For 2,326 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Tadpole
Lowest review score: 0 The Canyons
Score distribution:
2,326 movie reviews
    • 49 Metascore
    • 38 Lou Lumenick
    In the clumsy hands of director Rob Marshall, this tacky, all-star botch more closely resembles a video catalog for Victoria’s Secret.
    • 33 Metascore
    • 38 Lou Lumenick
    Rent "Enchanted" with Adams, and watch Goode as Colin Firth's boyfriend in his other current movie, "A Single Man."
    • 31 Metascore
    • 38 Lou Lumenick
    Repeatedly shoots for laughs -- but ends up mostly firing blanks.
    • 51 Metascore
    • 38 Lou Lumenick
    Seems almost like a self-parody of Williams' earlier work.
    • 35 Metascore
    • 38 Lou Lumenick
    Dazzles the eye, numbs the mind and may cause deafness in some cases. Did I mention to bring along some Excedrin?
    • 41 Metascore
    • 38 Lou Lumenick
    This is one of those movies that's too cool to have a plot.
    • 61 Metascore
    • 38 Lou Lumenick
    A pretentious, unsatisfying and ultra-slow-moving thriller.
    • 44 Metascore
    • 38 Lou Lumenick
    An unrelenting assault on the brain and eardrums.
    • 49 Metascore
    • 38 Lou Lumenick
    It's the audience that gets punk'd in this crass and sloppy comic recycling.
    • 33 Metascore
    • 38 Lou Lumenick
    That someone as smart as Duchovny would get bogged down in such predictable treacle is a mystery worthy of investigation by Scully and Mulder.
    • 52 Metascore
    • 38 Lou Lumenick
    A mild, slow-moving drama that belatedly tries to argue that graffiti writers are political artists, not an urban blight.
    • 69 Metascore
    • 38 Lou Lumenick
    Ron Howard's bio-pic is an Oscar-baiting fairy tale that manipulates the audience at every turn of the clich.
    • 47 Metascore
    • 38 Lou Lumenick
    There's no real payoff - artistically or emotionally - in Gregory Harrison's gimmicky and tedious psychological thriller November, shot on ugly digital video.
    • 47 Metascore
    • 38 Lou Lumenick
    Strictly summer schlock.
    • 40 Metascore
    • 38 Lou Lumenick
    Though Cho occasionally connects with her targets, more often than not she seems as intolerant and hate-filled as she accuses them of being - and that's not funny.
    • 33 Metascore
    • 38 Lou Lumenick
    Yet another screwed-up mess that will give audiences another excuse to shun the multiplexes this weekend.
    • 43 Metascore
    • 38 Lou Lumenick
    Solid performances can't save Melissa Painter's pretentious teen drama Steal Me, which plays like a cross between "Dangerous Skin" (without the gay sex) and "Picnic" (without the production values or credible situations).
    • 58 Metascore
    • 38 Lou Lumenick
    This maudlin, fact-inspired and anti-feminist dramedy is no "Far From Heaven" or "The Hours."
    • 45 Metascore
    • 38 Lou Lumenick
    Rambling, schmaltzy romantic comedy.
    • 34 Metascore
    • 38 Lou Lumenick
    Basically a deadly dull rehash of "Resident Evil," which in turn was a third-generation clone of "Aliens."
    • 38 Metascore
    • 38 Lou Lumenick
    Filmmaker Josh Stolberg claims to have been inspired by real-life events, but mostly he ineptly rips off other movies and wastes a cast that includes Rosanna Arquette, Adam Arkin and Elizabeth Perkins.
    • 38 Metascore
    • 38 Lou Lumenick
    Lame family filler.
    • 51 Metascore
    • 38 Lou Lumenick
    an overlong and surprisingly dull documentary.
    • 45 Metascore
    • 38 Lou Lumenick
    A sincere but underwhelming dramatization of one of the biggest news stories of 1956.
    • 45 Metascore
    • 38 Lou Lumenick
    The kind of thriller whose ridiculous climax hinges on a hitherto undisclosed GPS tracking device in a dog's collar - an appropriate touch in a movie that's more than a little flea-ridden itself.
    • 45 Metascore
    • 38 Lou Lumenick
    A cartoonish, unfocused and mostly unfunny satire.
    • 40 Metascore
    • 38 Lou Lumenick
    Pretentious, stagy and over-the-top update of Chekov's "The Three Sisters."
    • 45 Metascore
    • 38 Lou Lumenick
    There are precious few laughs in this poorly written and directed "unromantic comedy" - the sort of dire date movie you'd take somebody to if you wanted it to be a LAST date.
    • 49 Metascore
    • 38 Lou Lumenick
    A sloppy and only mildly engaging documentary.
    • 52 Metascore
    • 38 Lou Lumenick
    A glacially paced, extremely moist, terminally gloomy and cliché-laden romantic drama with a supernatural twist.
    • 45 Metascore
    • 38 Lou Lumenick
    Rarely have I wanted to fast-forward through a movie as much as Click, a treacly and not-funny-enough Adam Sandler comedy.
    • 51 Metascore
    • 38 Lou Lumenick
    This Sundance dud is a turgid gay soap opera with a limp twist, showcasing Robin Williams at his maudlin worst.
    • 36 Metascore
    • 38 Lou Lumenick
    Solid cast notwithstanding, 10th and Wolf is a generic, direct-to-video-grade gangster movie.
    • 37 Metascore
    • 38 Lou Lumenick
    Lethally dull and self-important remake.
    • 42 Metascore
    • 38 Lou Lumenick
    This lame teenage James Bond will leave audiences neither shaken nor stirred.
    • 48 Metascore
    • 38 Lou Lumenick
    One big hunk of cinematic moussaka with lots of appetizing shots of food.
    • 57 Metascore
    • 38 Lou Lumenick
    As misconceived as it is corny and predictable.
    • 59 Metascore
    • 38 Lou Lumenick
    Harris can be a brilliant actor, and there are flashes of that here. But he's done in by a script that lacks any subtlety.
    • 49 Metascore
    • 38 Lou Lumenick
    For much of Flannel Pajamas I wondered if the couple's big problem was that Stuart was secretly gay. Nothing so interesting - he's just a narcissistic control freak and she's off-puttingly needy.
    • 44 Metascore
    • 38 Lou Lumenick
    A low-key Field is the best thing about Two Weeks, which is set in a Wilmington, N.C., where everyone mysteriously sounds like he just got off a Los Angeles freeway.
    • 42 Metascore
    • 38 Lou Lumenick
    The apolitical and well-meaning Home of the Brave is predictable and maudlin.
    • 45 Metascore
    • 38 Lou Lumenick
    In the hands of the formerly promising director Joe Carnahan, this stylish, nihilistic, hugely derivative mash-up of Tarantino and Guy Ritchie (before wife Madonna ruined his career) is fun for roughly half an hour.
    • 37 Metascore
    • 38 Lou Lumenick
    The cast includes Oscar winner Louise Fletcher (Nurse Ratched herself) and Henry Thomas of "E.T.," and the special effects look like they were executed on somebody's laptop.
    • 29 Metascore
    • 38 Lou Lumenick
    When you awake, it may all seem like a bad dream - but why is your wallet missing $11? Scary.
    • 42 Metascore
    • 38 Lou Lumenick
    Next, which makes "National Treasure" look like a model of narrative logic, is almost beyond criticism.
    • 63 Metascore
    • 38 Lou Lumenick
    Zoo
    A bizarre quasi-documentary that more or less tries to rationalize bestiality as a harmless quirk.
    • 48 Metascore
    • 38 Lou Lumenick
    Peter Krause, the fine actor from "Six Feet Under," gives a one-note performance that seriously undermines Civic Duty, a thriller mining minimal dramatic payoff from the potentially potent subject of post-9/11 paranoia.
    • 53 Metascore
    • 38 Lou Lumenick
    The kind of movie that cries out for the fast-forward button.
    • 56 Metascore
    • 38 Lou Lumenick
    Picks up steam when it finally arrives in Cannes just in time to wreak yet more havoc at the big film festival, but getting there is pretty tedious. A little of the wildly mugging Atkinson goes a long way.
    • 68 Metascore
    • 38 Lou Lumenick
    A gorgeous snooze, somewhere between imitation Terrence Malick and a feature version of star Brad Pitt's notorious Vanity Fair layout with Angelina Jolie and their faux kids.
    • 56 Metascore
    • 38 Lou Lumenick
    The opening montage raises expectations of a serious, politically incisive depiction of the region. What we actually get is an offensively pandering, Bruckheimer-esque riff on the real-life Khobar Towers bombing of 1996, a Saudi Hezbollah attack that killed 19 Americans.
    • 61 Metascore
    • 38 Lou Lumenick
    Lust, Caution could have done with a lot more lust and a lot less caution.
    • 38 Metascore
    • 38 Lou Lumenick
    This is the sort of movie that requires you not only to suspend disbelief, but to check your sanity at the ticket counter.
    • 57 Metascore
    • 38 Lou Lumenick
    The plot contortions that very slowly unfold under Michael Radford's arthritic direction in Flawless are not much more entertaining.
    • 50 Metascore
    • 38 Lou Lumenick
    It's pretty hard to make a dull movie about Henry VIII and his complicated love life, but The Other Boleyn Girl, a failed Oscar contender, manages to do just that, with yawns to spare.
    • 48 Metascore
    • 38 Lou Lumenick
    Under Mark Palansky's uninspired direction, magic eludes Penelope in scene after scene.
    • 40 Metascore
    • 38 Lou Lumenick
    Relentlessly depressing.
    • 57 Metascore
    • 38 Lou Lumenick
    Well, nobody said The Grand was another "Best in Show."
    • 36 Metascore
    • 38 Lou Lumenick
    Laughs are few and far between in the innuendo-laden script attributed to Dana Fox, who's also responsible for the reprehensible "The Wedding Date."
    • 53 Metascore
    • 38 Lou Lumenick
    Feels like it was written and directed by an audience focus group in Omaha?
    • 49 Metascore
    • 38 Lou Lumenick
    This movie fails so spectacularly - and on so many levels - that it's like watching a train plummet off a bridge.
    • 43 Metascore
    • 38 Lou Lumenick
    Murphy has fallen back into the comfortable rut of sloppy family comedies that are low on laughs and high on toilet jokes.
    • 36 Metascore
    • 38 Lou Lumenick
    While sporadically funny, the sophomoric My Name Is Bruce is no "Bubba Ho-Tep," the movie where Campbell unforgettably played Elvis Presley as a nursing home patient battling a mummy with the help of John F. Kennedy. But Campbell's fans can feel free to add a star or two.
    • 43 Metascore
    • 38 Lou Lumenick
    Tom Arnold plays the fatherly head of a child-prostitution ring and John Malkovich a sympathetic social worker - two clever casting twists that constitute the main interest in the grueling Gardens of the Night.
    • 49 Metascore
    • 38 Lou Lumenick
    If you insist on seeing Soul Men, stick around during the closing credits for the best part of the movie, an interview with Mac.
    • 57 Metascore
    • 38 Lou Lumenick
    Rappaport does a yeoman's job in this tonally confused oddity. The wonder is that Hal Haberman and Jeremy Passmore's Special is making it off the festival circuit and into theaters at all, however briefly.
    • 38 Metascore
    • 38 Lou Lumenick
    Here comes Wayne Kramer's Crossing Over, a bid to create the "Crash" of illegal-immigration dramas.
    • 36 Metascore
    • 38 Lou Lumenick
    Preposterous romantic melodrama, which uses a fractured narrative to cloud an absurd plot that would probably be laughed off the screen if it were presented in a straightforward manner.
    • 52 Metascore
    • 38 Lou Lumenick
    Remarkably dull thriller.
    • 43 Metascore
    • 38 Lou Lumenick
    Coming-of-age road trips have rarely been more tedious or predictable.
    • 38 Metascore
    • 38 Lou Lumenick
    You know a movie's got problems when the most memo rable thing about it is Sienna Miller's mustache.
    • 58 Metascore
    • 38 Lou Lumenick
    A crass, heavy- handed and -- most unforgivably -- largely laugh-free adaptation of The Master's infrequently revived 1924 comic melodrama.
    • 39 Metascore
    • 38 Lou Lumenick
    Jeremy Piven's infamous "sushi defense" for skipping out on a Broadway role is easier to swallow than his performance as a scuzzy auto liquidator who sees the light in The Goods: Live Hard, Sell Hard.
    • 55 Metascore
    • 38 Lou Lumenick
    Ang Lee's Taking Woodstock achieves an amazing feat: It turns the fabled music festival, a key cultural moment of the late 20th century, into an exceedingly lame, heavily clichéd, thumb-sucking bore.
    • 39 Metascore
    • 38 Lou Lumenick
    Bad in ways that are almost endearing, St. Trinian's does offer the spectacle of Rupert Everett mincing around in drag as a headmistress bedeviled by Colin Firth, as an education minister and former lover who wants to shut down her out-of-control school.
    • 34 Metascore
    • 38 Lou Lumenick
    If Carrie Bradshaw ever trades her Manolos for sneakers and starts blogging about raising children, I pray she wouldn't be as tiresome as the heroine of Katherine Dieckmann's insufferable comedy Motherhood.
    • 43 Metascore
    • 38 Lou Lumenick
    Relies far too much on an overdose of gore and a pack of hungry wolves to deliver its chills.
    • 46 Metascore
    • 38 Lou Lumenick
    The longest 85-minute road trip you could imagine.
    • 30 Metascore
    • 38 Lou Lumenick
    The material in this spy spoof is, pardon the pun, awfully frayed.
    • 31 Metascore
    • 38 Lou Lumenick
    A dull, dumb and derivative horror film.
    • 31 Metascore
    • 38 Lou Lumenick
    Mildly interesting.
    • 23 Metascore
    • 38 Lou Lumenick
    Rarely does a movie go so thoroughly wrong in so many ways.
    • New York Post
    • 73 Metascore
    • 38 Lou Lumenick
    A yawn-provoking little farm melodrama.
    • 33 Metascore
    • 38 Lou Lumenick
    There are some decent actors and great costumes in this overly solemn compendium of rock clichés.
    • 54 Metascore
    • 38 Lou Lumenick
    Something most have gotten lost in the translation.
    • 32 Metascore
    • 38 Lou Lumenick
    A sluggish and prototypically earnest little indie on the not exactly fresh theme of a woman undergoing a midlife crisis.
    • 35 Metascore
    • 38 Lou Lumenick
    Writer-director J.S. Cardone's low-budget mishmash offers precious little in the way of thrills and chills, much less coherent storytelling.
    • New York Post
    • 52 Metascore
    • 38 Lou Lumenick
    Has precious little to add to the canon -- and does so in a highly melodramatic manner.
    • 26 Metascore
    • 38 Lou Lumenick
    The acting is, at best, serviceable; the sound track is too often unintelligible; the direction is often over the top; and the script relies heavily on stereotypes.
    • New York Post
    • 35 Metascore
    • 38 Lou Lumenick
    The characters are so cartoonish, it's hard to care on any level -- except that it wastes such talented performers.
    • 43 Metascore
    • 38 Lou Lumenick
    Light It Up would be a strong candidate for the year's most irresponsible movie - if it were remotely believable.
    • 33 Metascore
    • 38 Lou Lumenick
    Isn't as relentlessly vulgar or cartoonish as "The Ladies Man" - nor is it a whole lot more realistic.
    • 58 Metascore
    • 38 Lou Lumenick
    A real crock.
    • 22 Metascore
    • 38 Lou Lumenick
    Suffers from terminal hoof-in-mouth disease.
    • 28 Metascore
    • 38 Lou Lumenick
    Androgynous Clea DuVall's performance shines through a foggily told, vaguely acted coming-of-age tale.
    • 41 Metascore
    • 38 Lou Lumenick
    A non-starter.
    • 21 Metascore
    • 38 Lou Lumenick
    This is a cheap-looking lowbrow comedy that likely would have gone straight to home video.
    • New York Post
    • 60 Metascore
    • 38 Lou Lumenick
    Pandaemonium plays like a bus-and-truck version of such Ken Russell's '60s classics as "The Music Lovers."
    • New York Post
    • 49 Metascore
    • 38 Lou Lumenick
    Remarkably sluggish and not particularly suspenseful.
    • New York Post
    • 44 Metascore
    • 38 Lou Lumenick
    Much less a satisfying movie than an intermittently funny 90-minute acting audition.
    • New York Post