For 2,481 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 5.9 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Ratatouille
Lowest review score: 0 The Strip
Score distribution:
2481 movie reviews
    • 43 Metascore
    • 38 Lou Lumenick
    This relentlessly mediocre romantic comedy is basically a pretty arthritic third-generation Xerox of "Annie Hall," with Jason Biggs and Christina Ricci in the old Allen and Keaton parts in a probably quixotic attempt to court the youth market.
    • 57 Metascore
    • 38 Lou Lumenick
    As misconceived as it is corny and predictable.
    • 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.
    • 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.
    • 35 Metascore
    • 38 Lou Lumenick
    The sometimes painfully sincere and slow-moving For Greater Glory clearly aspires to be inspirational, but history won't cooperate. The Cristeros triumphed not because of their faith, but because the United States exerted diplomatic pressure to protect its oil interests in Mexico.
    • 61 Metascore
    • 38 Lou Lumenick
    This is the time of the year movie studios traditionally dump their mistakes into theaters -- and boy, did Disney make a whopper with The Count of Monte Cristo.
    • 39 Metascore
    • 38 Lou Lumenick
    Sort of "The Da Vinci Code for Dummies."
    • 31 Metascore
    • 38 Lou Lumenick
    Repeatedly shoots for laughs -- but ends up mostly firing blanks.
    • 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
    Aside from the very occasional stab with a dagger, John prefers to shoot people at point-blank range. It gets old fast.
    • 52 Metascore
    • 38 Lou Lumenick
    Christopher Plummer confronts Nazi horrors again in Atom Egoyan’s preposterous thriller, which squanders a terrific performance by the Oscar-winning actor.
    • 52 Metascore
    • 38 Lou Lumenick
    Has precious little to add to the canon -- and does so in a highly melodramatic manner.
    • 58 Metascore
    • 38 Lou Lumenick
    This maudlin, fact-inspired and anti-feminist dramedy is no "Far From Heaven" or "The Hours."
    • 42 Metascore
    • 38 Lou Lumenick
    This lame teenage James Bond will leave audiences neither shaken nor stirred.
    • 30 Metascore
    • 38 Lou Lumenick
    So consistently silly and overwrought that it flirts with the elusive so-bad-it's-entertaining category.
    • 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.
    • 47 Metascore
    • 38 Lou Lumenick
    Shankman's staging of the numbers - especially the leaden choreography and hackneyed locations such as the Hollywood sign - was far sloppier and less creative than for his last musical, the vastly superior "Hairspray."
    • 30 Metascore
    • 38 Lou Lumenick
    The material in this spy spoof is, pardon the pun, awfully frayed.
    • 47 Metascore
    • 38 Lou Lumenick
    This Canadian-South African labor of love has its heart in the right place, even if the leads seem to have been cast more for their hunky looks than their stiff acting.
    • 52 Metascore
    • 38 Lou Lumenick
    A glacially paced, extremely moist, terminally gloomy and cliché-laden romantic drama with a supernatural twist.
    • 47 Metascore
    • 38 Lou Lumenick
    Presenting a “true” adventure about a giant whale that supposedly inspired “Moby-Dick” raises tsunami-high expectations about In the Heart of the Sea that are crushed as thoroughly as if star Chris Hemsworth had brought down his “Thor” hammer on the entire enterprise.
    • 10 Metascore
    • 38 Lou Lumenick
    A genuine oddity that's more watchable than it sounds.
    • 32 Metascore
    • 38 Lou Lumenick
    Never decides whether it wants to be a black comedy, drama, melodrama or some combination of the three. The acting and direction are all over the map in this consistently depressing, if occasionally interesting, slice of life.
    • 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.
    • 41 Metascore
    • 38 Lou Lumenick
    This is one of those movies that's too cool to have a plot.
    • 57 Metascore
    • 38 Lou Lumenick
    A sluggish and murky sub-Polanski-esque psychodrama.
    • 40 Metascore
    • 38 Lou Lumenick
    Relentlessly depressing.
    • 66 Metascore
    • 38 Lou Lumenick
    Overlong and grim to the point where some scenes are virtually unwatchable.
    • 40 Metascore
    • 38 Lou Lumenick
    A better cast this time around — Michael Angarano, Milo Ventimiglia, Sofía Vergara and Max Casella, with cameos by Jason Alexander, Stanley Tucci and Hope Davis — tries to breathe life into Goldman’s cliché-ridden plot.
    • 59 Metascore
    • 38 Lou Lumenick
    Has its laughs, but pretty much every single one of them is in the trailer. And even more unfortunately, the improbable new romantic comedy team of Steve Carell and Keira Knightley works about as well as you'd guess - like oil and water.
    • 37 Metascore
    • 38 Lou Lumenick
    Lethally dull and self-important remake.
    • 50 Metascore
    • 38 Lou Lumenick
    A wildly misanthropic and overlong black comedy.
    • 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.
    • 50 Metascore
    • 38 Lou Lumenick
    A spoof of you-know-what that's a lot less funny than it sounds.
    • 51 Metascore
    • 38 Lou Lumenick
    Seems almost like a self-parody of Williams' earlier work.
    • 39 Metascore
    • 38 Lou Lumenick
    Amidst the ennui, there are some fine performances.
    • 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.
    • 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.
    • 28 Metascore
    • 38 Lou Lumenick
    Androgynous Clea DuVall's performance shines through a foggily told, vaguely acted coming-of-age tale.
    • 63 Metascore
    • 38 Lou Lumenick
    Zoo
    A bizarre quasi-documentary that more or less tries to rationalize bestiality as a harmless quirk.
    • 37 Metascore
    • 38 Lou Lumenick
    This silly extraterrestrial-invasion epic somehow manages the feat of making the destruction of La La Land seem tedious.
    • 40 Metascore
    • 38 Lou Lumenick
    Low on raunch but even lower on laughs. It also looks like half the lighting crew failed to show up.
    • 37 Metascore
    • 38 Lou Lumenick
    Dumbed down to the point where it's barely recognizable as coming from one of Donald Westlake's John Dortmunder novels.
    • 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.
    • 21 Metascore
    • 38 Lou Lumenick
    This is a cheap-looking lowbrow comedy that likely would have gone straight to home video.
    • New York Post
    • 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.
    • 61 Metascore
    • 38 Lou Lumenick
    Visually striking but portentous and pretentious.
    • 26 Metascore
    • 38 Lou Lumenick
    A witless and vulgar romantic comedy wrapped inside a mock documentary.
    • 20 Metascore
    • 38 Lou Lumenick
    After the monster is subdued, then there's a much less humorous, and more mindlessly violent second half.
    • New York Post
    • 31 Metascore
    • 38 Lou Lumenick
    A mild cross between "The Big Chill" and "Sex and the City," this English-language German oddity is a romantic comedy passing through on its way to video.
    • 16 Metascore
    • 38 Lou Lumenick
    You cease to care as they fall back on a catalogue of clichéd shocks, tired camera angles and an ever-mounting gore quotient.
    • 42 Metascore
    • 38 Lou Lumenick
    Mind-numbing, would-be comic-book franchise, which often seems as blind as its hero -- not to mention deaf and dumb.
    • 44 Metascore
    • 38 Lou Lumenick
    Much less a satisfying movie than an intermittently funny 90-minute acting audition.
    • New York Post
    • 58 Metascore
    • 38 Lou Lumenick
    It's hard to make a movie about moonshiners that isn't entertaining, but the lethargic, generically titled Lawless comes perilously close - at least a third of its two hours is devoted to "arty'' shots of landscapes.
    • 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?
    • 48 Metascore
    • 38 Lou Lumenick
    Macht is the best thing in A Love Song for Bobby Long, but his intelligent performance doesn't justify a tough, and very long, sit.
    • 47 Metascore
    • 38 Lou Lumenick
    Somewhere along the way, Borstal Boy became fatally compromised.
    • 45 Metascore
    • 38 Lou Lumenick
    This version, flatly directed and risibly written by Billy Ray, is saddled with endless coincidences, questionably motivated characters and an utterly laughable climax.
    • 48 Metascore
    • 38 Lou Lumenick
    One big hunk of cinematic moussaka with lots of appetizing shots of food.
    • 23 Metascore
    • 38 Lou Lumenick
    Rarely does a movie go so thoroughly wrong in so many ways.
    • New York Post
    • 62 Metascore
    • 38 Lou Lumenick
    Beautiful Boy ends up being an endurance test.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Lou Lumenick
    This sequel sorely misses the presence of Tom Wilkinson, whose out-of-the-closet character grounded the first film (but died at the end).
    • 68 Metascore
    • 38 Lou Lumenick
    Even an engaging performance by Margot Robbie as the proverbial last woman on Earth isn’t enough to save Z for Zachariah from becoming yet another ploddingly pretentious Sundance dud.
    • 52 Metascore
    • 38 Lou Lumenick
    The best drag movie since "Vegas in Space." That's hardly a huge recommendation.
    • 29 Metascore
    • 38 Lou Lumenick
    When you awake, it may all seem like a bad dream - but why is your wallet missing $11? Scary.
    • 25 Metascore
    • 38 Lou Lumenick
    Repackage clichés and stereotypes with attractive young performers in a simple-minded script that panders to the teen audience.
    • 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.
    • 22 Metascore
    • 38 Lou Lumenick
    Relentlessly dopey and vulgar.
    • New York Post
    • 34 Metascore
    • 38 Lou Lumenick
    That Eulogy has any laughs is largely a testament to the understated Romano -- he and Deschanel are the only ones in the cast who aren't straining to be funny.
    • 61 Metascore
    • 38 Lou Lumenick
    A pretentious, unsatisfying and ultra-slow-moving thriller.
    • 54 Metascore
    • 38 Lou Lumenick
    Something most have gotten lost in the translation.
    • 18 Metascore
    • 38 Lou Lumenick
    Features less than 10 minutes of music in its mercifully brief 83-minute running time.
    • 36 Metascore
    • 38 Lou Lumenick
    There are a few good jolts - and a moderate amount of spurting blood - but things pretty much proceed exactly as you think they will.
    • 48 Metascore
    • 38 Lou Lumenick
    Michael J. Bassett's Solomon Kane is been there, done that.
    • 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.
    • 54 Metascore
    • 38 Lou Lumenick
    O'Brien also provided the lethargic direction and collaborated with Messina on the cliché-infested script, which is long on booze-filled confessions.
    • 49 Metascore
    • 38 Lou Lumenick
    Disco may still be dead, but Benji: Off the Leash! resurrects another dubious artifact of the '70s - the crudely made family films starring that lovable mutt.
    • 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.
    • 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.
    • 28 Metascore
    • 38 Lou Lumenick
    Love and Honor may be politically clueless, but Hemsworth and the student journalist he hooks up with (fellow Aussie Teresa Palmer of “Warm Bodies’’) do make an undeniably attractive couple.
    • 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.
    • 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.
    • 38 Metascore
    • 38 Lou Lumenick
    Given the complete lack of chemistry between Chan and Forlani, their rather awkward lip-lock isn't worth $10 to see. Sadly, neither is anything else here.
    • 78 Metascore
    • 38 Lou Lumenick
    Anderson, in her first major non-Scully film role, is lethally miscast.
    • New York Post
    • 59 Metascore
    • 38 Lou Lumenick
    Features all too much footage of the scowling Burns, who has a narrower range than almost any actor working in Hollywood these days.
    • 33 Metascore
    • 38 Lou Lumenick
    There are some decent actors and great costumes in this overly solemn compendium of rock clichés.
    • 27 Metascore
    • 38 Lou Lumenick
    Might have been more successful if Darabont and his pal had attempted a Preston Sturges-like farce. Instead, it's played totally without any kind of edge - a fantasy that makes "The Lord of the Rings" look realistic by comparison.
    • 45 Metascore
    • 38 Lou Lumenick
    Rambling, schmaltzy romantic comedy.
    • 55 Metascore
    • 38 Lou Lumenick
    A rare dud from great Spanish director Pedro Almodóvar, I’m So Excited! is a campy, sex-obsessed spoof of airborne-disaster movies that never really gets off the ground.
    • 43 Metascore
    • 38 Lou Lumenick
    Nothing in Redemption quite adds up, including the paranoid hero’s insistence that he’s being watched by drones.
    • 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.
    • 16 Metascore
    • 38 Lou Lumenick
    A dumb, by-the-numbers children's movie.
    • 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.
    • 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.
    • 32 Metascore
    • 38 Lou Lumenick
    It's bone tired.
    • 48 Metascore
    • 38 Lou Lumenick
    It isn't as ridiculous as this year's other version of a local best seller set during WWII ("Captain Corelli's Mandolin"), but it's arguably even less entertaining.
    • 48 Metascore
    • 38 Lou Lumenick
    Under Mark Palansky's uninspired direction, magic eludes Penelope in scene after scene.
    • 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."
    • 48 Metascore
    • 38 Lou Lumenick
    One of those painfully earnest -- and pretentious -- little indies in which a pair of emotional cripples neatly resolve all of their problems within 48 hours of meeting each other.
    • 65 Metascore
    • 38 Lou Lumenick
    Relentlessly mediocre cartoon.
    • 56 Metascore
    • 38 Lou Lumenick
    For starters, it wasn't a great idea to basically borrow the premise of "The Blues Brothers'' and turn these quintessential Jewish characters (something that's not even hinted at) into the bumbling would-be saviors of the Catholic orphanage where they were raised.
    • 58 Metascore
    • 38 Lou Lumenick
    A real crock.
    • 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.
    • 43 Metascore
    • 38 Lou Lumenick
    Relies far too much on an overdose of gore and a pack of hungry wolves to deliver its chills.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 38 Lou Lumenick
    Lame family filler.
    • 31 Metascore
    • 38 Lou Lumenick
    Mildly interesting.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Lou Lumenick
    Poor John Leguizamo, who hopefully got well-paid to voice a stereotypical Latino bird providing a stream of nonsensical narration.
    • 47 Metascore
    • 38 Lou Lumenick
    Max
    Director Boaz Yakin (“Remember the Titans”) indulges in an awful lot of gunplay for a PG-rated family film, but sure knows how to stage a dirt-bike race. The Belgian malinoises who play Max way out-act the humans.
    • 51 Metascore
    • 38 Lou Lumenick
    an overlong and surprisingly dull documentary.
    • 45 Metascore
    • 38 Lou Lumenick
    Horror-movie vets Harrington ("Wrong Turn") and Sagemiller ("Soul Survivors") struggle unsuccessfully with characters who are frequently more plastic than Nikki.
    • 33 Metascore
    • 38 Lou Lumenick
    Yet another screwed-up mess that will give audiences another excuse to shun the multiplexes this weekend.
    • 45 Metascore
    • 38 Lou Lumenick
    A cartoonish, unfocused and mostly unfunny satire.
    • 43 Metascore
    • 38 Lou Lumenick
    Oblivious to both narrative logic and the laws of physics, the cliché-filled San Andreas doesn’t nearly have the star power of earlier, better disaster movies it borrows from like “The Poseidon Adventure,” “Earthquake” and “The Towering Inferno.”
    • 58 Metascore
    • 38 Lou Lumenick
    Li is powerless when the film slows to a crawl to provide a little drama.
    • 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).
    • 34 Metascore
    • 38 Lou Lumenick
    Director Kevin Bray, whose clichéd style betrays his music-video roots, devotes far too much time to the mechanics of the illogical plot.
    • 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.
    • 39 Metascore
    • 38 Lou Lumenick
    As huge a travesty and a bore as 1956's "Alexander the Great," in which Richard Burton looked equally uncomfortable as a blond.
    • 46 Metascore
    • 38 Lou Lumenick
    The willfully eccentric Beyond the Sea seems to be telling us a lot more about its star and director, Kevin Spacey, than its ostensible subject.
    • 48 Metascore
    • 38 Lou Lumenick
    Yes, there's some spectacular footage. But there's also an awful lot of filler for a 40-minute movie.
    • 33 Metascore
    • 38 Lou Lumenick
    Isn't as relentlessly vulgar or cartoonish as "The Ladies Man" - nor is it a whole lot more realistic.
    • 57 Metascore
    • 38 Lou Lumenick
    There was no need to edit it in overly slick ways that often make the story line seem contrived, accompanied by gag-laden narration that frequently made me want to gag.
    • 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
    • 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.
    • 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.
    • 45 Metascore
    • 38 Lou Lumenick
    A sincere but underwhelming dramatization of one of the biggest news stories of 1956.
    • 48 Metascore
    • 38 Lou Lumenick
    Overall, the rambling Jayne Mansfield’s Car is almost as big a wreck as its namesake.
    • 61 Metascore
    • 38 Lou Lumenick
    Disappointingly, Bourne never resurfaces in this less-than-satisfying series reboot. The film is more a talky, convoluted, action-starved two-hour subplot.
    • 54 Metascore
    • 38 Lou Lumenick
    Their misadventures in the Big Apple, including Giamatti’s involvement with a Russian house sitter (a bizarrely cast Sally Hawkins) are neither funny nor touching, just tedious.
    • 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.
    • 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.
    • 54 Metascore
    • 38 Lou Lumenick
    One part cabaret, one part travelogue, one part comic heist, one part romantic tearjerker -- and all pretty tedious.
    • 33 Metascore
    • 38 Lou Lumenick
    Strong contender for the weirdest movie released this year.
    • 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.
    • 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.
    • 16 Metascore
    • 38 Lou Lumenick
    Dennis Rodman isn't half bad as a blond, multiply pierced Interpol agent.
    • 21 Metascore
    • 38 Lou Lumenick
    Like many first films, Boricua's Bond is wildly uneven.
    • New York Post
    • 36 Metascore
    • 38 Lou Lumenick
    First-time writer-director Mark Hanlon lands only glancing blows in this grim black comedy.
    • 53 Metascore
    • 38 Lou Lumenick
    Recycles every cliché of the genre to sleep-inducing effect.
    • 47 Metascore
    • 38 Lou Lumenick
    Strictly summer schlock.
    • 36 Metascore
    • 38 Lou Lumenick
    Devotes most of its energy to its costumes and makeup, which are fabulous. But that and a tabloid-worthy star just aren't enough to revisit this sordid tale as a kind of twisted comedy.
    • 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.
    • 42 Metascore
    • 38 Lou Lumenick
    The apolitical and well-meaning Home of the Brave is predictable and maudlin.
    • 25 Metascore
    • 38 Lou Lumenick
    Hokey, inept tear-jerker.
    • New York Post
    • 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.
    • 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.
    • 57 Metascore
    • 38 Lou Lumenick
    Well, nobody said The Grand was another "Best in Show."
    • 51 Metascore
    • 38 Lou Lumenick
    About as exciting as watching someone else's home movies -- albeit, beautifully photographed ones.
    • 42 Metascore
    • 38 Lou Lumenick
    A silly, boring supernatural thriller that squanders a potentially interesting premise and the rapper Snoop Dogg in his ostensible starring debut.
    • 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.
    • 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.
    • 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."
    • 63 Metascore
    • 38 Lou Lumenick
    Admittedly, I’m far from a fan of Korine’s “Gummo,’’ “Julien Donkey-Boy’’ and the absymal “Trash Humpers.’’ But that he is proud of making intentionally sloppy and tedious movies doesn’t make them any easier to watch. Or all that much fun, for that matter.
    • 42 Metascore
    • 38 Lou Lumenick
    Evokes such deja vu, you'd swear you'd already fallen asleep on the damned thing in the middle of the night on HBO.
    • 52 Metascore
    • 38 Lou Lumenick
    There's nothing you haven't seen before - and better - in Deadfall, which would seem to appeal mostly to fans of snowmobile chases.
    • 44 Metascore
    • 38 Lou Lumenick
    Steve Carell is fatally miscast as an arrogant, flamboyant third-rate magician in The Incredible Burt Wonderstone, which by all rights should have been a second-rate Will Ferrell vehicle.
    • 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.
    • 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.
    • 16 Metascore
    • 38 Lou Lumenick
    Sort of "West Side Story" set in 1958 Brooklyn -- minus the music or competent storytelling -- is clearly not dealing from anything close to a full deck.
    • 48 Metascore
    • 38 Lou Lumenick
    An uninspired recycling of themes that were far more gripping in "The Lion King" and countless other earlier Mouse House classics.
    • 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.
    • 36 Metascore
    • 38 Lou Lumenick
    Solid cast notwithstanding, 10th and Wolf is a generic, direct-to-video-grade gangster movie.
    • 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.
    • 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
    • 31 Metascore
    • 38 Lou Lumenick
    What starts as a fairly lighthearted satire ends in a tiresome, ultra-violent shootout -- and the film pretty much throws away the possibilities of Cruz's gender-bending role.
    • 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.
    • 37 Metascore
    • 38 Lou Lumenick
    The clichéd and predictable Suspect Zero is the latest evidence that Hollywood has run the serial-killer thriller into the ground through overuse - the same way it earlier exhausted, say, buddy action-comedies.
    • 26 Metascore
    • 38 Lou Lumenick
    Amy Sedaris, channeling her inner Frances McDormand as a hyper admissions coach, gets most of the laughs.
    • 40 Metascore
    • 38 Lou Lumenick
    A great-looking but wearyingly cliched and confusing vanity production.
    • 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.
    • 59 Metascore
    • 38 Lou Lumenick
    Well-meaning yawn-fest.
    • 49 Metascore
    • 38 Lou Lumenick
    Remarkably sluggish and not particularly suspenseful.
    • New York Post
    • 48 Metascore
    • 38 Lou Lumenick
    Might have worked as a 10-minute sketch.
    • 51 Metascore
    • 38 Lou Lumenick
    Slicker than most attempts to document Monroe's successes and tragic trajectory, but even her own words don't provide much more of an insight into what made this troubled icon tick.
    • 46 Metascore
    • 38 Lou Lumenick
    The longest 85-minute road trip you could imagine.
    • 41 Metascore
    • 38 Lou Lumenick
    A non-starter.
    • 46 Metascore
    • 38 Lou Lumenick
    It's not uninteresting, but so much footage is given over to earnest discussion of sexual politics that the overall effect is like sitting through a semester's worth of transgender studies.
    • 38 Metascore
    • 38 Lou Lumenick
    Here comes Wayne Kramer's Crossing Over, a bid to create the "Crash" of illegal-immigration dramas.
    • 64 Metascore
    • 38 Lou Lumenick
    Hopefully Jennifer Lawrence will actually be given something worthwhile to do next time around. That would actually be worth paying to see.
    • 54 Metascore
    • 38 Lou Lumenick
    This messy, disappointing, self-important and utterly humorless version of the Marvel comic book character may be the toughest flick with a green protagonist to sit through since "The Grinch."
    • 47 Metascore
    • 38 Lou Lumenick
    A depressingly predictable journey of self-discovery.
    • 53 Metascore
    • 38 Lou Lumenick
    Feels like it was written and directed by an audience focus group in Omaha?
    • 43 Metascore
    • 38 Lou Lumenick
    Smartphone apps don’t particularly lend themselves well to political allegory or satire. But that’s precisely what the makers of this fitfully amusing animated adaptation of the once-popular game seem to be fruitlessly attempting.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 38 Lou Lumenick
    This intense psycho-sexual drama doesn't easily lend itself to the camera.
    • 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.
    • 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.
    • 61 Metascore
    • 38 Lou Lumenick
    Lust, Caution could have done with a lot more lust and a lot less caution.
    • 57 Metascore
    • 38 Lou Lumenick
    Even if Corben hadn't photographed Gatien with lighting that makes him look like a horror-movie villain, he'd hardly come off as innocent.
    • 35 Metascore
    • 38 Lou Lumenick
    A murky and morbid dirge of a gay romance.
    • 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.
    • 54 Metascore
    • 38 Lou Lumenick
    Watching Meryl Streep act can be an exhausting experience - and never more so than during Music of the Heart.
    • 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.
    • 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.
    • 43 Metascore
    • 38 Lou Lumenick
    Coming-of-age road trips have rarely been more tedious or predictable.
    • 41 Metascore
    • 38 Lou Lumenick
    A truly baffling late entry in the "Pulp Fiction" sweepstakes that ends up drowning in its own pretensions -- along with, quite possibly, what's left of Val Kilmer's movie career.
    • 44 Metascore
    • 38 Lou Lumenick
    An unrelenting assault on the brain and eardrums.
    • 45 Metascore
    • 38 Lou Lumenick
    Dicey entertainment, indeed.
    • 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.
    • 53 Metascore
    • 38 Lou Lumenick
    The real coup de grace for this would-be serious-minded drama is the sledgehammer-subtle direction of Paul Weitz (who is also the screenwriter), who enabled his star's paycheck mugging in the execrable "Little Fockers."
    • 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.
    • 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.
    • 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).
    • 45 Metascore
    • 38 Lou Lumenick
    A screwball farce that pulls off a pitifully low percentage of its gags, even with a star-crammed cast.
    • 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.
    • 30 Metascore
    • 38 Lou Lumenick
    With thinly drawn characters, uneven performances and tin-eared dialogue, Stonewall plays at best like a musical without the songs.
    • 28 Metascore
    • 38 Lou Lumenick
    Sitcomish, stereotypical and sporadically funny romantic comedy.
    • 39 Metascore
    • 25 Lou Lumenick
    Milks the very real problem of "organ tourism" for all the melodrama and car chases it's worth.
    • 29 Metascore
    • 25 Lou Lumenick
    The pretentious and unrelievedly glum first feature from music-video and advertising director Nenad Cicin-Sain, The Time Being looks sharp, but it’s about as dramatically satisfying as watching paint dry.
    • 33 Metascore
    • 25 Lou Lumenick
    The effects are cheesy, the photography is murky, the sets look like leftovers from a Las Vegas stage spectacular -- and the flick appears to have been edited with a roulette wheel.
    • New York Post
    • 38 Metascore
    • 25 Lou Lumenick
    Abysmal performances, limp direction (Will Gould) and a heavy-handed script drive a stake through a semi-interesting idea about the persecution of gay werewolves in a remote English village.
    • 43 Metascore
    • 25 Lou Lumenick
    Who let this dog out?
    • 37 Metascore
    • 25 Lou Lumenick
    Slow-witted and occasionally unintentionally hilarious.
    • 35 Metascore
    • 25 Lou Lumenick
    This excruciating adaptation of the innocuous '70s cartoon show makes the film version of "Josie and the Pussycats" look sophisticated by comparison.
    • 46 Metascore
    • 25 Lou Lumenick
    None of this is remotely funny or interesting.
    • 47 Metascore
    • 25 Lou Lumenick
    The low point of the new Shall We Dance comes when Miss Paulina finally confesses why she's so sad.
    • 52 Metascore
    • 25 Lou Lumenick
    A lame teen comedy.
    • New York Post
    • 28 Metascore
    • 25 Lou Lumenick
    Slow-moving, yawn-inducing remake.
    • New York Post
    • 60 Metascore
    • 25 Lou Lumenick
    This is an exhausting, eyeball-gougingly ugly 90-minute assault of non-stop action, with an all-star voice cast shouting witless lines and a wide variety of objects lobbed at the audience in the crudest 3-D fashion.
    • 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.
    • 44 Metascore
    • 25 Lou Lumenick
    Despite much effort, neither Johnson nor director George Tillman Jr. ("Notorious") can make this preposterous tale, live up to its title.
    • 30 Metascore
    • 25 Lou Lumenick
    If the once red-hot Vin Diesel's overhyped career wasn't finished off by last summer's mega flop "The Chronicles of Riddick," the alleged family comedy The Pacifier ought to do the trick.
    • 22 Metascore
    • 25 Lou Lumenick
    Elaborate vanity production.
    • 29 Metascore
    • 25 Lou Lumenick
    This mess was directed with no skill whatsoever by Jesse Dylan, whose father, Bob, once urged us all to get stoned.
    • 34 Metascore
    • 25 Lou Lumenick
    Un-magical, unfunny and un-romantic alleged comedy.
    • 46 Metascore
    • 25 Lou Lumenick
    Indulges in some of the crudest Jewish stereotypes seen in a recent movie, right down to the crack about every Jewish girl having a nose job.
    • 38 Metascore
    • 25 Lou Lumenick
    Despite solid contributions by vets such as Michael Lerner and Daniel Stern, Caleo isn't able to sell The Last Time - not the affair and especially not the ludicrous twist ending.
    • 51 Metascore
    • 25 Lou Lumenick
    The stars' utter failure to create sparks is only one of the problems with this Labor Day weekend dump job.
    • 40 Metascore
    • 25 Lou Lumenick
    The sort of lowbrow sports comedy best enjoyed on a 50-inch screen with a six-pack, a bucket of wings and a fast-forward button.
    • 28 Metascore
    • 25 Lou Lumenick
    A labored romantic farce whose only asset is Carlos Leon, best known as the father of Madonna's daughter Lourdes.
    • 36 Metascore
    • 25 Lou Lumenick
    Ineptly written and directed, the nihilistic The Son of No One flaunts an attitude best summed up by a cynical Pacino -- "A man has to live with s--t.'' Maybe so, Al, but audiences have the option of skipping this bomb.
    • 38 Metascore
    • 25 Lou Lumenick
    Mostly unfunny, extremely silly pingpong comedy.
    • 51 Metascore
    • 25 Lou Lumenick
    A flaccidly pretentious and snooze-inducing trilogy of allegedly racy tales.
    • 23 Metascore
    • 25 Lou Lumenick
    To describe Love, Honor and Obey as a cross between "Duets" and "Snatch" doesn't begin to suggest how desperately unfunny this musical gangster comedy is.
    • 48 Metascore
    • 25 Lou Lumenick
    A shipwreck. They say a dead fish stinks from the head first - but the animated shipwreck Shark Tale arrives reeking all over.
    • 32 Metascore
    • 25 Lou Lumenick
    The MPAA's rating explanation for this PG-13-rated snoozer misleadingly claims it contains "intense sequences of terror/violence"; it would be more accurate to state that Boogeyman contains "virtually every horror-movie cliché of the past 30 years."
    • 34 Metascore
    • 25 Lou Lumenick
    More "it stinks" than *NSYNC.
    • 31 Metascore
    • 25 Lou Lumenick
    Basically a much schmaltzier fantasy version of “Love Story.’’
    • 51 Metascore
    • 25 Lou Lumenick
    “Scratch the surface and there’s only more surface,’’ a character all too accurately observes in this clunky, ugly and dull mash-up of a mystery.
    • 31 Metascore
    • 25 Lou Lumenick
    So nasty, hysterical and long-winded -- and unintentionally makes capital punishment foes look so twisted -- you wish someone had administered a lethal injection to this dreck in its planning stages.
    • 34 Metascore
    • 25 Lou Lumenick
    Suspenselessly directed by Robby Henson, Thr3e commits the eighth deadly sin - boredom.
    • 41 Metascore
    • 25 Lou Lumenick
    A trite, incoherent and pretentious bomb.
    • 40 Metascore
    • 25 Lou Lumenick
    Crashing chandelier, crashing bore.
    • 36 Metascore
    • 25 Lou Lumenick
    Any way you slice it, A Tale of Two Pizzas is so ineptly written and directed that it's pretty soggy entertainment.
    • 22 Metascore
    • 25 Lou Lumenick
    A slow-moving, dirt-dull narrative crammed with clunky expository dialogue and obscure Biblical references.
    • 27 Metascore
    • 25 Lou Lumenick
    A total disaster.
    • 43 Metascore
    • 25 Lou Lumenick
    Dear John is the sort of movie that gives tearjerkers a bad name.
    • 31 Metascore
    • 25 Lou Lumenick
    Isn't particularly funny, romantic or well-acted. It drags on endlessly.
    • 67 Metascore
    • 25 Lou Lumenick
    Hard-core Hollywood haters will best appreciate Maps to the Stars, a campy poison-pen letter to Tinseltown that makes “Sunset Boulevard’’ look like a tourism infomercial by comparison.
    • 33 Metascore
    • 25 Lou Lumenick
    Shlocky, sloppy and crass adolescent comedy.
    • 49 Metascore
    • 25 Lou Lumenick
    Rock appears to have edited I Think I Love My Wife with a roulette wheel.
    • 31 Metascore
    • 25 Lou Lumenick
    A bland, dull and only occasionally funny waste of time that will very soon be gathering dust in the remainder bins.
    • 38 Metascore
    • 25 Lou Lumenick
    The sort of misfire that Hollywood has long buried in January.
    • 36 Metascore
    • 25 Lou Lumenick
    Wastes some veteran performers in a slight, silly musical fantasy with two left feet.
    • 39 Metascore
    • 25 Lou Lumenick
    When Will I Be Loved would rate no stars except for Campbell's brave, totally committed performance -- which deserves a far better movie than this.
    • 41 Metascore
    • 25 Lou Lumenick
    Veteran screenwriter John Pogue, in his second directorial outing, tries repeatedly and mostly unsuccessfully to jolt his audience by amping up the abundant sound effects to ear-shattering levels.
    • 53 Metascore
    • 25 Lou Lumenick
    Most of the interviews are as brief as they are obvious, and it doesn't help that none of those interviewees, including clergymen who served as technical advisers, are identified.
    • 23 Metascore
    • 25 Lou Lumenick
    Excruciatingly unfunny.

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