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 The King's Speech
Lowest review score: 0 I Know Who Killed Me
Score distribution:
2481 movie reviews
    • 23 Metascore
    • 25 Lou Lumenick
    Excruciatingly unfunny.
    • 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.
    • 51 Metascore
    • 25 Lou Lumenick
    Interminably long, dull and incomprehensible, John Carter evokes pretty much every sci-fi classic from the past 50 years without having any real personality of its own.
    • 42 Metascore
    • 25 Lou Lumenick
    Tiresome cavalcade of bickering — which feels like it lasts even longer than your typical Thanksgiving dinner.
    • 49 Metascore
    • 25 Lou Lumenick
    Aside from a relatively brief appearance by Joan Cusack's avatar as the kidnapped mother, there are no involving characters or situations.
    • 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
    • 48 Metascore
    • 25 Lou Lumenick
    Like “Traffic’’ on a massive dose of downers, Ridley Scott’s The Counselor is a great-looking and star-filled but lethally pretentious, talky, lethargic drama.
    • 28 Metascore
    • 25 Lou Lumenick
    Even an appearance by Alec Baldwin as Moretz's eventual - if highly unlikely - savior isn't enough to keep Hick from leaving a bad taste.
    • 66 Metascore
    • 25 Lou Lumenick
    I've had root canals that were more enjoyable than Margot at the Wedding, Noah Baumbach's hugely pretentious, ugly and annoying follow-up to "The Squid and the Whale."
    • 35 Metascore
    • 25 Lou Lumenick
    The schmaltzy Diana is directed at a dirge-like pace by German director Oliver Hirschbiegel, whose film “Downfall’’ depicted the final days of Hitler and provided one of the Internet’s most enduring memes.
    • 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.
    • 37 Metascore
    • 25 Lou Lumenick
    The sad truth is these durable 80-year-old characters, who peaked with a 1950s TV series, never even come to life in this bloated, misshapen mess, a stillborn franchise loaded with metaphors for its feeble attempts to amuse, excite and entertain.
    • 31 Metascore
    • 25 Lou Lumenick
    Have you ever seen a movie without a single believable moment? Perfect Stranger, a convoluted and altogether risible thriller with Halle Berry and Bruce Willis, manages this difficult feat.
    • 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.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 25 Lou Lumenick
    A very belated and very silly follow-up to "Death Wish."
    • 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.
    • 17 Metascore
    • 25 Lou Lumenick
    A good cast can't save The Lodger, the utterly wrongheaded fourth movie version of a 1910 novel inspired by Jack the Ripper.
    • 32 Metascore
    • 25 Lou Lumenick
    Repo Men is a rare film where Toronto plays itself. It's also the first I've ever seen where a typewriter is used as a lethal weapon.
    • 29 Metascore
    • 25 Lou Lumenick
    Rates an "E" for effort -- and a "B" for boring.
    • 52 Metascore
    • 25 Lou Lumenick
    An utterly clueless, relentlessly grim and rambling action epic guaranteed to displease devout Jews, Christians and Muslims alike, amuse atheists — and generally bore everyone.
    • 46 Metascore
    • 25 Lou Lumenick
    The stars look bored out of their minds when the fourth episode of the franchise stalls between racing sequences.
    • 30 Metascore
    • 25 Lou Lumenick
    A cheesy, often unintentionally funny, direct-to-video-caliber knockoff of "Aliens" that couldn't be more shallow.
    • 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.
    • 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
    • 43 Metascore
    • 25 Lou Lumenick
    A witless homage to "Shampoo" and "American Gigolo" that's brain-dead on arrival.
    • 37 Metascore
    • 25 Lou Lumenick
    Without any believable characters or situations, Reindeer Games is about as appealing as leftover Christmas fruitcake.
    • 26 Metascore
    • 25 Lou Lumenick
    It's loaded with -- scenery-chewing melodrama, cornball pidgin dialogue and syrupy music.
    • New York Post
    • 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.
    • 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."
    • 31 Metascore
    • 25 Lou Lumenick
    You'd be better off renting "Eddie and the Cruisers" (1983) than slogging through this latest, far more dire recycling of the same rock clichés.
    • 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.
    • 34 Metascore
    • 25 Lou Lumenick
    Annoying.
    • 13 Metascore
    • 25 Lou Lumenick
    Except for Brolin as an unlikely born-again Jew, nobody fares well under Mulroney's ham-fisted direction.
    • 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.
    • 46 Metascore
    • 25 Lou Lumenick
    About as artistically profound as those framed 3-D photos of the Twin Towers emblazoned with "Never Forget'' that are still for sale in Times Square a decade after 9/11.
    • 27 Metascore
    • 25 Lou Lumenick
    Watchable in a train-wreck kind of way, but you'll probably want to take a shower afterwards.
    • 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
    • 37 Metascore
    • 25 Lou Lumenick
    Cliched, amateurish and feeble.
    • 49 Metascore
    • 25 Lou Lumenick
    Might as well be called "Around the World in 80 Yawns."
    • 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."
    • 21 Metascore
    • 25 Lou Lumenick
    Wavers between extreme silliness and unbearable earnestness.
    • 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
    • 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."
    • 29 Metascore
    • 25 Lou Lumenick
    Excruciatingly lame and laughless romantic comedy.
    • 66 Metascore
    • 25 Lou Lumenick
    Pointless and mind-numbing.
    • 61 Metascore
    • 25 Lou Lumenick
    One
    A rare dud in the Shooting Gallery series.
    • 36 Metascore
    • 25 Lou Lumenick
    Gets sillier and sillier as it goes along.
    • 38 Metascore
    • 25 Lou Lumenick
    Two decades after his last film, the legendary Jerry Lewis performs a truly unfortunate encore playing an elderly widower in writer-director Daniel Noah’s morose and thoroughly unconvincing drama.
    • 41 Metascore
    • 25 Lou Lumenick
    Should have gone straight to video. It'll be there soon enough.
    • New York Post
    • 36 Metascore
    • 25 Lou Lumenick
    A slow-moving, ridiculous police thriller that would have been shipped straight to the remainder bin at Blockbuster if it starred anyone else.
    • 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
    • 38 Metascore
    • 25 Lou Lumenick
    Painfully sincere. But it wrings almost no laughs or tears from this seemingly idiot-proof premise.
    • 34 Metascore
    • 25 Lou Lumenick
    A dispiriting rehash of dysfunctional family clichés that seems to last longer than Thanksgiving Day dinner.
    • 44 Metascore
    • 25 Lou Lumenick
    Manages to be excruciatingly unfunny despite the presence of Pierce Brosnan and Emma Thompson in the lead roles.
    • 42 Metascore
    • 25 Lou Lumenick
    A tediously unfunny comedy.
    • 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.
    • 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.
    • 49 Metascore
    • 25 Lou Lumenick
    When New York, I Love You was previewed in Toronto a year ago, there were two additional segments that have since been cut. So you'll have to wait for the DVD to see just how bad Scarlett Johansson's directing debut is.
    • 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."
    • 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.
    • 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").
    • 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
    • 31 Metascore
    • 25 Lou Lumenick
    Fanning gives a sensitive and fairly impressive performance. But like her over-the-top movie family, Hounddog is still trailer trash of the worst kind.
    • 78 Metascore
    • 25 Lou Lumenick
    Tedious and pretentious.
    • 41 Metascore
    • 25 Lou Lumenick
    I wouldn't have thought it was possible to make a prison picture as utterly boring as Jailbait.
    • 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.
    • 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.
    • 38 Metascore
    • 25 Lou Lumenick
    Completed four years ago, Seeking Justice is dutifully directed, with an absolute minimum of thrills, by Roger Donaldson, whose credits include the terrific "No Way Out" (1987)...That film's title is a pretty good description of where Cage's career seems to be headed.
    • 43 Metascore
    • 25 Lou Lumenick
    A surprisingly unengaging and charmless fantasy from a director whose previous films ("Across the Universe," "Titus," "Frida") were, despite their other issues, never boring.
    • 33 Metascore
    • 25 Lou Lumenick
    Basically, this is Smith and his real-life son, Jaden (both affecting ridiculous mid-Atlantic accents) talking the audience to death for something like 90 minutes before the closing credits.
    • 37 Metascore
    • 25 Lou Lumenick
    Michael Brandt's soporific thriller is making a token stop in theaters before its January DVD debut. Miss it if you can.
    • 27 Metascore
    • 25 Lou Lumenick
    Strands a good cast in a sea of stereotypes and clichés.
    • 29 Metascore
    • 25 Lou Lumenick
    A repugnant little indie black comedy, poorly acted in hideous-looking digital video, guaranteed to send audiences fleeing for the nearest shower.
    • 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.
    • 39 Metascore
    • 25 Lou Lumenick
    A protracted piece of schmaltz, P.S. I Love You looks like a hand-me-down from Sandra Bullock and Drew Barrymore.
    • 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.
    • 23 Metascore
    • 25 Lou Lumenick
    A tediously self-absorbed variation on "The Big Chill" and "The Return of the Secaucus 7."
    • 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.
    • 44 Metascore
    • 25 Lou Lumenick
    Grows tiresome rather quickly.
    • New York Post
    • 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.
    • 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.
    • 9 Metascore
    • 25 Lou Lumenick
    Goes from being tediously terrible to downright gigglesome.
    • New York Post
    • 36 Metascore
    • 25 Lou Lumenick
    There's still no good reason to suffer through a half-baked little movie that proves indies can be every bit as boringly formulaic and artistically bankrupt as their big-budget brethren.
    • 23 Metascore
    • 25 Lou Lumenick
    Arguably as effective as Ambien at inducing sleep, but possible side effects include uncontrollable laughter.
    • 24 Metascore
    • 25 Lou Lumenick
    Exceedingly lame.
    • 28 Metascore
    • 25 Lou Lumenick
    So feeble it fails even as train-wreck exploitation. I’d be unkind, but not entirely inaccurate, to label Coppola’s sophomoric, er, sophomore effort as a director an offer you can refuse.
    • 36 Metascore
    • 25 Lou Lumenick
    A shrill farce that strains credibility even by the standards of black comedy.
    • 57 Metascore
    • 25 Lou Lumenick
    As far as I’m concerned, death couldn’t arrive quickly enough for these eight stereotypically self-absorbed Los Angelenos gathered for Sunday brunch at which the hosts (Blaise Miller, Erinn Hayes) plan to announce the demise of their marriage.
    • 32 Metascore
    • 25 Lou Lumenick
    The latest catastrophe from the Weinstein Co.
    • 27 Metascore
    • 25 Lou Lumenick
    While there are some scattered laughs, the flimsy and nonsensical script - combined with the sledgehammer direction by Brian Robbins, make the similarly themed "Big Momma's House" look like Noel Coward.
    • 33 Metascore
    • 25 Lou Lumenick
    Overlong, blandly soporific.
    • 49 Metascore
    • 25 Lou Lumenick
    An excellent case for euthanizing the entire talking-animals genre.
    • tbd Metascore
    • 25 Lou Lumenick
    As much as we like Alec as an actor, it's hard to imagine that any amount of editing and reshooting under his supervision could salvage his complete ineptitude as a director.
    • 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
    • 18 Metascore
    • 25 Lou Lumenick
    Boring and desperately unfunny.
    • 53 Metascore
    • 25 Lou Lumenick
    A lazy, noisy ADHD-addled collection of animated clichés guaranteed to give anyone older than 5 a headache, even if you don’t see it in optional 3-D.
    • 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.
    • 28 Metascore
    • 25 Lou Lumenick
    Actually, Bruce, what stinks is the script — which is woefully lacking the kind of one-liners and memorable bad guys that helped make working-class hero McClane so iconic he’s still around after 25 years. Even the action sequences are pretty much by the numbers this time.
    • 19 Metascore
    • 25 Lou Lumenick
    Produced with the best of intentions by a California church and directed without distinction by first-timer Brian Baugh, To Save a Life would be bland and boring even as a half-hour after-school special.
    • 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.
    • 31 Metascore
    • 25 Lou Lumenick
    Quickly devolves into a nonprescription alternative to Ambien.
    • 41 Metascore
    • 25 Lou Lumenick
    A mockumentary that veers unsteadily between satire and an infomercial for Dash's Roc-A-Fella records.
    • 37 Metascore
    • 25 Lou Lumenick
    The lackadaisical pace of CD3 is a disappointing surprise.
    • New York Post
    • 47 Metascore
    • 25 Lou Lumenick
    Draggy and incoherent.
    • 29 Metascore
    • 25 Lou Lumenick
    No "Schindler's List," to put it mildly.
    • 27 Metascore
    • 25 Lou Lumenick
    Pulse bears more than a slight resemblance to a 1994 American horror called "Ghost in the Machine." They didn't screen that stinker in advance for critics, either.
    • 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."
    • 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."
    • 51 Metascore
    • 25 Lou Lumenick
    You can see better stuff on TV any night of the week.
    • 35 Metascore
    • 25 Lou Lumenick
    Someone describes his writing as "snarky, bitter, witless." The last part pretty well sums up this movie.
    • 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.
    • 30 Metascore
    • 25 Lou Lumenick
    Director Uwe Boll and the actors provide scant reason to care in this crude '70s throwback.
    • 44 Metascore
    • 25 Lou Lumenick
    The joke is on arthouse audiences who show up for Funny Games, which is basically torture porn every bit as manipulative and reprehensible as "Hostel," even if it's tricked out with intellectual pretension.
    • 19 Metascore
    • 25 Lou Lumenick
    Amply demonstrates how even a movie with wall-to-wall action can be a crashing bore.
    • 42 Metascore
    • 25 Lou Lumenick
    A sloppy vanity project, this rambling and toothless Hollywood black comedy stars veteran filmmaker Henry Jaglom's girlfriend, Tanna Frederick.
    • 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.
    • 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").
    • 36 Metascore
    • 25 Lou Lumenick
    Charmless and underdeveloped knockoff of "The Santa Clause."
    • 33 Metascore
    • 25 Lou Lumenick
    It's so incoherent that at first you wonder if the reels are being shown out of order.
    • 55 Metascore
    • 25 Lou Lumenick
    Relentlessly grim.
    • 37 Metascore
    • 25 Lou Lumenick
    The acting, script and direction - not to mention the syrupy score - conspire to make this a perfect storm of a hoot that will find its most appreciative audience among renters who have had a few glasses of wine beforehand.
    • 41 Metascore
    • 25 Lou Lumenick
    An exceedingly silly historical fantasy.
    • 47 Metascore
    • 25 Lou Lumenick
    It largely consists of Franco musing about depictions of homosexual activity on film. As well as gay cast members speculating whether Franco will take off his clothes and perform in explicit footage. He doesn’t.
    • 22 Metascore
    • 25 Lou Lumenick
    A loud, coarse and witless family comedy.
    • 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.
    • 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.
    • 57 Metascore
    • 25 Lou Lumenick
    A strained, ultra-predictable and headache-inducing mockumentary.
    • 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.
    • 35 Metascore
    • 25 Lou Lumenick
    A long, tedious and often unintentionally hilarious adaptation of Stephenie Meyer’s sci-fi follow-up.
    • 54 Metascore
    • 25 Lou Lumenick
    One of the year's worst movies.
    • 22 Metascore
    • 25 Lou Lumenick
    It's sad to see Quaid in sloppily directed (by Martin Guigui) dreck like Beneath the Darkness less than a decade after the performance of his career as a closeted married man in "Far From Heaven.''
    • 39 Metascore
    • 25 Lou Lumenick
    Barely watchable, despite the presence of such pros as Michael McKean and Jane Lynch.
    • 32 Metascore
    • 25 Lou Lumenick
    The first “Independence Day’’ was a lot of fun, with a great lines and cutting-edge special effects. It was much imitated, so the sequel plays like a faded, eighth-generation copy with a cast that’s shooting blanks when it comes to humor.
    • 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.
    • 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.
    • 21 Metascore
    • 25 Lou Lumenick
    Antonio Banderas is unintentionally hilarious as Father Matt Gutierrez, a sort of Jesuit James Bond.
    • New York Post
    • 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.
    • 53 Metascore
    • 25 Lou Lumenick
    Dull and creaky soap opera.
    • 29 Metascore
    • 25 Lou Lumenick
    Desperately unfunny.
    • 25 Metascore
    • 25 Lou Lumenick
    A jaw-droppingly terrible animated musical that mismatches George Lucas’ inane story about a pair of fairy princesses to an oddball selection of the “Star Wars’’ creator’s favorite pop tunes.
    • 55 Metascore
    • 25 Lou Lumenick
    Would the Mayans have predicted the end of the world in 2012 if they'd known it would inspire not only "The Tree of Life'' and "Melancholia'' but an endless supply of more dreary depictions of end-times like this one?
    • 38 Metascore
    • 25 Lou Lumenick
    A dull, by-the-numbers psych-ward horror thriller that's sadly a lot closer in quality to "Sucker Punch" than "Shutter Island."
    • 48 Metascore
    • 25 Lou Lumenick
    Might have made a tolerable five-minute "mockumentary," but it's apparently meant seriously.
    • 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.
    • 30 Metascore
    • 25 Lou Lumenick
    Unintended laughs far, far outnumber intended thrills.
    • 44 Metascore
    • 25 Lou Lumenick
    A decade later, these tabloid hall-of-famers are finally back to share the screen in By the Sea — glumly emoting in a pretentiously arty, humorless vanity production that drags along for two hours that feel like at least four.
    • 42 Metascore
    • 25 Lou Lumenick
    Seems to go on for several days and nights, though in fact it lasts just 105 minutes. I checked my watch. A lot.
    • 31 Metascore
    • 25 Lou Lumenick
    Directed without wit or energy.
    • 30 Metascore
    • 25 Lou Lumenick
    Featuring eyeball-rolling performances by Vivica A. Fox, Patti LaBelle, Clifton Davis and the singularly named Leon, Cover would be a candidate for the year's most unintentionally funny movie so far - if it weren't also the most homophobic.
    • 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.
    • 31 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.
    • 33 Metascore
    • 25 Lou Lumenick
    The Caller qualifies as something of a Holocaust movie, with flashbacks to World War II France. Guess who the two boys we see grow up to be?
    • 39 Metascore
    • 25 Lou Lumenick
    Lumpy, preachy and soporific.
    • 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.
    • 22 Metascore
    • 25 Lou Lumenick
    Excruciatingly bad.
    • 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.
    • 37 Metascore
    • 25 Lou Lumenick
    Shapeless, sloppy, badly paced mess.
    • 9 Metascore
    • 25 Lou Lumenick
    Spectacularly awful.
    • 34 Metascore
    • 25 Lou Lumenick
    I was kind of rough on "Apocalypto," which in retrospect seems like a minor classic compared to 10,000 BC.
    • 27 Metascore
    • 25 Lou Lumenick
    Catwoman is pretty well summed up by Hedare: “This is a disaster. It’s a total bloody disaster.”
    • 42 Metascore
    • 25 Lou Lumenick
    Quite a slog, with most of the acting strictly amateurish save the veteran Ed Lauter as a fish and game inspector.
    • 56 Metascore
    • 25 Lou Lumenick
    All the tedium of an endless trans-Atlantic flight gets packed into the 105 minutes of Non-Stop.
    • 58 Metascore
    • 25 Lou Lumenick
    Rarely has a documentary been so pleased with itself - with so little justification.
    • 36 Metascore
    • 25 Lou Lumenick
    Loud and unfunny, this cheesy-looking farce is mostly an excuse for a series of plugs.
    • 31 Metascore
    • 25 Lou Lumenick
    An instant candidate for worst movie of the year.
    • 20 Metascore
    • 25 Lou Lumenick
    An assembly-line high-school comedy that flunks miserably in all three subjects.
    • 52 Metascore
    • 25 Lou Lumenick
    A deadly dull, by-the-numbers rendition of the Nativity story.
    • 42 Metascore
    • 25 Lou Lumenick
    You know you’re in for a long haul when Kate Winslet’s clipboard-wielding Jeanine, leader of the Erudite faction, comes off less like a Hillary Clinton than a weary Applebee’s supervisor at the end of a 14-hour shift in this plodding sequel to “Divergent.”
    • 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.
    • 28 Metascore
    • 25 Lou Lumenick
    An ugly, unfunny, headache-inducing fairy-tale spoof.
    • 27 Metascore
    • 25 Lou Lumenick
    A vulgar, grating alleged "family" comedy.
    • 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.
    • 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.
    • 61 Metascore
    • 25 Lou Lumenick
    It doesn’t add up to much of anything exciting, even with an appearance by Isabella Rossellini (of Lynch’s “Blue Velvet’’) as the mother of one of the doubles.
    • 34 Metascore
    • 25 Lou Lumenick
    Just to give you a taste of the movie's sophisticated idea of wit, it also makes fun of gay men.
    • 38 Metascore
    • 25 Lou Lumenick
    An overwrought and patently offensive anti- abortion drama from the director of the accomplished "House of Sand and Fog."
    • 24 Metascore
    • 25 Lou Lumenick
    Some handsome location shooting in New Orleans doesn’t make up for the Oscar winners’ relentless hamming and a plot that twists way beyond credibility.
    • 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.
    • 27 Metascore
    • 25 Lou Lumenick
    A schmaltz-laden soap opera from Saskatchewan.
    • 22 Metascore
    • 25 Lou Lumenick
    Painfully stupid.
    • 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.
    • 39 Metascore
    • 25 Lou Lumenick
    So over the top that it often plays like a parody.
    • 33 Metascore
    • 25 Lou Lumenick
    A pathetic stoner comedy.
    • 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.
    • 40 Metascore
    • 25 Lou Lumenick
    The talented cast doesn't stand much of a chance in this rambling, pointless narrative.
    • New York Post
    • 26 Metascore
    • 25 Lou Lumenick
    Thirty years after "Annie Hall," the beloved actress is scraping below the bottom of the barrel with this desperately unfunny farce, in which she mugs and pratfalls in the worst performance of her entire career.
    • 37 Metascore
    • 25 Lou Lumenick
    A maudlin and unintentionally hilarious romantic weepie.
    • New York Post
    • 48 Metascore
    • 25 Lou Lumenick
    It's a shame, because the actors are so much better than the threadbare material.
    • 52 Metascore
    • 25 Lou Lumenick
    Overlong and not well-acted.
    • 65 Metascore
    • 25 Lou Lumenick
    The Oscar-winning director of "Rain Man" - whose last film, the abysmal documentary "PoliWood" never went much further than the Tribeca Film Festival - demonstrates he can make a shakycam found-footage horror movie every bit as fake-looking, clumsy and unscary as your average college student working on a $200 budget.
    • 67 Metascore
    • 25 Lou Lumenick
    Neither a concert film nor a documentary but a ghoulish “event” offered just in time for Halloween, This is It is sadly -- and reprehensively, if you ask me -- the movie equivalent to the National Enquirer’s infamous post-mortem shot of Elvis Presley.
    • 41 Metascore
    • 25 Lou Lumenick
    “Short Circuit” meets “RoboCop” — with asides to “WALL-E,” “E.T.,” “The Road Warrior” and many other better movies — in Chappie, an interminable, violent, incoherent and wearying R-rated sci-fi action comedy.
    • 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.
    • 49 Metascore
    • 25 Lou Lumenick
    Apprently novice filmmaker Angela Ismailos' definition of a Great Director is one who's willing to sit or walk with her while she lobs innocuous questions and gives herself lots of awed close-up reaction shots.
    • 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."
    • 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.
    • 68 Metascore
    • 25 Lou Lumenick
    The Hateful Eight is basically an expensive vanity project allowing Tarantino to expound on his bizarre theories about race relations.
    • 28 Metascore
    • 25 Lou Lumenick
    The latter is played by Parker Posey, who looks baffled throughout. As well she should.
    • 33 Metascore
    • 25 Lou Lumenick
    So bad it's awful.
    • 52 Metascore
    • 25 Lou Lumenick
    The Spanish Inquisition was better summed up in an eight-minute musical number by Mel Brooks than in the entirety of Goya's Ghosts, an across-the-board disaster from one of my favorite directors, Milos Forman.
    • 36 Metascore
    • 25 Lou Lumenick
    Soporific, shamelessly derivative and barely coherent by American standards.
    • 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
    • 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.
    • 50 Metascore
    • 25 Lou Lumenick
    Child of God is, like the source novel, loosely inspired by the notorious real-life cannibal murderer Ed Gein. So was Alfred Hitchcock’s “Psycho.’’ Nobody left that classic bored — but they sure will be by Franco’s film.
    • 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.
    • 45 Metascore
    • 25 Lou Lumenick
    In the fourth and by far the worst screen version of "The Invasion of the Body Snatchers," Nicole Kidman's character struggles to stay awake - as will the audience.
    • 39 Metascore
    • 25 Lou Lumenick
    The cowardly producers have banished the grit and darkness of Parker’s original.
    • 33 Metascore
    • 25 Lou Lumenick
    Never rises much above yawn-worthy.
    • 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
    • 57 Metascore
    • 25 Lou Lumenick
    Though it tries — with a much too heavy hand — the new Evil Dead is far less humorous than its predecessor.
    • 42 Metascore
    • 25 Lou Lumenick
    Lethargic direction, bland visuals, credulity-straining plotting and tin-eared dialogue turn even pros like Rebecca Hall, Paul Bettany and Morgan Freeman into sleepwalking bores.
    • 56 Metascore
    • 25 Lou Lumenick
    Dreamworks Animation's clunky and wildly unimaginative Monsters vs. Aliens really doesn't have a clue what to do with the [3-D] technique.
    • 54 Metascore
    • 25 Lou Lumenick
    I'd call Diary of a Wimpy Kid: Dog Days harmless if it weren't for some totally unnecessary gay-panic jokes that could actually encourage bullying.
    • 55 Metascore
    • 25 Lou Lumenick
    Well, it smells, all right, but authentic isn't the word I'd use for this maudlin male weepie, a compendium of the worst clichés of sports and journalism movies.
    • 51 Metascore
    • 25 Lou Lumenick
    Hyperactive.
    • 34 Metascore
    • 25 Lou Lumenick
    It's nicely photographed but slow-moving, dull and utterly predictable.
    • 52 Metascore
    • 25 Lou Lumenick
    Purposely amateurish.
    • 38 Metascore
    • 25 Lou Lumenick
    A cringeworthy, unfunny example of a culture-clash romantic comedy.
    • 32 Metascore
    • 25 Lou Lumenick
    Painfully unfunny spoof.
    • 27 Metascore
    • 25 Lou Lumenick
    A baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise.
    • 30 Metascore
    • 25 Lou Lumenick
    Endlessly lame.
    • 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.
    • 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.
    • 34 Metascore
    • 25 Lou Lumenick
    Deadly dull.
    • 41 Metascore
    • 25 Lou Lumenick
    You'd be better off renting Demi Moore's "Striptease."
    • 45 Metascore
    • 25 Lou Lumenick
    One of my critical brethren opined that this sort of dumbing-down and low comedy may be the only way to sell the public a movie about the Iraq war. If that's true, God help us.
    • 63 Metascore
    • 25 Lou Lumenick
    The only thing remotely scary about Monsters is that Magnolia is releasing this boring scare-, suspense- and gore-free horror movie (which reportedly cost less than $100,000) on Halloween weekend.
    • 36 Metascore
    • 25 Lou Lumenick
    A charmless, unscary, fatuous and largely incoherent fairy tale.
    • 36 Metascore
    • 25 Lou Lumenick
    The choppily edited and thoroughly wooden Serena utterly fails to catch fire, even when everything literally goes up in flames. So despite its big stars, it’s getting only a token theatrical release.
    • 38 Metascore
    • 25 Lou Lumenick
    Things rapidly go downhill in this pinch-penny production.
    • New York Post
    • 25 Metascore
    • 25 Lou Lumenick
    The often difficult-to-follow plot is sort of "Traffic" for nitwits.
    • New York Post
    • 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.
    • 44 Metascore
    • 25 Lou Lumenick
    Save your money and wait for the new 3-D version of the 1939 classic that Warner Bros. has promised for later this year.
    • 66 Metascore
    • 25 Lou Lumenick
    If I weren't already being paid to watch this movie, I'd feel entitled to compensation for having to sit through this many product plugs.
    • 59 Metascore
    • 25 Lou Lumenick
    This masturbatory exercise is the least revealing "documentary" since Jerry Seinfeld's "Comedian."
    • 47 Metascore
    • 25 Lou Lumenick
    After a slightly promising start, this great-looking but ultimately deeply confusing and unscary sci-fi/horror opus turns into a quite boring rehash of M. Night Shyamalan's post-"Signs" films.
    • 46 Metascore
    • 25 Lou Lumenick
    Exploitation curiosity.
    • 35 Metascore
    • 25 Lou Lumenick
    A totally ridiculous and incoherent sci-fi adventure.
    • 24 Metascore
    • 25 Lou Lumenick
    Cisneros is an appealing actor, but he and Falling Awake get buried under a welter of clichés.
    • 68 Metascore
    • 25 Lou Lumenick
    A real head-scratcher that somehow won the grand jury prize at this year's Sundance Film Festival.
    • 37 Metascore
    • 25 Lou Lumenick
    This is a terminally whimsical vanity project that would probably have been a chore to sit through even in its original intended format, a 20-minute stage monologue.
    • 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.
    • 23 Metascore
    • 25 Lou Lumenick
    Desperately unfunny and unexciting.
    • 38 Metascore
    • 25 Lou Lumenick
    The movie spins further and further into coincidence and incoherence.
    • 26 Metascore
    • 25 Lou Lumenick
    A collection of product plugs masquerading as a movie en route to home video.
    • 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.
    • 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.
    • 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.
    • 14 Metascore
    • 25 Lou Lumenick
    Arguably the most insipid movie released so far this century.
    • 36 Metascore
    • 25 Lou Lumenick
    More "the mild one" than "The Wild One."
    • 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.
    • 53 Metascore
    • 25 Lou Lumenick
    Hollywood’s ongoing campaign to remake every horror movie of the 1970s and ’80s has finally caught up with the Stephen King-Brian De Palma classic “Carrie,’’ and the results are distressingly anemic, pig blood and all.
    • 18 Metascore
    • 12 Lou Lumenick
    A skin-crawlingly unfunny riff on Woody Allen's "Bananas."
    • New York Post
    • 31 Metascore
    • 12 Lou Lumenick
    There isn't a remotely believable moment in the script here, and Kramer's leaden direction only helps strand a capable cast headed by Heather Graham in an hour and a half of virtual laugh-free tedium.
    • 29 Metascore
    • 12 Lou Lumenick
    Epic waste of celluloid.
    • 33 Metascore
    • 12 Lou Lumenick
    A creepy, depressing and leering "comedy" that's a virtual collection of "What were they thinking?" moments.
    • 31 Metascore
    • 12 Lou Lumenick
    Only Bryan Cranston, as Teller’s downsized dad, emerges with his dignity fully intact from Get a Job, whose scattershot direction is credited to Dylan Kidd (“Roger Dodger”).
    • 20 Metascore
    • 12 Lou Lumenick
    Even if it weren't three years too late to parody Moore (ineptly played by Kevin Farley), Moore's ridiculous tribute to Cuban health care in "Sicko" is far funnier than anything in this desperately laughless farce from David Zucker ("Scary Movie 3").
    • 25 Metascore
    • 12 Lou Lumenick
    De Niro mostly looks miserable and very tired (a document glimpsed on-screen hilariously claims his character was born in 1970) and prattles on endlessly about forgetting the past.
    • 34 Metascore
    • 12 Lou Lumenick
    The geniuses behind the new film just don’t understand the difference between genuine subversiveness and pointless vulgarity.
    • 38 Metascore
    • 12 Lou Lumenick
    Don't even think of visiting this French fiasco.
    • New York Post
    • 32 Metascore
    • 12 Lou Lumenick
    Will Ferrell's terminally stupid, sloppy, campy and cheesy -- and thoroughly unexciting and unfunny -- experiment in "family entertainment."
    • 23 Metascore
    • 12 Lou Lumenick
    A painfully earnest and totally unfunny magic-realist fable set on the Lower East Side that works in no way whatsoever.
    • 30 Metascore
    • 12 Lou Lumenick
    The only truly lethal weapons in the criminally unfunny action comedy Let’s Be Cops are the lame script, putrid direction and pair of sitcom stars mugging nonstop in frantic pursuit of laughs that have fled over the state line.
    • 63 Metascore
    • 12 Lou Lumenick
    This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.
    • 40 Metascore
    • 12 Lou Lumenick
    More than lives up to its name with ultra-campy performances, high-glucose direction, laughable dialogue, cheesy effects and a back-lot simulation of a Manhattan street that wouldn't pass muster on an after-school special.
    • 39 Metascore
    • 12 Lou Lumenick
    If you thought Matthew Broderick looked uncomfortable playing “himself” in “Trainwreck,” wait till you get a load of the actor portraying a married man who wonders if he’s gay in Neil LaBute’s mean-spirited comedy Dirty Weekend.
    • 37 Metascore
    • 12 Lou Lumenick
    The movie has two modes - very loud and extremely loud - and all of the actors are encouraged to mug their hearts out. That even includes Cusack's real-life sister Joan, normally one of the most reliable performers in the business.
    • 25 Metascore
    • 12 Lou Lumenick
    Sandler's latest ode to projectile vomiting, passing gas, gay jokes and physical insults to the groin is basically a feeble cross between "The Revenge of the Nerds" and "The Bad News Bears."
    • 32 Metascore
    • 12 Lou Lumenick
    Beyond-lame satire.
    • 31 Metascore
    • 12 Lou Lumenick
    One bad movie -- in the original sense of the word.
    • New York Post
    • 13 Metascore
    • 12 Lou Lumenick
    Stinko movies often unwittingly critique themselves -- and the brain-dead romantic comedy Down to You (which Miramax understandably didn't screen in advance for critics) is no exception.
    • New York Post
    • 9 Metascore
    • 12 Lou Lumenick
    A low-end scam by Lions Gate Films -- whose recent "The Wash" was a masterpiece by comparison.
    • 30 Metascore
    • 12 Lou Lumenick
    An impressive supporting cast can't save this painfully unfunny, ham-fisted mockumentary poking fun at reality TV shows.
    • 30 Metascore
    • 12 Lou Lumenick
    Zookeeper barely avoids a zero-star rating because of James.
    • 55 Metascore
    • 12 Lou Lumenick
    The title It's About You is something Kurt Markus claims Mellencamp told him when he commissioned the film. With the elder Markus' self-important, egotistical narration rarely shutting up, it was a fairly prophetic remark.
    • 55 Metascore
    • 12 Lou Lumenick
    Vanity, thy name is Kevin Spacey.
    • 49 Metascore
    • 12 Lou Lumenick
    His late father directed "Rambo: First Blood,'' but Panos Cosmatos' debut feature couldn't be more different - this would-be cult classic is the movie equivalent of gazing at a lava lamp for nearly two hours.
    • 18 Metascore
    • 12 Lou Lumenick
    Misconceived, bloated and incredibly ugly fantasy epic.
    • 27 Metascore
    • 12 Lou Lumenick
    A movie so pathetically lame that hopefully even Spears most ardent young fans will give this stinker a big thumbs down.
    • 33 Metascore
    • 12 Lou Lumenick
    The worst Hollywood musical so far this century, it’s another misstep for Sony Pictures, which also sponsored the abortive ‘‘The Interview.’’
    • 47 Metascore
    • 12 Lou Lumenick
    An unholy mess.
    • 46 Metascore
    • 12 Lou Lumenick
    This would be a stultifyingly incestuous affair even if all the jokes about fertilization weren't so tiresomely lame and predictable.
    • New York Post
    • 23 Metascore
    • 0 Lou Lumenick
    It's pretty sad if you're a comic and Al Pacino is the funniest thing in your movie.
    • 21 Metascore
    • 0 Lou Lumenick
    Virtually unwatchable and laugh-free.
    • 24 Metascore
    • 0 Lou Lumenick
    Brain-dead film.
    • 47 Metascore
    • 0 Lou Lumenick
    Brain-dead political satire/tear-jerker.
    • 44 Metascore
    • 0 Lou Lumenick
    If a more incoherent and self-indulgent movie has been released so far this century, I'm not aware of it.
    • 41 Metascore
    • 0 Lou Lumenick
    This painfully unfunny mockumentary about obsessive collectors of frozen-food entrees takes potshots at anti-abortionists, Christian rockers, aversion therapy for gays and the disabled -- and misses almost every time.
    • 20 Metascore
    • 0 Lou Lumenick
    If M. Night Shyamalan sold his soul to the devil for the success of "The Sixth Sense," I think His Satanic Majesty has finally collected in full with The Last Airbender.
    • 24 Metascore
    • 0 Lou Lumenick
    A relentlessly dull film that's shot on eyeball-gougingly ugly digital video.
    • 39 Metascore
    • 0 Lou Lumenick
    Overblown, interminable and unfunny.
    • 36 Metascore
    • 0 Lou Lumenick
    Aeon Flux is by far the year's worst movie, a most dubious achievement.
    • 19 Metascore
    • 0 Lou Lumenick
    Skin-crawlingly awful.
    • 33 Metascore
    • 0 Lou Lumenick
    It's the worst of both worlds as Disney cash cow Miley Cyrus makes the most dubious "dramatic" debut of any singer since Britney Spears.
    • 37 Metascore
    • 0 Lou Lumenick
    Lethargically paced, badly edited and shot in hideous digital video.
    • 6 Metascore
    • 0 Lou Lumenick
    It's a totally inept and unfunny parody of the TV show "Cops."
    • New York Post

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