For 2,352 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 3.8 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Sessions
Lowest review score: 0 The Wedding Date
Score distribution:
2,352 movie reviews
    • 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.
    • 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.
    • 65 Metascore
    • 38 Lou Lumenick
    Relentlessly mediocre cartoon.
    • 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.
    • 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.''
    • 67 Metascore
    • 38 Lou Lumenick
    There's little sense of the Carol Channing beneath the overdone makeup - if there is one.
    • 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."
    • 66 Metascore
    • 38 Lou Lumenick
    Overlong and grim to the point where some scenes are virtually unwatchable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 57 Metascore
    • 38 Lou Lumenick
    A sluggish and murky sub-Polanski-esque psychodrama.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 38 Lou Lumenick
    Michael J. Bassett's Solomon Kane is been there, done that.
    • 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.
    • 51 Metascore
    • 38 Lou Lumenick
    A raunchy, sporadically funny comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 Metascore
    • 38 Lou Lumenick
    This is less a documentary than a wholly uncritical celebration.
    • 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.
    • 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.
    • 48 Metascore
    • 38 Lou Lumenick
    Overall, the rambling Jayne Mansfield’s Car is almost as big a wreck as its namesake.
    • 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.
    • 49 Metascore
    • 38 Lou Lumenick
    The feel-bad movie of the holiday season, Spike Lee’s often-repellent Americanized reimagining of Korean director Chan-Wook Park’s twisty 2004 revenge thriller Oldboy is relentlessly gruesome, self-consciously shocking and pretty much pointless.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 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.
    • 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.
    • 44 Metascore
    • 25 Lou Lumenick
    Grows tiresome rather quickly.
    • New York Post
    • 24 Metascore
    • 25 Lou Lumenick
    Should you get Carter? Sure - but make it the Michael Caine classic Warner Bros. is releasing on video next week.
    • New York Post
    • 58 Metascore
    • 25 Lou Lumenick
    A triumph of misguided moviemaking, starting with a grotesquely miscast Mira Sorvino, who arguably gives the worst performance ever by an Oscar winner.
    • 22 Metascore
    • 25 Lou Lumenick
    Painfully stupid.
    • 42 Metascore
    • 25 Lou Lumenick
    This low-caliber Gun Shy has singularly ugly cinematography by Tom Richmond that at one point shows off Bullock's facial hair.
    • New York Post
    • 22 Metascore
    • 25 Lou Lumenick
    Elaborate vanity production.
    • 29 Metascore
    • 25 Lou Lumenick
    Rates an "E" for effort -- and a "B" for boring.
    • 32 Metascore
    • 25 Lou Lumenick
    Ryan, the bodacious Seven of Nine on "Star Trek Voyager," is the only excuse to suffer through writer-director Harry Ralston's feeble comedy.
    • 38 Metascore
    • 25 Lou Lumenick
    Things rapidly go downhill in this pinch-penny production.
    • New York Post
    • 50 Metascore
    • 25 Lou Lumenick
    Another mean-spirited black comedy from Todd Solondz, tries even harder than the director's two earlier films to shock and outrage -- but the overall effect of his sophomoric excess is tiresome and dull, like watching someone else's 2-year-old act out for the 50th time.
    • 34 Metascore
    • 25 Lou Lumenick
    A hapless family film that's too scary for little kids and too boring for everyone else.
    • New York Post
    • 46 Metascore
    • 25 Lou Lumenick
    Exploitation curiosity.
    • 21 Metascore
    • 25 Lou Lumenick
    With awkward acting, plotting and direction, this is no "Guess Who's Coming to Dinner," "Jungle Fever" or "One Potato, Two Potato."
    • 34 Metascore
    • 25 Lou Lumenick
    More "it stinks" than *NSYNC.
    • 31 Metascore
    • 25 Lou Lumenick
    Isn't particularly funny, romantic or well-acted. It drags on endlessly.
    • 34 Metascore
    • 25 Lou Lumenick
    Annoying.
    • 25 Metascore
    • 25 Lou Lumenick
    The often difficult-to-follow plot is sort of "Traffic" for nitwits.
    • New York Post
    • 42 Metascore
    • 25 Lou Lumenick
    Charles Busch's spoof of beach-party movies and psychological thrillers, an off-Broadway hit 13 years ago, stubbornly refuses to entertain in this unrelentingly dull film version.
    • 27 Metascore
    • 25 Lou Lumenick
    A baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise.
    • 21 Metascore
    • 25 Lou Lumenick
    Antonio Banderas is unintentionally hilarious as Father Matt Gutierrez, a sort of Jesuit James Bond.
    • New York Post
    • 37 Metascore
    • 25 Lou Lumenick
    The lackadaisical pace of CD3 is a disappointing surprise.
    • New York Post
    • 26 Metascore
    • 25 Lou Lumenick
    It's loaded with -- scenery-chewing melodrama, cornball pidgin dialogue and syrupy music.
    • 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.
    • 48 Metascore
    • 25 Lou Lumenick
    Might have made a tolerable five-minute "mockumentary," but it's apparently meant seriously.
    • 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.
    • 45 Metascore
    • 25 Lou Lumenick
    A moribund attempt to exhume the Jack Ryan techno-thriller franchise with a severely miscast Ben Affleck, is truly the 20-megaton bomb among this summer's blockbusters.
    • 19 Metascore
    • 25 Lou Lumenick
    It's not surprising to learn that the story -- which the press notes assert is loosely based on fact -- has been kicking around Hollywood for 15 years. It's that bad.
    • 52 Metascore
    • 25 Lou Lumenick
    A lame teen comedy.
    • New York Post
    • 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.
    • 45 Metascore
    • 25 Lou Lumenick
    The leaden pacing, somnambulant performances and incessant symbolism in nearly every shot will soon have you thinking that The Three Marias is three too many.
    • 52 Metascore
    • 25 Lou Lumenick
    Overlong and not well-acted.
    • 41 Metascore
    • 25 Lou Lumenick
    Should have gone straight to video. It'll be there soon enough.
    • New York Post
    • 14 Metascore
    • 25 Lou Lumenick
    Arguably the most insipid movie released so far this century.
    • 31 Metascore
    • 25 Lou Lumenick
    An instant candidate for worst movie of the year.
    • 27 Metascore
    • 25 Lou Lumenick
    Co-star Christina Applegate, who's much more at home in this down and dirty milieu, wipes the floor (in one scene, literally, in a ludicrous cat fight) with the erstwhile Oscar winner.
    • 30 Metascore
    • 25 Lou Lumenick
    Director Uwe Boll and the actors provide scant reason to care in this crude '70s throwback.
    • 28 Metascore
    • 25 Lou Lumenick
    Slow-moving, yawn-inducing remake.
    • New York Post
    • 33 Metascore
    • 25 Lou Lumenick
    In execution, this clever idea is far less funny than the original, "Killers From Space," which was directed by W. Lee Wilder, the vastly less talented brother of the great Billy.
    • 36 Metascore
    • 25 Lou Lumenick
    We began this dismal movie season with one lethally bad World War II romance -- "Pearl Harbor" -- and now we're wrapping up with another howling dog.
    • 16 Metascore
    • 25 Lou Lumenick
    The only pro involved in this amateurish labor of love is veteran character actor Arthur Nascarella, cast as Jack's florist father.
    • 23 Metascore
    • 25 Lou Lumenick
    Pierre is at best competent as the star, director and writer of this good-natured compendium of ghetto movie clichés, which doesn't have an awful lot to offer in the way of laughs, pacing or originality.
    • 18 Metascore
    • 25 Lou Lumenick
    Boring and desperately unfunny.
    • 37 Metascore
    • 25 Lou Lumenick
    Shapeless, sloppy, badly paced mess.
    • 9 Metascore
    • 25 Lou Lumenick
    Goes from being tediously terrible to downright gigglesome.
    • New York Post
    • 36 Metascore
    • 25 Lou Lumenick
    More "the mild one" than "The Wild One."
    • 33 Metascore
    • 25 Lou Lumenick
    It's so incoherent that at first you wonder if the reels are being shown out of order.
    • 23 Metascore
    • 25 Lou Lumenick
    Desperately unfunny and unexciting.
    • 22 Metascore
    • 25 Lou Lumenick
    A slow-moving, dirt-dull narrative crammed with clunky expository dialogue and obscure Biblical references.
    • 16 Metascore
    • 25 Lou Lumenick
    A low-rent, slow-witted horror flick notable chiefly for its hilariously unsuccessful attempt to pass off Luxembourg City as New York City.
    • 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.
    • 19 Metascore
    • 25 Lou Lumenick
    Amply demonstrates how even a movie with wall-to-wall action can be a crashing bore.
    • 33 Metascore
    • 25 Lou Lumenick
    A toothless, dated Seventh Avenue satire with shaky script, direction and acting - is the movie equivalent of something you'd find on the deep-markdown rack at Daffy's.
    • 36 Metascore
    • 25 Lou Lumenick
    Loud and unfunny, this cheesy-looking farce is mostly an excuse for a series of plugs.
    • 35 Metascore
    • 25 Lou Lumenick
    Hollywood's Thanksgiving turkey arrives today - 27 days early - in the gobbling guise of the heavily hyped, brain-dead comedy, I Spy.
    • 45 Metascore
    • 25 Lou Lumenick
    A truly repulsive piece of trash that says far more about the absence of values from contemporary filmmaking than the waywardness of teens.
    • New York Post
    • 53 Metascore
    • 25 Lou Lumenick
    Toothless, unbelievable and not particularly funny, New Suit is no threat to "The Player," "Swimming With Sharks" or "The Big Picture," to name but three more interesting pictures in this inside-baseball genre.
    • 41 Metascore
    • 25 Lou Lumenick
    You'd be better off renting Demi Moore's "Striptease."
    • 18 Metascore
    • 25 Lou Lumenick
    The dreary, direct-to-video quality of the script, acting and cinematography in this latest entry seemed to inspire more yawns than screams, and not a few titters.
    • New York Post
    • 23 Metascore
    • 25 Lou Lumenick
    Not especially scary or funny, this lame comedy-thriller wastes a decent cast in a plodding tale.
    • New York Post
    • 48 Metascore
    • 25 Lou Lumenick
    It's a shame, because the actors are so much better than the threadbare material.
    • 30 Metascore
    • 25 Lou Lumenick
    If you stay awake, you'll certainly feel more than a little ground down after watching perhaps 15 minutes of skateboard footage padded out with nearly 90 minutes of strenuously unfunny toilet humor - all cheaply filmed on a budget that looks as if it would scarcely cover the catering bill for "Gigli."
    • 40 Metascore
    • 25 Lou Lumenick
    The only prize this shamelessly derivative schlock is likely to be in the running for is the year's dullest thriller.
    • 44 Metascore
    • 25 Lou Lumenick
    The sloppily shot, crudely edited Head of State fails as satire, for starters, because of its utter disconnect from any kind of reality.
    • 27 Metascore
    • 25 Lou Lumenick
    The "Prinze" of terrible movies is back - in what might charitably be called "Rear Window" for morons.
    • New York Post
    • 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
    • 53 Metascore
    • 25 Lou Lumenick
    Dull and creaky soap opera.
    • 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.
    • 52 Metascore
    • 25 Lou Lumenick
    A boring, wincingly cute and nauseatingly politically correct cartoon guaranteed to drive anyone much over age 4 screaming from the theater.
    • 20 Metascore
    • 25 Lou Lumenick
    An assembly-line high-school comedy that flunks miserably in all three subjects.
    • 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.
    • 29 Metascore
    • 25 Lou Lumenick
    Desperately unfunny.
    • 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.
    • 37 Metascore
    • 25 Lou Lumenick
    Without any believable characters or situations, Reindeer Games is about as appealing as leftover Christmas fruitcake.
    • 38 Metascore
    • 25 Lou Lumenick
    It's basically the longest (a butt-numbing 21/2 hours), the most expensive (a reportedly obscene $150 million), most vulgar and by far the stupidest episode of "Miami Vice" ever.
    • 66 Metascore
    • 25 Lou Lumenick
    Pointless and mind-numbing.
    • 53 Metascore
    • 25 Lou Lumenick
    An alarmingly unfunny French comedy where the two main characters are constantly yakking on a cell phone at an airport.
    • 50 Metascore
    • 25 Lou Lumenick
    Duplex, a shoddily constructed and alarmingly unfunny dark comedy that squanders the talents of Ben Stiller and Drew Barrymore, is one real-estate deal you should walk away from.
    • 38 Metascore
    • 25 Lou Lumenick
    Significantly more gruesome and noisy than its predecessor, and boasting more nasty-looking fluids than all the works of David Fincher combined, this version leaves few corpses unturned in its unstinting campaign to please gorehounds.
    • 36 Metascore
    • 25 Lou Lumenick
    Soporific, shamelessly derivative and barely coherent by American standards.
    • 38 Metascore
    • 25 Lou Lumenick
    It's hard to say what's more offensive about the out-of- tune Radio - Cuba Gooding Jr. trying to ingratiate himself by mugging up a storm as a mentally challenged man, or the mawkish narrative surrounding him like so much syrup.
    • 38 Metascore
    • 25 Lou Lumenick
    The movie spins further and further into coincidence and incoherence.
    • 34 Metascore
    • 25 Lou Lumenick
    This mostly laugh-and scare-free turkey offers an utterly bored -- and boring -- Eddie Murphy taking a back seat to special effects, elaborate sets and a wispy story slapped together by David Berenbaum (the overrated "Elf").
    • 35 Metascore
    • 25 Lou Lumenick
    The script, attributed to Mark Schwahn, Marc Hyman and Jon Zack, is as confused as it is confusing, and the aimless direction by Brian Robbins doesn't help. It was apparently edited with a roulette wheel.
    • 37 Metascore
    • 25 Lou Lumenick
    Cliched, amateurish and feeble.
    • 44 Metascore
    • 25 Lou Lumenick
    A boring and violent French crime thriller, is the sort of routine potboiler that generally goes straight to video in this country, if it's seen at all.
    • 33 Metascore
    • 25 Lou Lumenick
    Shlocky, sloppy and crass adolescent comedy.
    • 52 Metascore
    • 25 Lou Lumenick
    Purposely amateurish.
    • 58 Metascore
    • 25 Lou Lumenick
    It's hard to imagine hardened New Yorkers actually paying to see this totally uncritical, gee-whiz celebration of stock car racing, its fans and its history, breathlessly narrated by Kiefer Sutherland and perfunctorily directed by Simon Wincer.
    • 61 Metascore
    • 25 Lou Lumenick
    One
    A rare dud in the Shooting Gallery series.
    • 56 Metascore
    • 25 Lou Lumenick
    A leaden retelling of the legend of Australia's Jesse James that has understandably been sitting on the shelf for a couple of years.
    • 47 Metascore
    • 25 Lou Lumenick
    May not set back Danish-American relations, but it's amusing to imagine how this schlock would have turned out under Denmark's most famous director, the American-hating Lars von Trier.
    • 37 Metascore
    • 25 Lou Lumenick
    This bomb, which premiered at last year's Sundance Film Festival, belongs in the same remainder bin as Spacey's "Pay It Forward," "K-Pax" and "The Life of David Gale."
    • 24 Metascore
    • 25 Lou Lumenick
    There's no excuse for a thriller as lame, leaden and unthrilling as Godsend, which manages to take a potentially interesting subject - human cloning - and use it to put audiences to sleep.
    • 33 Metascore
    • 25 Lou Lumenick
    So bad it's awful.
    • 49 Metascore
    • 25 Lou Lumenick
    Might as well be called "Around the World in 80 Yawns."
    • 36 Metascore
    • 25 Lou Lumenick
    Wastes some veteran performers in a slight, silly musical fantasy with two left feet.
    • 46 Metascore
    • 25 Lou Lumenick
    None of this is remotely funny or interesting.
    • 27 Metascore
    • 25 Lou Lumenick
    Catwoman is pretty well summed up by Hedare: “This is a disaster. It’s a total bloody disaster.”
    • 29 Metascore
    • 25 Lou Lumenick
    It’s often hard to figure out who’s winning, much less care about it. One thing is certain: Nobody is going to be demanding a rematch.
    • 30 Metascore
    • 25 Lou Lumenick
    The acting is serviceable at best, the direction unfocused - and the special effects and makeup cheesy-looking. This is surely the most dreary-looking film ever shot by the great Vittorio Storaro ("Apocalypse Now").
    • 9 Metascore
    • 25 Lou Lumenick
    Spectacularly awful.
    • 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.
    • 31 Metascore
    • 25 Lou Lumenick
    Directed without wit or energy.
    • 46 Metascore
    • 25 Lou Lumenick
    Eric Schaeffer's rip-off -- er, homage -- to "Magnolia," is a marginally better movie than his previous self-absorbed atrocities like "My Life's in Turnaround" and "Wirey Spindell."
    • 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.
    • 33 Metascore
    • 25 Lou Lumenick
    Overlong, blandly soporific.
    • 68 Metascore
    • 25 Lou Lumenick
    A real head-scratcher that somehow won the grand jury prize at this year's Sundance Film Festival.
    • tbd Metascore
    • 25 Lou Lumenick
    The latest, and let's hope the last, in the raft of uninspired, quickie Bush-bashing documentaries churned out by producer Robert Greenwald
    • 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.
    • 39 Metascore
    • 25 Lou Lumenick
    So over the top that it often plays like a parody.
    • 59 Metascore
    • 25 Lou Lumenick
    This masturbatory exercise is the least revealing "documentary" since Jerry Seinfeld's "Comedian."
    • 22 Metascore
    • 25 Lou Lumenick
    A loud, coarse and witless family comedy.
    • 40 Metascore
    • 25 Lou Lumenick
    Crashing chandelier, crashing bore.
    • 39 Metascore
    • 25 Lou Lumenick
    Lumpy, preachy and soporific.
    • 29 Metascore
    • 25 Lou Lumenick
    No "Schindler's List," to put it mildly.
    • 43 Metascore
    • 25 Lou Lumenick
    It's not a bad premise for a movie, but writer-director Omar Naim, a 26-year-old Lebanese native making his feature debut, proves equally inept at handling plotting, actors and pacing.
    • 45 Metascore
    • 25 Lou Lumenick
    There's 80 minutes of mawkish, overacted melodrama - laced with gratuitous violence and profanity - before we get to anything more than the briefest snippet of a dance number.
    • New York Post
    • 40 Metascore
    • 25 Lou Lumenick
    The best thing about Some Body -- an amateurish, quasi-improvised acting exercise shot on ugly digital video -- is that it's all over in 80 minutes.
    • 40 Metascore
    • 25 Lou Lumenick
    The talented cast doesn't stand much of a chance in this rambling, pointless narrative.
    • New York Post
    • 30 Metascore
    • 25 Lou Lumenick
    Poor Keaton, a capable actor who was absent from the screen for several years, is hamstrung by the material even more than in last year's dismal "First Daughter."
    • 34 Metascore
    • 25 Lou Lumenick
    Deadly dull.
    • 27 Metascore
    • 25 Lou Lumenick
    A vulgar, grating alleged "family" comedy.
    • 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."
    • 36 Metascore
    • 25 Lou Lumenick
    Plays like an unwieldy mishmash of "Big Momma's House," "An Unmarried Woman" and "The Burning Bed," with lots of gospel music thrown in.
    • 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.
    • 51 Metascore
    • 25 Lou Lumenick
    A flaccidly pretentious and snooze-inducing trilogy of allegedly racy tales.
    • 41 Metascore
    • 25 Lou Lumenick
    A mockumentary that veers unsteadily between satire and an infomercial for Dash's Roc-A-Fella records.
    • 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.
    • 27 Metascore
    • 25 Lou Lumenick
    Most of this movie is beyond lame. It almost makes "A Cinderella Story" -- the ever-mugging Duff's surprise hit of last summer -- look like a real movie by comparison.
    • 34 Metascore
    • 25 Lou Lumenick
    Un-magical, unfunny and un-romantic alleged comedy.
    • 40 Metascore
    • 25 Lou Lumenick
    A perfect storm of wooden acting, hackneyed direction, inane scripting and laughably cartoonish special effects produces a shapeless mess more wearyingly stupid than arch-villian Dr. Doom is evil.
    • 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.
    • 26 Metascore
    • 25 Lou Lumenick
    A collection of product plugs masquerading as a movie en route to home video.
    • 27 Metascore
    • 25 Lou Lumenick
    A schmaltz-laden soap opera from Saskatchewan.
    • 30 Metascore
    • 25 Lou Lumenick
    A cheesy, often unintentionally funny, direct-to-video-caliber knockoff of "Aliens" that couldn't be more shallow.
    • 19 Metascore
    • 25 Lou Lumenick
    The only hint of professionalism comes from Cheech Marin as Cannon's boss, who at times seems to be acting in a different movie.
    • 23 Metascore
    • 25 Lou Lumenick
    A tediously self-absorbed variation on "The Big Chill" and "The Return of the Secaucus 7."
    • 58 Metascore
    • 25 Lou Lumenick
    Liev Schreiber's film version of "Everything Is Illuminated" achieves the impossible — it's even more annoying than Jonathan Safran Foer's gratingly precocious novel.
    • 42 Metascore
    • 25 Lou Lumenick
    G
    This poorly acted, directed and written (but slick-looking) vanity project was produced by Andrew Lauren (Ralph's son also ineptly plays G's major-domo) and shot at least four years ago.
    • 19 Metascore
    • 25 Lou Lumenick
    A painfully sincere indie drama that isn't content to evoke only the misery of 9/11 -- it has to reference TWA Flight 800 for extra grief.
    • 30 Metascore
    • 25 Lou Lumenick
    Those endless end credits reveal that McKittrick previously worked at Steak & Ale, Roadhouse Grill and Friday's. He may well need to return to his line of work after a debut as dismal as this one.
    • 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
    Excruciatingly bad.
    • 41 Metascore
    • 25 Lou Lumenick
    A trite, incoherent and pretentious bomb.
    • 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.
    • 51 Metascore
    • 25 Lou Lumenick
    Hyperactive.
    • 32 Metascore
    • 25 Lou Lumenick
    Painfully unfunny spoof.
    • 37 Metascore
    • 25 Lou Lumenick
    THE mesmerizingly awful The Kid & I is a historic first: a comedy about the making of a vanity production that is ITSELF a vanity production.
    • 33 Metascore
    • 25 Lou Lumenick
    A pathetic stoner comedy.
    • 38 Metascore
    • 25 Lou Lumenick
    Painfully sincere. But it wrings almost no laughs or tears from this seemingly idiot-proof premise.
    • 46 Metascore
    • 25 Lou Lumenick
    Another ridiculous anti-American screed by the minimalist Danish director Lars von Trier, who has never set foot in this country.
    • 27 Metascore
    • 25 Lou Lumenick
    Ineptly directed by Simon West, the scare-free When a Stranger Calls is the worst of the seminal horror movies from the late '70s and early '80s that have been getting the remake treatment lately.
    • 36 Metascore
    • 25 Lou Lumenick
    Kirschner's excruciatingly earnest coming-of-age comedy, is about as fresh as year-old matzoh and plays like the unholy spawn of "Brighton Beach Memoirs" and "Fiddler on the Roof."
    • 43 Metascore
    • 25 Lou Lumenick
    With Roth at the helm of a script attributed to Price, there is minimal suspense, audience involvement or coherent social commentary.
    • 23 Metascore
    • 25 Lou Lumenick
    William H. Macy lends a little class as a snail, but Smith nails it in the closing-credit outtakes: "Don't expect Robin Williams-caliber work."
    • 43 Metascore
    • 25 Lou Lumenick
    Who let this dog out?
    • 27 Metascore
    • 25 Lou Lumenick
    Watchable in a train-wreck kind of way, but you'll probably want to take a shower afterwards.
    • 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.
    • 40 Metascore
    • 25 Lou Lumenick
    Scary Movie 4 concludes by satirizing Cruise's couch-jumping orgy on "Oprah." Funny, but nowhere near as hilarious as the real thing.
    • 30 Metascore
    • 25 Lou Lumenick
    A great-looking but stupefyingly incoherent supernatural thriller adapted from a popular video game that ransacks the entire catalog of horror film tropes for more than two mind-numbing hours.
    • 38 Metascore
    • 25 Lou Lumenick
    There are bachelor and bachelorette parties, as well as much misbehavior, in this glossy and unconvincing little flick, receiving a vanity booking on the way to video.
    • 23 Metascore
    • 25 Lou Lumenick
    Arguably as effective as Ambien at inducing sleep, but possible side effects include uncontrollable laughter.
    • 47 Metascore
    • 25 Lou Lumenick
    Sometimes there's a fine line between a labor of love and a vanity project, and The Lost City, Andy Garcia's heartfelt - but hackneyed and interminable - love letter to his native Cuba, repeatedly crosses it.
    • 34 Metascore
    • 25 Lou Lumenick
    Looks great for a no-budget indie, but not a single moment rings true in this sluggish vanity project, which is sorely in need of Viagra.
    • 37 Metascore
    • 25 Lou Lumenick
    Slow-witted and occasionally unintentionally hilarious.
    • 26 Metascore
    • 25 Lou Lumenick
    Sexual and toilet humor plumb new depths in Keenen Ivory Wayans' Little Man, which will stink up theaters like several gross of dirty diapers.
    • 48 Metascore
    • 25 Lou Lumenick
    Despite this seemingly surefire premise and cast of veteran comedians - there's even a cameo by Liza Minnelli as a masturbation coach - The OH in Ohio just lies there, without a single laugh.

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