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 Beasts of the Southern Wild
Lowest review score: 0 Movie 43
Score distribution:
2,326 movie reviews
    • 78 Metascore
    • 38 Lou Lumenick
    Anderson, in her first major non-Scully film role, is lethally miscast.
    • New York Post
    • 78 Metascore
    • 25 Lou Lumenick
    Essentially a weird series of nonsequiturs. I'd rather be watching a sequel to the much-maligned "Little Nicky" -- a Sandler film that was at least trying to do something interesting -- than this failed experiment in fusing high and low culture.
    • 78 Metascore
    • 25 Lou Lumenick
    Tedious and pretentious.
    • 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.
    • 75 Metascore
    • 38 Lou Lumenick
    If you’re going to invest three hours watching a movie about a convicted stock swindler, it needs to be a whole lot more compelling than Martin Scorsese’s handsome, sporadically amusing and admittedly never boring — but also bloated, redundant, vulgar, shapeless and pointless — Wolf of Wall Street.
    • 74 Metascore
    • 38 Lou Lumenick
    What Amenabar offers here is an unconvincing, pretentiously artsy pastiche of just about every hoary old gothic thriller you can think of.
    • 73 Metascore
    • 38 Lou Lumenick
    A yawn-provoking little farm melodrama.
    • 72 Metascore
    • 38 Lou Lumenick
    The only darkness here — besides the dingy-looking images dimmed by 3-D glasses — is the murky plot, which is as silly as it is arbitrary.
    • 71 Metascore
    • 25 Lou Lumenick
    Wal-Mart's home office in Bentonville, Ark., can rest easy: Greenwald, as usual, is hysterically preaching to the choir.
    • 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.
    • 68 Metascore
    • 38 Lou Lumenick
    In this pretentious art-house downer version of "The Bad Seed," the only surprise is that the folks didn't ship the little monster off to the looney bin before he reached puberty.
    • 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.
    • 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.
    • 68 Metascore
    • 25 Lou Lumenick
    A real head-scratcher that somehow won the grand jury prize at this year's Sundance Film Festival.
    • 67 Metascore
    • 25 Lou Lumenick
    The bottom line of Last Days seems to be, fame's a bitch. Yes, Gus - now start making movies again that tell stories, please.
    • 67 Metascore
    • 38 Lou Lumenick
    There's little sense of the Carol Channing beneath the overdone makeup - if there is one.
    • 67 Metascore
    • 38 Lou Lumenick
    Though it boasts excellent performances by Anna Friel and Michelle Williams as bosom buddies whose lives meander over three decades, it plods on with a wearying predictability and some truly terrible dialogue.
    • 67 Metascore
    • 25 Lou Lumenick
    Neither a concert film nor a documentary but a ghoulish “event” offered just in time for Halloween, This is It is sadly -- and reprehensively, if you ask me -- the movie equivalent to the National Enquirer’s infamous post-mortem shot of Elvis Presley.
    • 66 Metascore
    • 25 Lou Lumenick
    Pointless and mind-numbing.
    • 66 Metascore
    • 38 Lou Lumenick
    A lot more stupid action - and a lot less heart - than the character-driven original, as Stuart ends up rescuing Margalo from Falcon.
    • 66 Metascore
    • 25 Lou Lumenick
    If I weren't already being paid to watch this movie, I'd feel entitled to compensation for having to sit through this many product plugs.
    • 66 Metascore
    • 25 Lou Lumenick
    I've had root canals that were more enjoyable than Margot at the Wedding, Noah Baumbach's hugely pretentious, ugly and annoying follow-up to "The Squid and the Whale."
    • 66 Metascore
    • 38 Lou Lumenick
    Overlong and grim to the point where some scenes are virtually unwatchable.
    • 66 Metascore
    • 38 Lou Lumenick
    There are probably enough moments to satisfy hard-core fans, but for the rest of us, this amounts to the Middle Earth equivalent of “Star Wars: Episode II — Attack of the Clones,’’ a space-holding, empty-headed epic filled with characters and places (digital and otherwise) that are hard to keep straight, much less care about.
    • 65 Metascore
    • 25 Lou Lumenick
    The Oscar-winning director of "Rain Man" - whose last film, the abysmal documentary "PoliWood" never went much further than the Tribeca Film Festival - demonstrates he can make a shakycam found-footage horror movie every bit as fake-looking, clumsy and unscary as your average college student working on a $200 budget.
    • 65 Metascore
    • 38 Lou Lumenick
    Relentlessly mediocre cartoon.
    • 64 Metascore
    • 38 Lou Lumenick
    As in genuine porn, most of the acting (except for Skarsgard, who deliberately tries to be funny and sometimes succeeds) is as flat and uninteresting as the script — even when the older Joe narrates a montage of flaccid penises.
    • 63 Metascore
    • 25 Lou Lumenick
    The only thing remotely scary about Monsters is that Magnolia is releasing this boring scare-, suspense- and gore-free horror movie (which reportedly cost less than $100,000) on Halloween weekend.
    • 63 Metascore
    • 38 Lou Lumenick
    Zoo
    A bizarre quasi-documentary that more or less tries to rationalize bestiality as a harmless quirk.
    • 63 Metascore
    • 12 Lou Lumenick
    This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.