For 2,295 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 3.6 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
Average review score: 55
Highest review score: 100 The Lord of the Rings: The Fellowship of the Ring
Lowest review score: 0 Boys and Girls
Score distribution:
2,295 movie reviews
    • 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.
    • 46 Metascore
    • 38 Lou Lumenick
    Autumn wants to do for Jean-Pierre Melville what "Reservoir Dogs" did for Hong Kong cinema, but this new film is a joyless exercise in film appreciation.
    • 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.
    • 47 Metascore
    • 38 Lou Lumenick
    Nicely photographed and has impressive sets; too bad there's so little going on that it seems long even at 78 minutes.
    • 10 Metascore
    • 38 Lou Lumenick
    A genuine oddity that's more watchable than it sounds.
    • 46 Metascore
    • 38 Lou Lumenick
    This overlong, obvious and indifferently acted melodrama was written and directed by Luke Eberl, a former child actor, before he turned 21.
    • 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.
    • 41 Metascore
    • 38 Lou Lumenick
    This is one of those movies that's too cool to have a plot.
    • 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.
    • 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?
    • 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.
    • 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.
    • 45 Metascore
    • 38 Lou Lumenick
    Dicey entertainment, indeed.
    • 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.
    • 51 Metascore
    • 38 Lou Lumenick
    Seems almost like a self-parody of Williams' earlier work.
    • 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."
    • 43 Metascore
    • 38 Lou Lumenick
    Relies far too much on an overdose of gore and a pack of hungry wolves to deliver its chills.
    • 31 Metascore
    • 38 Lou Lumenick
    Repeatedly shoots for laughs -- but ends up mostly firing blanks.
    • 55 Metascore
    • 38 Lou Lumenick
    Slick as a pig and reeking of phony sympathy for recession-wracked consumers, The Joneses is a black comedy about stealth marketing made by a filmmaker who's evidently much too close to the subject to bite the hand that feeds him.
    • 35 Metascore
    • 38 Lou Lumenick
    Multiple Sarcasms happens to be the title of the play within the movie, and it turns out to be by far the most interesting thing in the film. Not that many people will want to suffer through the first 90 minutes of this vanity production to get there.
    • 46 Metascore
    • 38 Lou Lumenick
    It would also help if they were given some dialogue that was actually funny, or at least more clever than the lines provided to Ashton Kutcher and Katherine Heigl in the distressingly similar "Killers" from earlier this month.
    • 61 Metascore
    • 38 Lou Lumenick
    Visually striking but portentous and pretentious.
    • 50 Metascore
    • 38 Lou Lumenick
    A very shallow, very glossy 2½-hour travelogue starring a miscast Julia Roberts as a spoiled, self-centered divorcée who decides to get away from it all.
    • 45 Metascore
    • 38 Lou Lumenick
    Incoherent, inept, testosterone-drenched mess, which is very much the brain-dead male equivalent of "Sex and the City 2."
    • 50 Metascore
    • 38 Lou Lumenick
    "Precious" worked partly because it did not wrap its sordid tale in Christian uplift and dime-store psychology -- elements that have made Tyler Perry a rich filmmaker but have turned For Colored Girls shrill and manipulative.
    • 46 Metascore
    • 38 Lou Lumenick
    This rambling, overproduced, tone-deaf melange of romance, comedy and drama is only slightly more engaging than Brooks' other feature this century, the unfortunate Adam Sandler vehicle "Spanglish" (2004).
    • 50 Metascore
    • 38 Lou Lumenick
    A wildly misanthropic and overlong black comedy.
    • 52 Metascore
    • 38 Lou Lumenick
    The film slowly builds up to Justin's first appearance at Madison Square Garden, where his show sold out in 22 minutes.
    • 33 Metascore
    • 38 Lou Lumenick
    The Chaperone squanders nice locations and an expert comic performance by Yeardley Smith (the voice of Lisa Simpson) as the teacher trying to supervise the trip.
    • 37 Metascore
    • 38 Lou Lumenick
    This silly extraterrestrial-invasion epic somehow manages the feat of making the destruction of La La Land seem tedious.
    • 50 Metascore
    • 38 Lou Lumenick
    A spoof of you-know-what that's a lot less funny than it sounds.
    • 53 Metascore
    • 38 Lou Lumenick
    You'd think it would be hard to make an uninteresting movie based on the true story of Bethany Hamilton... But the terminally bland Soul Surfer comes perilously close.
    • 52 Metascore
    • 38 Lou Lumenick
    Less fun than any circus movie I've ever seen - and I've seen lots. Maybe they should send in the clowns.
    • 23 Metascore
    • 38 Lou Lumenick
    A good cast equipped with cute names is forced to muddle through terminal whimsy in this less-than-magical adaptation of Aimee Bender's adult fairy tale, sluggishly directed by Marilyn Agrelo, who more successfully helmed the delightful documentary "Mad Hot Ballroom."
    • 75 Metascore
    • 38 Lou Lumenick
    By the time two hours had dragged by, I felt a lot like I had sat through a five-hour wedding.
    • 51 Metascore
    • 38 Lou Lumenick
    Less than compelling as drama -- but boy is this an impressive collection of wildly ugly hairstyles, moustaches, clothing and "earth tone" furniture from 1983.
    • 62 Metascore
    • 38 Lou Lumenick
    Beautiful Boy ends up being an endurance test.
    • 39 Metascore
    • 38 Lou Lumenick
    Blake Lively doesn't have a whole lot to do as Hal's employer and occasional lover, who sometimes requires rescuing. No great loss; she and Reynolds have minus-zero chemistry.
    • 68 Metascore
    • 38 Lou Lumenick
    Basically a carefully airbrushed and authorized portrait of the Gray Lady during 14 months when there was serious speculation about the paper's impending demise.
    • 26 Metascore
    • 38 Lou Lumenick
    Amy Sedaris, channeling her inner Frances McDormand as a hyper admissions coach, gets most of the laughs.
    • 31 Metascore
    • 38 Lou Lumenick
    Should appeal more to those who like to watch stuff blow up than understand exactly why the carnage is transpiring.
    • 52 Metascore
    • 38 Lou Lumenick
    Markopolos repeatedly tells us he was scared for his life -- accompanied by hokey archival clips and music -- though nothing actually happened to him.
    • 40 Metascore
    • 38 Lou Lumenick
    A great-looking but wearyingly cliched and confusing vanity production.
    • 47 Metascore
    • 38 Lou Lumenick
    Unlike Van Sant's grittier, less sentimental recent small films, it's twee enough to make your teeth ache. It's the director's biggest miscalculation since "Even Cowgirls Get the Blues" 18 years ago.