For 2,475 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 4.9 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Finding Nemo
Lowest review score: 0 40 Days and 40 Nights
Score distribution:
2475 movie reviews
    • 67 Metascore
    • 38 Lou Lumenick
    There's little sense of the Carol Channing beneath the overdone makeup - if there is one.
    • 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.
    • 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.
    • 32 Metascore
    • 38 Lou Lumenick
    Soggy, strictly by-the-numbers crime thriller.
    • 73 Metascore
    • 38 Lou Lumenick
    A yawn-provoking little farm melodrama.
    • 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
    • 60 Metascore
    • 38 Lou Lumenick
    “A license to kill is also a license to not kill,” M lectures his new boss in the 24th James Bond film, Spectre. Well, it’s not a license to bore as much as this bloated drag manages to do.
    • 44 Metascore
    • 38 Lou Lumenick
    Latifah, a formidable actress who's almost always better than her movies, easily dominates this hokey cross between "Glee'' and "Sister Act.''
    • 44 Metascore
    • 38 Lou Lumenick
    Jobs amounts to, at best, a Cliffs Notes version of the man’s early life. If you want the real story, you’ll have to read Walter Isaacson’s fascinating 2011 biography, which would make a much better film than this one.
    • 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.
    • 49 Metascore
    • 38 Lou Lumenick
    A sloppy and only mildly engaging documentary.
    • 45 Metascore
    • 38 Lou Lumenick
    When Neeson engages in bare-knuckle fisticuffs at the climax of the cartoonish Taken 2, I honestly couldn't figure out if the 60-year-old actor was actually present at all except for the close-ups.
    • 27 Metascore
    • 38 Lou Lumenick
    A brightly colored but terminally dull cartoon.
    • 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."
    • 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.
    • 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.
    • 22 Metascore
    • 38 Lou Lumenick
    Suffers from terminal hoof-in-mouth disease.
    • 31 Metascore
    • 38 Lou Lumenick
    So unremittingly vulgar and inept it makes "The Best Man" and "Runaway Bride" look like masterpieces by comparison.
    • New York Post
    • 24 Metascore
    • 38 Lou Lumenick
    Do your kids a favor - and take them to see something more worthwhile than the relentlessly vulgar and stupid See Spot Run.
    • New York Post
    • 34 Metascore
    • 38 Lou Lumenick
    Basically a deadly dull rehash of "Resident Evil," which in turn was a third-generation clone of "Aliens."
    • 52 Metascore
    • 38 Lou Lumenick
    Remarkably dull thriller.
    • 53 Metascore
    • 38 Lou Lumenick
    The kind of movie that cries out for the fast-forward button.
    • 47 Metascore
    • 38 Lou Lumenick
    This (hopefully) final chapter's interminable first hour...showcases some of the clunkiest dialogue and wooden acting since the most recent "Star Wars" movies.
    • 51 Metascore
    • 38 Lou Lumenick
    A raunchy, sporadically funny comedy.
    • 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.
    • 18 Metascore
    • 38 Lou Lumenick
    Even dumber than Perry's "Three to Tango," this latest sitcommy exercise is sporadically funny in spite of itself -- and not quite as dreadful as you would suspect.
    • 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."
    • 29 Metascore
    • 38 Lou Lumenick
    This is less a documentary than a wholly uncritical celebration.
    • 40 Metascore
    • 38 Lou Lumenick
    Pretentious, stagy and over-the-top update of Chekov's "The Three Sisters."
    • 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.

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