Lisa Schwarzbaum

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For 1,924 reviews, this critic has graded:
  • 71% higher than the average critic
  • 2% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 6.7 points higher than other critics. (0-100 point scale)

Lisa Schwarzbaum's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Amores Perros
Lowest review score: 0 Boat Trip
Score distribution:
1924 movie reviews
    • 55 Metascore
    • 91 Lisa Schwarzbaum
    It's probably the impresario's best-made movie yet, his most joyful, and his most moving.
    • 34 Metascore
    • 42 Lisa Schwarzbaum
    The Other Man is self-conscious, overproduced, overacted Euro-marital hoo-ha.
    • 81 Metascore
    • 91 Lisa Schwarzbaum
    Campion's big-sisterly encouragement of Cornish's lovely, openhearted performance -- and Whishaw's well-matched response -- results in a character instantly, intimately recognizable to anyone remembering her own first love.
    • 45 Metascore
    • 33 Lisa Schwarzbaum
    The scenery (prettily captured by There Will Be Blood cinematographer Robert Elswit) is littered with heavy symbolism (fire! rain! dead birds!); the performances are merely heavy.
    • 66 Metascore
    • 91 Lisa Schwarzbaum
    A cheeky, great-looking, thoughtfully loopy creature feature about the lure and dangers of cutting-edge gene splicing.
    • 71 Metascore
    • 75 Lisa Schwarzbaum
    Newcomer Jessica Haines is transparent and heartbreaking as the prof's unorthodox daughter, a victim of violence as the old ways crumble.
    • 58 Metascore
    • 91 Lisa Schwarzbaum
    The whole cast is museum quality, and the ''music'' performances are pitch-perfect in their dissonance.
    • 79 Metascore
    • 100 Lisa Schwarzbaum
    Another must-see marvel of horror, comedy, and impeccable filmmaking by the Korean director Bong Joon-ho.
    • 85 Metascore
    • 91 Lisa Schwarzbaum
    Afterward, you'll want to listen to the Beatles sing ''She's Leaving Home.'' It might be a girl like Jenny the lads had in mind.
    • 57 Metascore
    • 67 Lisa Schwarzbaum
    With those piercing eyes, Owen makes a lovely, soulful Joe, of course. But it's not the nice papa we want to understand here, it's the unapologetically naughty one.
    • 66 Metascore
    • 83 Lisa Schwarzbaum
    Campos (who was 24 when he made this jolting pic) captures the numbing psychic scramble that just might cause the YouTube generation to go morally haywire. Or become filmmakers.
    • 81 Metascore
    • 83 Lisa Schwarzbaum
    What's lost in translation is recovered easily enough in Michael Sheen's astonishing performance as Clough.
    • 44 Metascore
    • 75 Lisa Schwarzbaum
    More naturalistic -- and as a result, more believable.
    • 82 Metascore
    • 91 Lisa Schwarzbaum
    Raquel's devotion to her employer is barbed with hatred, need, and an insecurity she manifests through constant tiny acts of sabotage that would be funny if they weren't also so chilling -- bordering on psychotic.
    • 49 Metascore
    • 75 Lisa Schwarzbaum
    These tales are as highly designed as fashion layouts. But they're as relaxing to thumb through as those NYT Magazine trend pieces.
    • 47 Metascore
    • 75 Lisa Schwarzbaum
    Jaa, mesmerizing as ever to behold with his pinwheel moves, also (co)directs for the first time.
    • 65 Metascore
    • 75 Lisa Schwarzbaum
    Has a sensuous, intimate filmmaking style that overrides The Wedding Song's more precariously loaded plot parallels.
    • 73 Metascore
    • 83 Lisa Schwarzbaum
    There's wit but never a wink in this smartly shot production, which pays homage to the 1980s without fetishizing the era.
    • 30 Metascore
    • 25 Lisa Schwarzbaum
    The answers he strings together are babble in this superficial vanity documentary. Nice shots of awesome, God-approved scenery, though.
    • 58 Metascore
    • 67 Lisa Schwarzbaum
    Pirate Radio is, in the end, about as rock-revolutionary as a tea break. But the choppy production floats on a great soundtrack (the real pirates are the Rolling Stones) and is buoyed by an inviting cast.
    • 45 Metascore
    • 83 Lisa Schwarzbaum
    Joseph Gordon-Levitt and Lynn Collins are so interesting that it's easy to put up with the decision-making dithering that goes along with the title.
    • 65 Metascore
    • 67 Lisa Schwarzbaum
    As is so often the case since his "Monty Python" days, Gilliam is best at visual games and weakest at storytelling.
    • 36 Metascore
    • 50 Lisa Schwarzbaum
    There's a lot of yelling, cracking wise, and cooing in this creepy rom-com.
    • 76 Metascore
    • 91 Lisa Schwarzbaum
    Many of the characters go by two different names. So best advice for optimum viewing is, see Broken Embraces...twice.
    • 63 Metascore
    • 58 Lisa Schwarzbaum
    With Green Zone, though, the malaise has finally hit me. So while Damon's Miller uncovers the (inconvenient) truth of why the U.S. invaded Iraq in 2003, all I want to know is: How does he suggest we get out?
    • 73 Metascore
    • 83 Lisa Schwarzbaum
    The spectacular battle scenes are the engorged heart of the delirious adventure. But Woo also gets maximum romantic value from Tony Leung as a war hero married to Chiling Lin as the tea-pouring beauty.
    • 57 Metascore
    • 75 Lisa Schwarzbaum
    Overly fussy and self-conscious in its noir details. But in The Missing Person, Buschel makes striking use of the Mike Hammer/Philip Marlowe tradition.
    • 49 Metascore
    • 50 Lisa Schwarzbaum
    The mix is Lifetime soap–meets–Woody Allen smart-set comedy, with less humor and a genteel Connecticut setting.
    • 47 Metascore
    • 25 Lisa Schwarzbaum
    Calculatedly soppy, seasonally phony Americanized remake of Giuseppe Tornatore's 1990 "Stanno Tutti Bene."
    • 76 Metascore
    • 83 Lisa Schwarzbaum
    A grandly entertaining historical drama.
    • 24 Metascore
    • 42 Lisa Schwarzbaum
    The makers of this mediocre comedy about dorky guys who work in a cut-rate electronics store probably hoped that "40 Year-Old Virgin" lightning would strike twice. It doesn't.
    • 83 Metascore
    • 83 Lisa Schwarzbaum
    Bridges' guileless performance makes this piquant little indie tale of country music, redemption, and the love of a pretty younger woman such a sad-song charmer.
    • 81 Metascore
    • 100 Lisa Schwarzbaum
    Yet another outstanding little movie in the exciting Romanian New Wave.
    • 51 Metascore
    • 50 Lisa Schwarzbaum
    Howard looks peachy, and actor-turned-director Jodie Markell sweats the details -- moonlight, honeyed accents -- but the brittle script resists restoration.
    • 63 Metascore
    • 58 Lisa Schwarzbaum
    Timing is everything. And Youth in Revolt is late -- arriving not just at the tail end of the star's sell-by date for this particular kind of character, but more importantly at the tail end of the intended audience's attention span for an inconsequential Sundance-y tale of sexual coming-of-age.
    • 21 Metascore
    • 16 Lisa Schwarzbaum
    Each actor appears to have received the script to a different movie, while Allen adds his own directorial touch of sexual vulgarity.
    • 81 Metascore
    • 91 Lisa Schwarzbaum
    The amazingly natural first-timer was discovered, in a gift of publicity-ready truth, while having an argument with her boyfriend at a train station.
    • 43 Metascore
    • 58 Lisa Schwarzbaum
    Ironically, they make the bond between John and Savannah look so natural that the ''dear John'' turn in their relationship makes even less sense than it does in the book.
    • 74 Metascore
    • 58 Lisa Schwarzbaum
    A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
    • 34 Metascore
    • 0 Lisa Schwarzbaum
    How you feel about Valentine's Day may depend on how you feel when someone really, really cute -- and someone you're really, really fond of -- gives you a nasty box of cheap chocolate on Valentine's Day, picked up at the corner Rite Aid and delivered with the price tag still attached.
    • 77 Metascore
    • 91 Lisa Schwarzbaum
    Each episode (originally made for British TV) works by itself, but there's a real payoff in following all three. (Nothing matches The "Wire," but this holds its own.)
    • 71 Metascore
    • 100 Lisa Schwarzbaum
    Beautifully led by birdlike Sylvie Testud as an ailing young woman in a wheelchair, every character (pilgrim and helper alike) exhibits a soul. And shaped with confident talent by the Austrian filmmaker, every serenely composed shot matters.
    • 77 Metascore
    • 83 Lisa Schwarzbaum
    Satisfying, melancholy political suspense story.
    • 90 Metascore
    • 100 Lisa Schwarzbaum
    There's also no romanticizing on the part of the director, who proceeds with calm, unshowy attentiveness (even in the midst of scenes of violence), creating a stunning portrait of an innately smart survivor for whom prison turns out to be a twisted opportunity for self-definition.
    • 62 Metascore
    • 67 Lisa Schwarzbaum
    Here the fascination is Hurt, so deft at steering his character away from booby-trap clichés that he guides his young costars safely out of sap's way and brightens an otherwise very yellowed tale.
    • 69 Metascore
    • 83 Lisa Schwarzbaum
    Gray has an artful, understated way of conveying what's going ?on inside, often simply by focusing his camera on Kazan.
    • 43 Metascore
    • 50 Lisa Schwarzbaum
    Ellen Barkin provides unexpected diversion in a madwoman cameo as the PD's brassiest brass. But otherwise the clichés keep coming.
    • 38 Metascore
    • 42 Lisa Schwarzbaum
    Be prepared to swallow a lot of empty-calorie jokes in which blacks and Latinos insult and misunderstand one another in a spirit of vigorous buffoonery.
    • 40 Metascore
    • 33 Lisa Schwarzbaum
    As a shameless contraption of ridiculously sad things befalling attractive people, the engorged romantic tragedy Remember Me stands tall between those towering monuments to teen-oriented cinematic misery, Love Story and Twilight.
    • 34 Metascore
    • 16 Lisa Schwarzbaum
    It's a toss-up as to what's the worse sin in this graceless piece of tragedy porn.
    • 56 Metascore
    • 83 Lisa Schwarzbaum
    Does a great job of being in two places at once: In the head and gangly bodies of kids, and in the hearts of those of us who have survived grades 6-8.
    • 76 Metascore
    • 75 Lisa Schwarzbaum
    The film makes excellent use of the cold Scandinavian landscape to emphasize the story's gloomy loneliness. And Rapace and ? Nyqvist have compelling chemistry.
    • 76 Metascore
    • 83 Lisa Schwarzbaum
    Baumbach's movies are addictive dispatches from a genteel jungle of white privilege, where highly educated people behave badly. I can't take my eyes off the exotic wildlife.
    • 85 Metascore
    • 91 Lisa Schwarzbaum
    Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
    • 63 Metascore
    • 75 Lisa Schwarzbaum
    With sharp riffs on the intersection of '80s pop culture (ALF, Kid 'N Play, Ronald Reagan!) and 21st-century culture (Twitter, Viagra, Second Life!), this Time Machine is a fun dip into a pool of memories that are best forgotten again once the booze wears off.
    • 33 Metascore
    • 75 Lisa Schwarzbaum
    And here's the revelation: Miley Cyrus is a really interesting movie star in the making, with an intriguing echo-of-foghorn speaking voice, and a scuffed-up tomboyish physicality (in the Kristen Stewart mode) that sets her apart from daintier girls in her celebrity class.
    • 50 Metascore
    • 67 Lisa Schwarzbaum
    The premise of the short-story-size comic thriller Don McKay is as thin and crumbly as a corn chip.
    • 45 Metascore
    • 50 Lisa Schwarzbaum
    A histrionic mess.
    • 58 Metascore
    • 83 Lisa Schwarzbaum
    The movie bubbles with intellectual curiosity and narrative ambition.
    • 43 Metascore
    • 25 Lisa Schwarzbaum
    WDIGMT? serves up speeches about trust and fidelity and rolling with the punches and blah blah blah. But it does so with so little energy that the actors might as well be saying the words blah blah blah.
    • 56 Metascore
    • 75 Lisa Schwarzbaum
    For this 21st-century Nick and Nora Charles, the flame is kept alive despite his nighttime anti-snore nose strip and her nighttime bite guard -- thanks to a shared appreciation of the hilarity of nose strips and bite guards.
    • 36 Metascore
    • 42 Lisa Schwarzbaum
    Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.
    • 47 Metascore
    • 58 Lisa Schwarzbaum
    The warmth comes through, even if the storytelling is simplistic and clichéd.
    • 68 Metascore
    • 83 Lisa Schwarzbaum
    Stronger on beautiful imagery than on narrative flow.
    • 52 Metascore
    • 58 Lisa Schwarzbaum
    Lovely to look at -- and languid to the point of stultifying torpor, as interesting characters make speeches to one another about life, love, and literature.
    • 51 Metascore
    • 83 Lisa Schwarzbaum
    Reveling in mess and homegrown multiracial mayhem, Death at a Funeral finds a new lease on life.
    • 55 Metascore
    • 58 Lisa Schwarzbaum
    This cautionary tale might be easier to swallow if all that stuff didn't look like it came from a Sky Mall catalog.
    • 71 Metascore
    • 91 Lisa Schwarzbaum
    Director Bahman Ghobadi (Turtles Can Fly) shot his faux documentary in secret, and the close-to-the-ground style compensates for the tenuous narrative structure by capturing the energy and variety of Tehran's music scene in all its bravery.
    • 80 Metascore
    • 75 Lisa Schwarzbaum
    The performances are tender, the script elegant, the cinematography (especially during a virtuoso chase scene in a soccer stadium) artful.
    • 37 Metascore
    • 67 Lisa Schwarzbaum
    Concentrate instead on the delightful performances. A thespian shoutout goes to Reynolds (his hair bleached bright yellow for the gig) for his jaunty way with a cape, tights, and the hands-on-hip poses of superherodom.
    • 23 Metascore
    • 50 Lisa Schwarzbaum
    Still, it's refreshing that the animals don't talk.
    • 40 Metascore
    • 67 Lisa Schwarzbaum
    The Big Apple of this evanescent tone poem is an invented nocturnal landscape featuring speechifying eccentrics and absurdist moments that feel northern European in sensibility.
    • 55 Metascore
    • 58 Lisa Schwarzbaum
    Part punk-drab British art-house portrait of underclass despair, part bloody vigilante pic, Harry Brown is shakily held together by industrial-strength sound design and the expertly employed theatrics of Michael Caine in the title role.
    • 78 Metascore
    • 91 Lisa Schwarzbaum
    In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy. The report has the resonant ring of truth.
    • 57 Metascore
    • 58 Lisa Schwarzbaum
    Downey's head and heart are in the right place, but the movie is more in pieces than whole, and more about iron than about men.
    • 50 Metascore
    • 75 Lisa Schwarzbaum
    This is what a videogame movie looks like now.
    • 27 Metascore
    • 42 Lisa Schwarzbaum
    As Carrie might type on her laptop while giving one of her girly little shrugs, When did Sex and the City become so long and mean so little?
    • 58 Metascore
    • 67 Lisa Schwarzbaum
    Everyone involved fulfills his or her job requirements adequately. But the magic is gone, and Shrek Forever After is no longer an ogre phenomenon to reckon with. Instead, it's a "Hot Swamp Time Machine."
    • 43 Metascore
    • 42 Lisa Schwarzbaum
    The result is a naughty throwaway in all senses of the word.
    • 50 Metascore
    • 83 Lisa Schwarzbaum
    Redgrave shimmers like one of Tuscany's magnificent cypress trees as an Englishwoman searching for Lorenzo (Nero).
    • 51 Metascore
    • 75 Lisa Schwarzbaum
    The movie is a rigged game of clichés and platitudes, but fans will be pleased by additional proof that Latifah is a lovable Queen but not a pampered princess.
    • 64 Metascore
    • 58 Lisa Schwarzbaum
    The hothouse drama Mother and Child is organized like a femme-friendly spa that specializes in treatments for the psyche rather than the skin. Soft New Agey music tinkles intrusively. Sore spots are prodded and massaged. Clients pass one another in the changing room. The ritual is exquisite to some, and excruciating to others.
    • 33 Metascore
    • 33 Lisa Schwarzbaum
    The star is done in by the deathless mediocrity of the production, an assemblage of random camera shots, messy editing, redundant scenes, and witless dialogue as haphazardly stitched together as the flesh on Jonah Hex's face.
    • 46 Metascore
    • 58 Lisa Schwarzbaum
    In this oddly uninvolving caper, the size of skulls makes its own statement: The producers assume that audience interest in movie stars is bigger than audience interest in characters.
    • 75 Metascore
    • 83 Lisa Schwarzbaum
    A delightfully weird, if occasionally too arty, documentary as darting in its structure as a dragonfly's flight.
    • 51 Metascore
    • 50 Lisa Schwarzbaum
    Feels staged and exoticized in the way stories about insular communities often do when told by outsiders.
    • 69 Metascore
    • 91 Lisa Schwarzbaum
    With an outstanding screenplay by Brian Koppelman and disciplined direction by Koppelman and David Levien, a story that could have been generic (or worse, scented with flowery bulls---) turns into a precise, honest, and affecting drama.
    • 62 Metascore
    • 83 Lisa Schwarzbaum
    Jeunet maintains a firm control of his dreamscape creation, drawing on influences as varied as "Toy Story," "Children of Paradise," and TV's "Mission: Impossible."
    • 21 Metascore
    • 25 Lisa Schwarzbaum
    The steady drip-drip-drip of nothings like this are killing us all.
    • 56 Metascore
    • 50 Lisa Schwarzbaum
    The movie, by Dutch director Jan Kounen, is all surfaces, set pieces, Significant Looks, and voguing -- the same strictures Chanel and Stravinsky sought to bust.
    • 90 Metascore
    • 100 Lisa Schwarzbaum
    One of the unshowiest and most true-blooded epics of Americana you're ever likely to see.
    • 55 Metascore
    • 67 Lisa Schwarzbaum
    Filmmaker Reed Cowan (himself gay and raised Mormon) documents the church's considerable financial influence on Prop 8's passage. Then he expands his sad and furious homegrown film to record the misery of gay Mormons sometimes driven to suicide over being rejected by their church and families.
    • 79 Metascore
    • 58 Lisa Schwarzbaum
    The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
    • 72 Metascore
    • 100 Lisa Schwarzbaum
    Jaoui neatly, gently, firmly slips political commentary into Let It Rain's articulate mayhem.
    • 65 Metascore
    • 83 Lisa Schwarzbaum
    Wild Grass is itself odd stuff: Sometimes it's as playful as Marguerite's crayon-red corona of frizzy hair, and other times as autumnal as the sight of Georges alone in his study, feeling stuck.
    • 56 Metascore
    • 67 Lisa Schwarzbaum
    On the other hand, this proud graduate of the School of Cleary Classics wishes that, like the young heroine herself, Ramona and Beezus dared more often to color outside the lines.
    • 43 Metascore
    • 25 Lisa Schwarzbaum
    As for the splendid Spaniard Javier Bardem, now knocking socks off in "No Country for Old Men," his lot is worst of all. He's miscast as the romantic Florentino.
    • 72 Metascore
    • 91 Lisa Schwarzbaum
    Another 3-D animated kid movie demonstrates that cartoon storytelling pitched to young people is the last, best refuge of sprightly filmmaking this hard, hot summer.
    • 74 Metascore
    • 83 Lisa Schwarzbaum
    As engrossing and logic-resistant as the state of dreaming it seeks to replicate, Christopher Nolan's audacious new creation demands further study to fully absorb the multiple, simultaneous stories Nolan finagles into one narrative experience.
    • 68 Metascore
    • 91 Lisa Schwarzbaum
    A superior lyrical ragamuffin Irish drama.
    • 61 Metascore
    • 83 Lisa Schwarzbaum
    When it comes to crazy, violent, semidelirious, testosterone-laden, proto-Viking tales about a mute visionary one-eyed warrior who breaks skulls, Valhalla Rising is pretty great.
    • 69 Metascore
    • 83 Lisa Schwarzbaum
    In a staring contest with his audience, Solondz never blinks. He picks and picks at the themes that consume him, and he doesn't care who stays and who leaves. Me, I'm rapt.
    • 56 Metascore
    • 50 Lisa Schwarzbaum
    No schmucks were harmed in the making of Dinner for Schmucks. That's the problem.
    • 60 Metascore
    • 91 Lisa Schwarzbaum
    The crowd-pleasing comic Euro-drama The Concert is, at its musical center, as full of ripe emotion as Tchaikovsky's Violin Concerto in D Major. It's also as darkly funny as a Slavic farce, a composition of sweet cacophony.
    • 56 Metascore
    • 50 Lisa Schwarzbaum
    What feels enjoyably outré in the 1998 coming-of-age novel by Jonathan Ames (creator of HBO's Bored to Death) feels oppressively outré in this deadened, literal adaptation.
    • 60 Metascore
    • 58 Lisa Schwarzbaum
    This cranked-up drama wants it both ways.
    • 85 Metascore
    • 100 Lisa Schwarzbaum
    It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
    • 22 Metascore
    • 42 Lisa Schwarzbaum
    Twelve ogles the lost boys and girls as they make their mistakes. But unlike the novel, the movie never really gets inside these kids, who aren't in the least all right.
    • 57 Metascore
    • 58 Lisa Schwarzbaum
    The voices of Liam Neeson -- as the film's narrator -- and his late wife, Richardson, inevitably add to the project's poignance.
    • 86 Metascore
    • 100 Lisa Schwarzbaum
    This warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority.
    • 83 Metascore
    • 91 Lisa Schwarzbaum
    Don't be fooled: In this unpeaceable kingdom, the den mama is also ready to eat her young.
    • 50 Metascore
    • 58 Lisa Schwarzbaum
    If only Roberts' warmth, coupled with Javier Bardem's scruffy sexiness as Felipe, were enough to compensate for the folded-map flatness of this production.
    • 52 Metascore
    • 67 Lisa Schwarzbaum
    Thompson, who also wrote the script, has skittery, baffling fun enjoining her plummy guest actors (including Ralph Fiennes, Rhys Ifans, and Maggie Smith) to play broad Brit types.
    • 88 Metascore
    • 100 Lisa Schwarzbaum
    Hersonski quietly and insistently unravels reality from "reality"; her commitment to archival authenticity is its own tribute to those no longer able to testify.
    • 43 Metascore
    • 42 Lisa Schwarzbaum
    Clumsy camera work adds to the pre-wedding jitters in writer-director Galt Niederhoffer's pashmina-thin drama about attractive self-congratulatory Yale alumni gathering for the nuptials of two of their own.
    • 86 Metascore
    • 100 Lisa Schwarzbaum
    This is essential viewing for understanding our world.
    • 74 Metascore
    • 91 Lisa Schwarzbaum
    A rich, dark, pulpy mess of entanglements that fulfills all the requirements of the genre, and is told with an ease and gusto that make the pulp tasty.
    • 65 Metascore
    • 58 Lisa Schwarzbaum
    In Catfish, the camera's-rolling readiness to trawl for drama leaves a slimy aftertaste.
    • 51 Metascore
    • 58 Lisa Schwarzbaum
    The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
    • 59 Metascore
    • 58 Lisa Schwarzbaum
    A lot of Money Never Sleeps - too much - is about Gekko père's desire to reconnect with his very angry daughter.
    • 81 Metascore
    • 91 Lisa Schwarzbaum
    Powerful, passionate, and potentially revolution-inducing documentary.
    • 65 Metascore
    • 67 Lisa Schwarzbaum
    The political angle is gratuitous, even foolish, and certainly a distraction from the movie's visual strengths.
    • 39 Metascore
    • 16 Lisa Schwarzbaum
    There's something about Holly: She's the most ridiculous, irritating, two-dimensional rom-com heroine since...Katherine Heigl's last rom-com.
    • 63 Metascore
    • 75 Lisa Schwarzbaum
    It's Kind of a Funny Story may be the first psych-ward drama to draw on John Hughes movies for tonal reference.
    • 27 Metascore
    • 42 Lisa Schwarzbaum
    Now it's just some thin chick in her underwear, kicking butt.
    • 83 Metascore
    • 91 Lisa Schwarzbaum
    This tender documentary considers the mysteries of both art and coping.
    • 69 Metascore
    • 100 Lisa Schwarzbaum
    The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
    • 27 Metascore
    • 42 Lisa Schwarzbaum
    You should hear instead about Sam Elliott and Mary Steenburgen, who whip up cowboy fun as married U.S. marshals assigned to protect the pair in Wyoming.
    • 71 Metascore
    • 91 Lisa Schwarzbaum
    Kelly, the 26-year-old writer-director of this excitingly original indie vision, shares more artistically with Wes Anderson or Paul Thomas Anderson than he does with Spielberg or John Hughes, but the point is, he's out on his own here. He swings big -- with flair.
    • 19 Metascore
    • 0 Lisa Schwarzbaum
    There's no artistic or thematic point — except maybe to demonstrate that a young filmmaker is as much in need of someone to say no as the characters in this disingenuous exercise.
    • 55 Metascore
    • 75 Lisa Schwarzbaum
    The pleasure of any Star Trek movie lies in experiencing the familiar mixed with the inventive.
    • 40 Metascore
    • 58 Lisa Schwarzbaum
    The effect-laden showdowns feel more dutiful than daring, and the rare moments of fun are parceled out frugally, like precious nuggets of adamantium.
    • 53 Metascore
    • 42 Lisa Schwarzbaum
    What's ultimately shocking about Kika is how empty mayhem can be made to look.
    • 48 Metascore
    • 50 Lisa Schwarzbaum
    [A] gimmicky actors' holiday.
    • 76 Metascore
    • 83 Lisa Schwarzbaum
    It isn't easy to get close to these two women. But the effort yields a rewarding take on the resiliency and therapeutic importance of friendship.
    • 57 Metascore
    • 67 Lisa Schwarzbaum
    So much is satisfying in KC that its shortcomings are all the more discordant.
    • 76 Metascore
    • 67 Lisa Schwarzbaum
    Nanking, a carefully nonpunitive documentary of remembrance, is emotionally draining, as it should be, but it's also overstructured, as it needn't be; the actors are intrusive in a story that isn't theirs.
    • 69 Metascore
    • 100 Lisa Schwarzbaum
    Miller hit documentary gold when he met Levitch. But this marvelously structured, sensitively edited, deep and compassionate portrait (in atmospheric, made-for-Manhattan black and white) of one man hopscotching a fine line between verbal genius and psychological miswiring is Miller's own jewel, the work of a gifted filmmaker.
    • 82 Metascore
    • 91 Lisa Schwarzbaum
    Out of the zany strictures of Dogma 95...Danish newcomer Thomas Vinterberg has made a funny, volatile, visually dynamic story about the unraveling of one extended family during the course of a patriarchal 60th-birthday dinner.
    • 76 Metascore
    • 83 Lisa Schwarzbaum
    Safe gets messy, but you won’t be able to wash it out of your system anytime soon.
    • 100 Metascore
    • 100 Lisa Schwarzbaum
    The stories are shocking, tender, sometimes funny, with a soap-opera abundance of plot. Always, the camera stares, respectfully neutral about ordinary people grappling — inconsistently, as men and women do — with the ordinary mysteries of being human. You’ll stare back, amazed it’s taken more than a decade to spread the word.
    • 88 Metascore
    • 75 Lisa Schwarzbaum
    There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.
    • 59 Metascore
    • 33 Lisa Schwarzbaum
    This mediocrity disguised as entertainment, this greed promoted as synergy — this, to paraphrase that seminal media study, Broadcast News, is what the devil looks like.
    • 65 Metascore
    • 83 Lisa Schwarzbaum
    The Tango Lesson is about as far away from Al Pacino’s Scent of a Woman hotdogging as you can get; it really is about the scent of a woman, in all her fascinating peculiarity.
    • 68 Metascore
    • 91 Lisa Schwarzbaum
    Don’t miss this astonishingly bleak, inventive, funny, sumptuously designed film.
    • 25 Metascore
    • 16 Lisa Schwarzbaum
    Ed
    Some things are funnier than a barrel of monkeys. Most things, frankly. And anything is funnier than Ed.
    • 30 Metascore
    • 25 Lisa Schwarzbaum
    Universal should have marketed this formulaic drivel as the taboo love story it really is, and then watched its stars run for cover.
    • 53 Metascore
    • 50 Lisa Schwarzbaum
    Look for bloody axes, grotesquely disfigured zombies, and creepy visions — much of it bloatedly self-indulgent and a small part wicked funny about the influence of guys like Stephen King/Sutter Cane who write words read by people who don’t read anything else, or maybe don’t read at all but only go to movies like this one.
    • 91 Metascore
    • 83 Lisa Schwarzbaum
    The simplicity and poignancy of the choices — riding a bus, swinging on a swing — and the great variety of interviewees result in a film of nonsticky freshness, as well as unforced profundity.
    • 56 Metascore
    • 25 Lisa Schwarzbaum
    The Arrival looks and feels awfully small and cheap. In that way, the movie does feel like those science-fiction classics of the ’50s. But back then, sweaty heroes didn’t utter lines of ’90s dialogue like ”I look like a can of smashed a–holes.”
    • 49 Metascore
    • 42 Lisa Schwarzbaum
    Enthusiastic as one might be that Jack Lemmon has found a new lease on movie life with his Grumpy Old Men series, the funny-crankpots genre wears mighty thin on this road trip.
    • 86 Metascore
    • 91 Lisa Schwarzbaum
    Nobody’s Fool shines with intelligence and grace and the natural light of fine moviemaking. Like a shot of superior whiskey, it’s a sharp comfort in the grayness of winter
    • 74 Metascore
    • 100 Lisa Schwarzbaum
    It’s only when you’re in the grip of the climax that you realize how richly the filmmaker has painted a landscape that to other eyes might appear so parched.
    • 89 Metascore
    • 83 Lisa Schwarzbaum
    The humor built into this sharp-witted human comedy is enhanced in the translation. Meanwhile, the arrestingly stylized imagery of the original Madness has not been lost.

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