    • 29 Metascore
    • 38 Liam Lacey
    Just my luck that I saw the trailer for the film several times and already knew all of this, which made the long-form version of the movie redundant.
    • 40 Metascore
    • 38 Liam Lacey
    The intriguing thing about The Peaceful Warrior is that nothing else in the movie feels haphazard.
    • 18 Metascore
    • 38 Liam Lacey
    [Lange] does give the movie the only excitement it possesses -- the frisson of a hideous thrill -- but it's still an excruciating embarrassment.
    • 27 Metascore
    • 38 Liam Lacey
    Norbit is pretty much a bad-taste sinkhole.
    • 55 Metascore
    • 38 Liam Lacey
    Through it all, actress Posey strikes attitudes and preens across the glib surface of the film, and though her campy excesses are tolerable for a brief time, the performance becomes an exercise in overkill. [13 Oct 1995]
    • The Globe and Mail (Toronto)
    • 17 Metascore
    • 38 Liam Lacey
    Stallone's sequel has almost nothing to do with the original film except that it's about dancing; otherwise, it's Rocky IV with legwarmers. [16 Jul 1983]
    • The Globe and Mail (Toronto)
    • 64 Metascore
    • 38 Liam Lacey
    The movie seems much, much longer than its 90-minute running time. [15 June 1998]
    • The Globe and Mail (Toronto)
    • 53 Metascore
    • 38 Liam Lacey
    Call it Nancy Drew and the Case of the Confused Adaptation.
    • 59 Metascore
    • 38 Liam Lacey
    The result is as off-putting as biting into a confection in which the sugar has been replaced by salt.
    • 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.
    • 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.
    • 34 Metascore
    • 38 Liam Lacey
    If you thought "300" was silly, think of 10,000 BC as 33.333 times sillier.
    • 55 Metascore
    • 38 Liam Lacey
    The movie's dated, stereotypical comedy often contradicts its wholesome intentions, coming across as laboriously cutesy and occasionally perverse.
    • 39 Metascore
    • 38 Liam Lacey
    The high point might be the opening scene, before the stars arrive on screen.
    • 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.
    • 29 Metascore
    • 38 Liam Lacey
    With its stilted dialogue, fragments of voice-over and over-busy camera, Red Riding Hood feels off-kilter from the start.
    • 31 Metascore
    • 38 Liam Lacey
    By comparison to this effort, "Pineapple Express" seems like a model of thoughtful maturity.
    • 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.
    • 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.
    • 31 Metascore
    • 38 Liam Lacey
    The filmmakers have altered the premise from the unlikely to the ridiculous.
    • 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.
    • 37 Metascore
    • 38 Liam Lacey
    Refn’s expectation-defying choice is laudable in theory, but Only God Forgives is a pretty awful drama.
    • 36 Metascore
    • 38 Liam Lacey
    Runner Runner is a bad run of cliché clichés.
    • 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.
    • 51 Metascore
    • 38 Liam Lacey
    After a while, it begins to feel like a confused comedy: How to explain to the neighbours that your dead husband has moved back home?
    • 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.
    • 37 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.
    • 50 Metascore
    • 25 Liam Lacey
    Some movies just bring out your inner Matlock: a desire to grab young punks by the lapels, smack them against a wall, knock their cigarettes to the ground and wipe the sneers off their faces. Such is the case with the callow and cynical The Rules of Attraction.
    • 32 Metascore
    • 25 Liam Lacey
    There are people who find treasures in celebrities' garbage cans so it's a reasonable gamble they might want to buy tickets to watch their throwaway home-movie projects as well.
    • 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?
    • 16 Metascore
    • 25 Liam Lacey
    In the life-is-too-short category, file Kangaroo Jack as a sub-Farrelly Brothers, dumb-plus-dumber buddy picture.
    • 21 Metascore
    • 25 Liam Lacey
    Dopey.
    • 6 Metascore
    • 25 Liam Lacey
    About as endearing as unanesthetized gum surgery.
    • 18 Metascore
    • 25 Liam Lacey
    A hypnotic, black hole of a movie that sucks reputations, careers and goodwill down its vortex. Rarely has a movie that doesn't star Madonna achieved such a skin-crawling mixture of deluded preening and bungled humour.
    • 15 Metascore
    • 25 Liam Lacey
    Somewhere between cartoonishly bad for comic effect and bad because the filmmakers didn't really give a damn, The House of the Dead is, at least, unpretentiously dumb.
    • 32 Metascore
    • 25 Liam Lacey
    After 90 minutes of diligently searching the premises of ACB2, no evidence of mass entertainment can be found. Recommend cancellation of all future similar missions.
    • 15 Metascore
    • 25 Liam Lacey
    Fewer heads in the film and more evidence of one on the director's shoulders might have squeezed a legitimate laugh or two out of this contrived juvenile carnage.
    • 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.
    • 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.
    • 28 Metascore
    • 25 Liam Lacey
    One of the most preposterous efforts by any major director in recent memory.
    • 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).
    • 48 Metascore
    • 25 Liam Lacey
    Pretty limp, and works far better in theory than practice.
    • 40 Metascore
    • 25 Liam Lacey
    Phantom still an auditory lobotomy.
    • 15 Metascore
    • 25 Liam Lacey
    Horror at Christmas might work, but tedium doesn't.
    • 35 Metascore
    • 25 Liam Lacey
    This one is headed straight for star Tommy Lee Jones's career-blooper reel.
    • 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.
    • 31 Metascore
    • 25 Liam Lacey
    The filmmakers have also advertised that their new movie eliminates the "Pow! Right in the kisser!" threats of spousal abuse that permeated the original series. The question of audience abuse has yet to be addressed.
    • 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.
    • 54 Metascore
    • 25 Liam Lacey
    At 70 minutes, this groin and groan comedy seems almost dismissively short, but don't believe the myths you've been told: longer is not always better.
    • 19 Metascore
    • 25 Liam Lacey
    Grade Underclassman an "Unacceptable effort," and "D" for derivative.
    • 48 Metascore
    • 25 Liam Lacey
    This one's just painful.
    • 22 Metascore
    • 25 Liam Lacey
    Without Spielberg's technical pizazz, and with a gummy mixture of homage and spoof, Congo chokes on its own tongue in cheek.
    • 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.
    • 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.
    • 54 Metascore
    • 25 Liam Lacey
    There's are nagging problems with the script, which feels like it has lost a few pages during its rewrites. Instead of an orderly, inexorable pressure of events, we get a surfeit of red herrings, followed by the rather uninteresting killer simply stepping out of hiding.
    • 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."
    • 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.
    • 49 Metascore
    • 25 Liam Lacey
    So what's Hanson exploring this time? His boring side, apparently.
    • 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)
    • 54 Metascore
    • 25 Liam Lacey
    This is a no-cable, no-wake-up-call, cash-only dump of a film, where you breathe through a hankie and bring your own Lysol.
    • 25 Metascore
    • 25 Liam Lacey
    Forget about "Saw," "Hostel" and all the other films in the new, notorious torture-porn genre. If you're looking for a really sick movie, check out License to Wed.
    • 56 Metascore
    • 25 Liam Lacey
    The film moves from cliché to cliché and hemorrhages blood and logic at an alarming rate.
    • 29 Metascore
    • 25 Liam Lacey
    Fool's Gold starts flat and then deflates because of torpid pacing and flailing performances.
    • 17 Metascore
    • 25 Liam Lacey
    Every actor and actress involved seems to have been instructed to act as guilty as possible and, in this at least, they're entirely convincing. Not guilty of murder, perhaps, but of a really unfortunate career choice.
    • 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.
    • 26 Metascore
    • 25 Liam Lacey
    Reportedly, the movie began life as a short film, and if it actually ran for 22 minutes with a few commercial breaks, like a good sitcom should, Filth and Wisdom could be bearable. At 84 minutes, the movie feels both overpadded and underdeveloped.
    • 28 Metascore
    • 25 Liam Lacey
    The movie is so relentlessly self-congratulatory, you can't help becoming thoroughly sick of it.
    • 28 Metascore
    • 25 Liam Lacey
    Veers between crude and cloying.
    • 41 Metascore
    • 25 Liam Lacey
    The movie feels like a form of aversion therapy designed to take the fun out of dumb.
    • 34 Metascore
    • 25 Liam Lacey
    Isn't just ordinarily lame, it easily exceeds any normal requirements for witless sleaze.
    • 50 Metascore
    • 25 Liam Lacey
    Every character is like the hyperactive rat-squirrel Scrat, and the audience is bounced around like his elusive acorn.
    • 34 Metascore
    • 25 Liam Lacey
    Perhaps the best that can be said for Year One is that it aims low and hits the mark.
    • 32 Metascore
    • 25 Liam Lacey
    Land of the Lost is one of those films so caught up in its concept it has forgotten its audience.
    • 28 Metascore
    • 25 Liam Lacey
    There's a lesson behind Gentlemen Broncos , the new film from director Jared Hess: Don't try to mock above your talent level.
    • 19 Metascore
    • 25 Liam Lacey
    Old Dogs is offensive mostly because it wastes time.
    • 33 Metascore
    • 25 Liam Lacey
    At least Adams and Goode are always watchable, even when you occasionally feel embarrassed for them.
    • 32 Metascore
    • 25 Liam Lacey
    A funereally unfunny comedy.
    • 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.
    • 22 Metascore
    • 25 Liam Lacey
    A painfully contrived romantic comedy/thriller that may (or may not) have brought Gerard Butler and Jennifer Aniston together as a real-life couple.
    • 32 Metascore
    • 25 Liam Lacey
    The obvious question about Repo Men: Why bother?
    • 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.