Luke Y. Thompson

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For 444 reviews, this critic has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

Luke Y. Thompson's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Black Hawk Down
Lowest review score: 0 Unfaithful
Score distribution:
  1. Negative: 79 out of 444
444 movie reviews
    • 45 Metascore
    • 60 Luke Y. Thompson
    Try to forget about Michael Gambon in Potter's original BBC miniseries; Keith Gordon's film is its own thing, full of Brechtian artifice and oddball humor -- Mel Gibson's old man act in particular.
    • 43 Metascore
    • 60 Luke Y. Thompson
    This movie is, essentially, porn, and whether it's a turn-on is likely to be subjective to each viewer. Those who find traditional porn too artificial should be pleased.
    • 62 Metascore
    • 60 Luke Y. Thompson
    That sweet streak has grown, like a cancer, and gradually killed off any of the edge their (Farrellys) humor may have once had.
    • 47 Metascore
    • 60 Luke Y. Thompson
    When the movie works, it gleefully skewers the clichés of the buddy cop genre... When it doesn't work, it's exactly what it purports to be lampooning--a lame, boring cop buddy movie.
    • 63 Metascore
    • 60 Luke Y. Thompson
    It's moderately compelling drama, but also fairly static stuff, image-wise.
    • 31 Metascore
    • 60 Luke Y. Thompson
    If your expectations aren't too high, there's lots of cool shit on-screen.
    • 32 Metascore
    • 60 Luke Y. Thompson
    Director Stephen T. Kay (The Last Time I Committed Suicide) busts off some cool shots, and Eric Kripke's story is pretty sound until the finale. Worth a look for horror fans, but nothing classic.
    • 48 Metascore
    • 60 Luke Y. Thompson
    xXx
    Doesn't hit a home run on every action sequence -- an early bit set in Colombia is too long and too disjointed -- but there are one or two bits in the movie's latter third that are guaranteed to hook action fans.
    • New Times (L.A.)
    • 55 Metascore
    • 60 Luke Y. Thompson
    Silly, yes, but sweet and fun too.
    • 48 Metascore
    • 60 Luke Y. Thompson
    Is it worth the goofy characters and weak story for the effects and action sequences? Absolutely.
    • 44 Metascore
    • 60 Luke Y. Thompson
    The movie works while you watch it, with plenty of scares both sudden and psychological.
    • 37 Metascore
    • 60 Luke Y. Thompson
    Actually boasts a decent script with character development, a sense of pace and some well-drawn supporting roles.
    • 65 Metascore
    • 60 Luke Y. Thompson
    For all its flaws, though, Solaris is a good try, and a definite improvement over the dull remakes Soderbergh has been sleepwalking through lately.
    • 54 Metascore
    • 60 Luke Y. Thompson
    The new documentary Porn Star: The Legend of Ron Jeremy shows, all is not quite as it seems.
    • New Times (L.A.)
    • 61 Metascore
    • 60 Luke Y. Thompson
    Laurel Canyon lacks the sense of risk that "High Art" had, and in doing so, emasculates its apparent protagonist in Sam.
    • 52 Metascore
    • 60 Luke Y. Thompson
    As family reunion trauma flicks go, The Sea is by no means up to the standards of Thomas Vinterberg's "The Celebration," but it does make clear that Kormákur is a director whose evolution will be interesting to watch.
    • 46 Metascore
    • 60 Luke Y. Thompson
    Saw
    It's brutal horror, where anyone can die at any time, and gorehounds will love it. Average folks may find it too intense.
    • 42 Metascore
    • 60 Luke Y. Thompson
    Actually quite agreeable, but only because of a group of actors who are able to salvage the paper-thin material.
    • 45 Metascore
    • 60 Luke Y. Thompson
    The opening credits -- animated sequences that spoof airline safety cards -- are a high point, but if you're not a prude, the rest of the flick ain't bad either.
    • 57 Metascore
    • 60 Luke Y. Thompson
    Assisted Living's overall mix doesn't quite jell, though there are worthwhile moments.
    • 36 Metascore
    • 60 Luke Y. Thompson
    One of those genially paced, character-driven indies, and succeeds as such very well.
    • New Times (L.A.)
    • 23 Metascore
    • 60 Luke Y. Thompson
    Once you get past the inherent silliness of the premise, what we've got here is actually a deft little chiller, stylishly directed despite the so-so cast.
    • 38 Metascore
    • 60 Luke Y. Thompson
    Robert Rodriguez and his kids conjure up a charming 3-D fantasy.
    • tbd Metascore
    • 60 Luke Y. Thompson
    There are no stunning revelations herein, but then, that's not why you're going to go see it, is it?
    • 64 Metascore
    • 60 Luke Y. Thompson
    Neorealism it ain't, but if you have a sufficiently long attention span, there are moments of laugh-out-loud absurdity that are worth the price of admission.
    • 45 Metascore
    • 60 Luke Y. Thompson
    The skeleton's a hoot, and the score, credited to the solo-monikered Valentino, is pitch-perfect. Some judicious editing would make a huge improvement, however, because even at 90 minutes, it feels like Blamire's stretching the joke a bit thin.
    • 69 Metascore
    • 60 Luke Y. Thompson
    Give Care and McFarlane points for trying to do something innovative with the same old thing. But realize that, as spruced up as the facade may be, this movie is indeed still the same old thing.
    • New Times (L.A.)
    • 63 Metascore
    • 60 Luke Y. Thompson
    John Leguizamo, in a rare watchable performance.
    • 51 Metascore
    • 60 Luke Y. Thompson
    It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.
    • 71 Metascore
    • 60 Luke Y. Thompson
    Fans of Arthur C. Clarke may be pleased, but fans of serious biology may bust out laughing at the goofily rendered aliens who show up.
    • 60 Metascore
    • 60 Luke Y. Thompson
    If you can cast all semblance of logic aside, it's sort of fun.
    • 47 Metascore
    • 60 Luke Y. Thompson
    That there's moral ambiguity to his actions represents some sort of step up from the cinematic norm. Alas, Christopher Walken has very little to do as Creasy's best buddy.
    • 71 Metascore
    • 60 Luke Y. Thompson
    Some won't appreciate the mix of tones, but none of the humor cheapens the film's final blow, nor is it designed to condone terrorism in any way.
    • 54 Metascore
    • 60 Luke Y. Thompson
    If you don't know who to vote for by now, whatever you do, don't see this movie. It's only going to tell you bad things. We're having fun here, right?
    • 70 Metascore
    • 60 Luke Y. Thompson
    There could have been life in the material, but no one involved save Hurt and Collins seems to have taken the time to find it.
    • 73 Metascore
    • 60 Luke Y. Thompson
    Mostly, Mysterious Skin creeps you out, and not in any kind of fun way. There's an artfulness to it, but it's hard to imagine many viewers actually using the term "enjoyed" or "entertained" in conjunction with it.
    • 52 Metascore
    • 60 Luke Y. Thompson
    Undeniably interesting, but not entirely successful.
    • tbd Metascore
    • 60 Luke Y. Thompson
    By movie's end what began as an occasionally tragic comedy has slowly and effectively become a grand metaphor for the journey of life.
    • 38 Metascore
    • 60 Luke Y. Thompson
    In general, Bad Boys II is Bay unleashed. This is a good thing when it comes to action sequences--fans of excessive spectacle will definitely dig the car chases that involve flying cadavers. It's a bit less of a good thing between said moments of spectacle.
    • 49 Metascore
    • 60 Luke Y. Thompson
    Perhaps realizing that rare performances in snoozers like "The Horse Whisperer" and "The Last Castle" weren't doing him (Redford) any favors, he seems to have entered a new phase in his career, with a wealth of old man roles now open to him. He was very good in last year's "The Clearing;" he's better in this.
    • 46 Metascore
    • 60 Luke Y. Thompson
    As ridiculous as it all is...it's somehow eminently watchable.
    • 35 Metascore
    • 60 Luke Y. Thompson
    The movie gets bogged down in dull dialogue, despite some truly impressive special effects and a hilariously silly CG devil who closely resembles his counterpart from the PlayStation game Tekken 2.
    • 23 Metascore
    • 60 Luke Y. Thompson
    Definitely merits its R rating with a fearless approach that will earn genuine laughs as it turns a few stomachs. Yes, a Rob Schneider movie that's funny. Strange but true.
    • 59 Metascore
    • 60 Luke Y. Thompson
    Lee, who played the retro groove thang broadly in "Undercover Brother," dives so wholeheartedly and unironically into this movie about, yes, roller disco, that any faults seem minor.
    • 46 Metascore
    • 60 Luke Y. Thompson
    It's all fairly brilliantly twisted, but it seems that series creator Don Mancini has utterly given up on scares -- there's only one decent shock toward the very end.
    • 62 Metascore
    • 60 Luke Y. Thompson
    Doesn't quite scale the heights it could and should, often because of its inappropriate humor, which could be blamed on cultural mistranslation.
    • 61 Metascore
    • 60 Luke Y. Thompson
    Particularly unsuitable for cinematic adaptation, but when has that ever stopped anyone.
    • 46 Metascore
    • 60 Luke Y. Thompson
    The movie does find fresh ways to tweak the formula, making it more than the sum of its broad strokes.
    • 55 Metascore
    • 60 Luke Y. Thompson
    To call it a conservative or Republican film would be inaccurate: For one thing, it celebrates (gasp!) multiculturalism and diversity. For another, the closest it ever comes to expressing a political viewpoint is when a metal sculptor advocates more art education in schools.
    • 68 Metascore
    • 60 Luke Y. Thompson
    Paradoxically, this technique both keeps you from getting to know the soldiers better and puts you completely in their boots, understanding directly that (as one character puts it) war is boredom punctuated by moments of sheer terror.
    • 76 Metascore
    • 60 Luke Y. Thompson
    A film worth your time, and if you know going into it that there's no closure, it'll give you all the more freedom to enjoy what IS there.
    • 54 Metascore
    • 60 Luke Y. Thompson
    Sometimes it bounces along, other times it feels forced. Kids and hardcore fans will love it regardless, and those who don't will nonetheless be talking about it for the next three years.
    • New Times (L.A.)
    • 40 Metascore
    • 60 Luke Y. Thompson
    Kaena resembles the Jim Henson fantasy in many ways, from its visual imagination and creature design to the hideousness of its more humanoid characters (except Kaena, who's a babe) and the general mediocrity of the voice acting.
    • 61 Metascore
    • 60 Luke Y. Thompson
    When the action sequences work, they work well; the climax cribs heavily from 1989's "Batman," but improves on Tim Burton's finale.
    • 47 Metascore
    • 60 Luke Y. Thompson
    It's composed of really long scenes that are mostly dialogue, with transition action imagined or implied only. Couldn't we go outside for at least one scene?
    • New Times (L.A.)
    • 38 Metascore
    • 60 Luke Y. Thompson
    A surprisingly efficient B-grade revenge pic.
    • 60 Metascore
    • 60 Luke Y. Thompson
    Levin's on-camera presence is warm, wry and even-tempered, and he never feels the need to rub anything in.
    • 66 Metascore
    • 60 Luke Y. Thompson
    Isn't as funny as it should be. Cedric's speech impediment only goes so far -- he's actually funnier in Serving Sara, without having to rely on a big wig to do his acting for him.
    • New Times (L.A.)
    • 30 Metascore
    • 60 Luke Y. Thompson
    Many of the dilemmas that are established never pay off, and there is no clear protagonist or antagonist. To make matters even murkier, the movie is poorly shot in visually uninteresting locations with constant soft focus. That said, it's also damn funny.
    • 44 Metascore
    • 60 Luke Y. Thompson
    Deserves an A for ambition, but the final product is a pastiche of too many predecessors.
    • 60 Metascore
    • 60 Luke Y. Thompson
    The problem with Spartan isn't so much that it's mediocre, but that it could be a whole lot better.
    • 32 Metascore
    • 60 Luke Y. Thompson
    If you like stuff breaking in THX, Swordfish delivers like no other this year. Bring earplugs.
    • 41 Metascore
    • 60 Luke Y. Thompson
    Either a bit more humor or a bit more heart could exponentially improve things.
    • 66 Metascore
    • 60 Luke Y. Thompson
    As a date-night movie for women of 50 or thereabouts, chances are it'll do the trick.
    • 68 Metascore
    • 60 Luke Y. Thompson
    Simmons plays it understated, conveying a sad-sack quality that's more relatable than Charley's irrational catatonia. The movie should have been about him instead.
    • 66 Metascore
    • 60 Luke Y. Thompson
    Fright fans could do a lot worse than The Eye; the Pangs have talent, but when they realize that a film isn't the same thing as a feature-length commercial, perhaps they'll provide us with some more original visions.
    • 70 Metascore
    • 60 Luke Y. Thompson
    If you're not in the mood for explicit discussions (and occasional depictions) of the sex life of French adolescents, close your eyes.
    • 44 Metascore
    • 60 Luke Y. Thompson
    Certainly delivers violence and heroics, but not in a way everyone is going to enjoy -- it's brutal and harrowing.
    • 46 Metascore
    • 50 Luke Y. Thompson
    Writer-director Daniel Taplitz seems to be trying to invoke classic screwball with this convoluted setup, but it plays like mediocre sitcom.
    • 38 Metascore
    • 50 Luke Y. Thompson
    The animation looks good, especially when CG-enhanced, but the Rugrats babies' constant snot jokes, bug-eating and "cute" mispronunciations grate after a while.
    • 48 Metascore
    • 50 Luke Y. Thompson
    Don't go to this movie looking to be actually scared, but as a gothic romp it's surprisingly effective.
    • 66 Metascore
    • 50 Luke Y. Thompson
    There's a lot of imagination at work here; too bad just a little bit of it couldn't have been channeled into the creation of a better narrative.
    • 31 Metascore
    • 50 Luke Y. Thompson
    All of the plot developments seem half-hearted -- which is a shame, because the star has the charm to succeed if given a better movie.
    • 27 Metascore
    • 50 Luke Y. Thompson
    If it weren't for Murray, there'd be nothing at all to the film, which forgets all conventional notions of story or characterization.
    • 45 Metascore
    • 50 Luke Y. Thompson
    50 Cent sounds articulate in his raps, but as a lead actor, he talks like his mouth is filled with food.
    • 36 Metascore
    • 50 Luke Y. Thompson
    Kusama offers moments of inspiration, but it frustrates like hell that she couldn't nail it completely.
    • 41 Metascore
    • 50 Luke Y. Thompson
    The whole thing is best enjoyed while really drunk.
    • New Times (L.A.)
    • 58 Metascore
    • 50 Luke Y. Thompson
    Only Kerry Condon, as Freeman's geeky adopted daughter, plays anything approaching a realistic character.
    • 47 Metascore
    • 50 Luke Y. Thompson
    Where are our Tracy/Hepburn screwball combos? Part of the appeal of "Wedding Crashers" was that Isla Fisher truly did have the comedic chops to match Vince Vaughn, and Just Friends suggests that Reynolds and Faris have potential greatness together too. Just not so much in this film.
    • 36 Metascore
    • 50 Luke Y. Thompson
    Sure, it's amusing, but it isn't much more.
    • 53 Metascore
    • 50 Luke Y. Thompson
    O
    The film generally looks like a TV special, with low production values and lots of closeups.
    • 43 Metascore
    • 50 Luke Y. Thompson
    Kennedy is funny, but too cartoonish to ever identify with -- Diggs and Anderson are the real stars of the show, and need more screen time.
    • 45 Metascore
    • 50 Luke Y. Thompson
    The Broken Lizard types bring the best out of Paxton, only to abandon him in the second half and focus on themselves. A bit more humility might have served them in better stead.
    • 46 Metascore
    • 50 Luke Y. Thompson
    Feels like two films that aren't closely related enough, either tonally or narratively, to warrant their intertwining.
    • 13 Metascore
    • 50 Luke Y. Thompson
    The film is a somewhat disjointed affair that, like the man himself (Green), is occasionally brilliant, frequently repetitive and sometimes merely annoying.
    • 55 Metascore
    • 50 Luke Y. Thompson
    The world of football riots seems rife with potential for the big screen, but Green Street Hooligans only periodically rises to it.
    • 43 Metascore
    • 50 Luke Y. Thompson
    Against all odds, the American Pie movies have actually gotten a little better each time out, though that's certainly not to say that they're, uhhh, "masterpieces."
    • tbd Metascore
    • 50 Luke Y. Thompson
    Jeffrey Greeley's loving photography of the wintry landscapes is beautiful, but lead actor Jacob Lee Hedman is nowhere near as charismatic as he needs to be for a film with this few characters.
    • 50 Metascore
    • 50 Luke Y. Thompson
    Director Rob Connolly may well think he's upping the stakes by plunging his film into borderline horror territory, but in fact he's minimizing them.
    • 32 Metascore
    • 50 Luke Y. Thompson
    It seems like a slam-dunk pitch -- "Pretty Woman" with the genders reversed -- but there's one major problem: The whole hooker-fantasy bit is much more of a guy thing.
    • 48 Metascore
    • 50 Luke Y. Thompson
    It's a skillfully made film, but not especially fun to watch, and the apparent thesis that poverty justifies such acts doesn't quite wash.
    • 41 Metascore
    • 50 Luke Y. Thompson
    Rare is the star vehicle that is as poorly matched to its star as Drillbit Taylor, which casts Owen Wilson as a homeless Army deserter and con man, able to fool people into believing he's both a substitute teacher and a master of hand-to-hand combat.
    • 72 Metascore
    • 50 Luke Y. Thompson
    Where Bowling for Columbine is at its most valuable is in its examination of America's culture of fear as a root cause of gun violence.
    • 48 Metascore
    • 50 Luke Y. Thompson
    If you've never seen a Sandler movie, however, this isn't the one to start with. Proceed only if you're sure you like the guy.
    • 33 Metascore
    • 50 Luke Y. Thompson
    Feels dated in the post-9/11 world. But it would have felt passé and unnecessary regardless; it's the sort of film Michael Dudikoff, Chuck Norris and their ilk cranked out on a near-monthly basis when Reagan was president.
    • 71 Metascore
    • 50 Luke Y. Thompson
    If the Star Wars movies have taught us anything, it's that waiting 20 years for a new sequel by a guy named George can lead to disappointment.
    • 40 Metascore
    • 50 Luke Y. Thompson
    For folks who like a genuinely tense suspense film with heavy doses of black humor, however, this ought to do it.
    • 56 Metascore
    • 50 Luke Y. Thompson
    Ferrell and Warner, however, are distractions--the obligatory dose of "eccentricity" thrown in as seasoning to make the real story more digestible. But they serve instead as irritants; too much spice, if you will.
    • 30 Metascore
    • 50 Luke Y. Thompson
    A top-notch cast compensates for dubious credibility.
    • 68 Metascore
    • 50 Luke Y. Thompson
    Isn't a bad movie by conventional standards, just a boring one.
    • tbd Metascore
    • 50 Luke Y. Thompson
    The movie is therefore better than it ought to be, but without Douglas, it ought not to be at all
    • 53 Metascore
    • 50 Luke Y. Thompson
    It's a visually poetic style, and likely to find hardcore devotees, especially among the ranks of Terence Malick and Marc Forster fans. Others will just find it painfully slow.
    • 33 Metascore
    • 50 Luke Y. Thompson
    As by-the-numbers as VCR instructions. And, inexplicably, it's also a blast.
    • 34 Metascore
    • 50 Luke Y. Thompson
    Initially artsy, then campy, then tense, it would have worked better if writer-directors Peter and Michael Spierig had kept everything serious and let the inherent absurdism of zombie attacks speak for itself without additional ironic comment.
    • 25 Metascore
    • 50 Luke Y. Thompson
    No one in a McCulloch movie is ever normal -- most of the humor comes from characters saying or doing the weirdest thing you could possibly come up with in any given circumstance, and if that kind of humor's your bag, there's frequently a lot to enjoy in the bizarre antics of Green and Jason Lee,
    • New Times (L.A.)
    • 69 Metascore
    • 50 Luke Y. Thompson
    If you can roll with these moments, the rest of the film pays off, but even with a relatively happy ending (one that, given the characters in question, may not last), it's a heck of a downer for date night.
    • 70 Metascore
    • 50 Luke Y. Thompson
    It's arguably more "artful" to move at a snail's pace, but at the risk of tedium?
    • 35 Metascore
    • 50 Luke Y. Thompson
    It's not a movie one feels like hating, but the Hindi musical numbers aren't enough to elevate this over, say, "Pretty Woman."
    • 38 Metascore
    • 50 Luke Y. Thompson
    The film has a gritty, grainy look that matches the book's raw texture, and keeps the violence and drug abuse from ever looking slick or appealing.
    • 37 Metascore
    • 50 Luke Y. Thompson
    This reboot smartly doesn't try to escalate the material to bigger and better status, keeping things small and scrappy and relying on the fighters to be the best special effects.
    • 50 Metascore
    • 50 Luke Y. Thompson
    Lee's new racial satire starts out strong but loses its way.
    • 48 Metascore
    • 50 Luke Y. Thompson
    If Chicken Little were in 3-D, shown in a theme park as you sit in motion simulators, the lame gags might not be so much of a problem.
    • 48 Metascore
    • 50 Luke Y. Thompson
    Fortunately for the brothers, when your protagonist is personified as Jack Black, you can get away with a lot.
    • 62 Metascore
    • 50 Luke Y. Thompson
    What we're left with is half a movie about a cocky up-and-comer, and half a movie that could be one of those MTV Diary of... specials on Jerry Seinfeld.
    • 57 Metascore
    • 50 Luke Y. Thompson
    Mifune's radical stylings belie its clichéd core.
    • 33 Metascore
    • 50 Luke Y. Thompson
    A scattershot "urban" take on "Airplane!," Soul Plane misfires with its jokes at least as often as it hits (and less often than Snoop Dogg hits a joint), but when it works, laughs are generated.
    • 33 Metascore
    • 50 Luke Y. Thompson
    Yes, there are more cheap shocks this time around, and they're fun to watch, but you'll have forgotten most of them by the time you make it out to your car.
    • 62 Metascore
    • 50 Luke Y. Thompson
    Director Ali Abbasi excels at atmosphere, understanding that any beautiful landscape can be made terrifying with the right sound design and that a cut to a silent interior can be as jarring as any jump scare. His script, unfortunately, is not as interesting.
    • 51 Metascore
    • 50 Luke Y. Thompson
    Their (Tunney and Nelson) interplay is what saves the movie, and possibly should have been expanded upon to the exclusion of the other plot points.
    • New Times (L.A.)
    • 47 Metascore
    • 50 Luke Y. Thompson
    Unfortunately, the movie fails to fully make sense, which may be because it's based on a French novel (If Only It Were True by Marc Levy).
    • 48 Metascore
    • 50 Luke Y. Thompson
    Nothing deeper than a stale retread, it seems. And this is coming from a critic who listed the original "Charlie's Angels" movie as one of the top five films of 2000.
    • 61 Metascore
    • 50 Luke Y. Thompson
    Director Brad Anderson (Session 9) is usually really good at humanizing ambiguous characters, and he ultimately succeeds, but he has to fight against Scott Kosar's script.
    • 39 Metascore
    • 50 Luke Y. Thompson
    A unique and striking film for at least the first two-thirds of its running time, after which it turns, all too sadly, predictable and mundane
    • 44 Metascore
    • 50 Luke Y. Thompson
    The latest entry in the "next 'Full Monty'" sweepstakes.
    • 66 Metascore
    • 50 Luke Y. Thompson
    Much of Steamboy is actually reminiscent of "Wild Wild West," with a giant moving tower substituting for the giant spider, and the personalities of Will Smith and Kevin Kline being replaced by . . . no personality at all, really.
    • 48 Metascore
    • 50 Luke Y. Thompson
    Fortunately the film's humor kicks in with McKenzie Brothers Rick Moranis and Dave Thomas stealing the show as a dopey pair of moose. Could've done without Phil Collins's generic, annoying tunes.
    • 34 Metascore
    • 50 Luke Y. Thompson
    Like its predecessor, this cartoon adaptation is a bit too all over the place for its own good, never entirely clear on whether to play as parody or homage.
    • 73 Metascore
    • 50 Luke Y. Thompson
    If you're one of those people who complained that "Memento" could just as well have been told in chronological order, The Memory of a Killer may be your cup of tea.
    • 37 Metascore
    • 50 Luke Y. Thompson
    Everyone seems more relaxed this time around, including director Harold Ramis, who was presumably less intimidated now that he knows De Niro can be really funny and draw a large audience to a comedy.
    • 31 Metascore
    • 50 Luke Y. Thompson
    Part of the problem is that this First Daughter is modeled on good-girl Chelsea Clinton; a movie based on our current two party-girls-in-chief trying to embarrass their reformed alcoholic dad would be far more fun.
    • 53 Metascore
    • 50 Luke Y. Thompson
    Even Hartnett, designated Next Big Thing last year, seems like he's barely trying.
    • 27 Metascore
    • 50 Luke Y. Thompson
    Highbrow self-appointed guardians of culture need not apply, but those who loved "Cool as Ice" have at last found a worthy follow-up.
    • 42 Metascore
    • 50 Luke Y. Thompson
    At its best, Jurassic Park III is eerily similar to some of the more recent dinosaur-themed video games on the market.
    • 41 Metascore
    • 50 Luke Y. Thompson
    It makes it clearer than ever before that these films are comedy. Granted, the sick kind of comedy that involves laughing at stupid people being ripped in half, but we know there are plenty of you out there.
    • 46 Metascore
    • 50 Luke Y. Thompson
    The scenes involving just him (Carrey) are funny and full of life. All the other scenes are not.
    • 33 Metascore
    • 50 Luke Y. Thompson
    The score sucks and the acting is weak, but there are times when certain moviegoers just feel the need to stare far-fetched, blood-drenched death in the eye and laugh. It's here, so have at it.
    • 34 Metascore
    • 50 Luke Y. Thompson
    The movie ultimately cops out by culminating in a fistfight between two humans, with nary a cyborg missile-throwing devil in sight.
    • 61 Metascore
    • 50 Luke Y. Thompson
    Björk appears to have been a good influence on Barney: The soundtrack, which she supervised and participates in, is well worth the time for fans of experimental music. As to what the whole thing means, you're on your own.
    • 48 Metascore
    • 50 Luke Y. Thompson
    When it comes to World War II movies, you may never have seen one like this before -- if only because it's like three different movies at the same time.
    • 38 Metascore
    • 50 Luke Y. Thompson
    It's fun stuff, but nowhere near as cool as it should be.
    • 59 Metascore
    • 50 Luke Y. Thompson
    If you're a little girl in the Lisa Simpson mold, for whom the greatest wish-fulfillment in the world would be to have your own pony, then Dreamer just might be for you. Otherwise, no.
    • 62 Metascore
    • 50 Luke Y. Thompson
    In the hands of lesser mortals, this would add up to perhaps the worst movie of the year. In the hands of Denzel Washington, it manages to work magic on some who might not tolerate such shenanigans from, say, Chris Columbus.
    • 42 Metascore
    • 50 Luke Y. Thompson
    It's all a bit silly and predictable, but maybe that's the point.
    • 44 Metascore
    • 50 Luke Y. Thompson
    Unlike the original, there's no R-rated grit and no familial executions -- gotta get the young-skewing WWE fan base in there.
    • 54 Metascore
    • 50 Luke Y. Thompson
    Director Rob Marshall, as he did in "Chicago," plays the movie as though it's all an embellished memory inside the head of geisha Sayuri (Ziyi Zhang), but why would she remember everyone speaking in choppy English?
    • 57 Metascore
    • 50 Luke Y. Thompson
    Once you notice Ejiofor, you won't stop noticing--and Kinky Boots ensures that you will notice, thanks not only to the nature of his role, but also because there isn't much else here to get excited about.
    • 59 Metascore
    • 50 Luke Y. Thompson
    There are times when one suspects that this film potentially could be the raunchiest sitcom pilot ever.
    • 41 Metascore
    • 50 Luke Y. Thompson
    Essentially the movie's an excuse to show off cool gadgets and co-star Angie Harmon's cleavage.
    • 40 Metascore
    • 50 Luke Y. Thompson
    While some of Max's pranks are exhilarating and funny -- the movie takes too long setting things up and, once the pranks are over, dawdles to its inevitable conclusion.
    • 41 Metascore
    • 50 Luke Y. Thompson
    All the ladies get repeatedly naked, which, after all, is why you're going to go see it. And there's nothing wrong with that.
    • 59 Metascore
    • 50 Luke Y. Thompson
    It makes as good a case as any for the use of animation as a medium for serious, mature features.
    • 40 Metascore
    • 50 Luke Y. Thompson
    There's nothing particularly wrong with this whole setup; it's just very by-the-numbers.
    • 70 Metascore
    • 50 Luke Y. Thompson
    The setup's a bit reminiscent of "The English Patient" -- except that Beart's much easier on the eyes and ears than Ralph Fiennes is -- but Strayed is even slower moving, if you can believe it.
    • 64 Metascore
    • 50 Luke Y. Thompson
    Like most films of its type, Something New is not tough to sit through, but the thought of paying full price to see it isn't especially desirable.
    • 34 Metascore
    • 50 Luke Y. Thompson
    The fights are mostly cool, save the final one with too many quick cuts, and the morphing graffiti and tattoos are nifty. If only the rest of it weren't so stupid.
    • 55 Metascore
    • 50 Luke Y. Thompson
    Unfortunately, it's also pretty banal -- translating the songs into English reveals just how dull their lyrics and sentiments really are. The colors are pretty though.
    • 46 Metascore
    • 50 Luke Y. Thompson
    Your individual tolerance for Jimmy Buffett music will determine how well all the scenes set to his music go down.
    • 39 Metascore
    • 40 Luke Y. Thompson
    The movie's not without moments of genuine humor--no comedy starring Steve Martin could be--but sad to say, his Oscar-hosting gig two years ago was funnier.
    • 48 Metascore
    • 40 Luke Y. Thompson
    Film falls into the same trap as the book: a moderately interesting setup ultimately undone by an ending that makes the audience feel like fools for investing any sympathy with the characters.
    • 35 Metascore
    • 40 Luke Y. Thompson
    It's not a terrible premise -- It is, however, terribly executed.
    • 42 Metascore
    • 40 Luke Y. Thompson
    It isn't until Joe starts getting confident and cocky that Allen starts to feel a little more natural in the role, and by then the movie's plot has all but evaporated into a series of wispy gags that barely register.
    • 45 Metascore
    • 40 Luke Y. Thompson
    Is The Break-Up worth your time? Let's put it this way: Whenever Vaughn is onscreen, it is. When he's not, it ain't. The movie's a comedy, but it's also about a breakup, so it gets a bit maudlin toward the end.
    • 36 Metascore
    • 40 Luke Y. Thompson
    Rebound isn't funny.
    • 19 Metascore
    • 40 Luke Y. Thompson
    Some fairly standard shenanigans ensue, and when the clichéd high school culture clash stuff stops, there's clichéd cop movie stuff going on.
    • 31 Metascore
    • 40 Luke Y. Thompson
    No less amusing than an average sitcom, but that's certainly not reason enough to buy a ticket.
    • 29 Metascore
    • 40 Luke Y. Thompson
    Stallone's script is well structured, though the jaw-droppingly banal dialogue gives us little reason to care.
    • 42 Metascore
    • 40 Luke Y. Thompson
    High Tension often feels like a ’70s exploitation movie in the best sense; unfortunately, the ending is so bad that it mars everything that comes before.
    • 33 Metascore
    • 40 Luke Y. Thompson
    Nothing worse than a silly movie that takes itself seriously, that bores us to death while we wait for the finale that comes too late.
    • 40 Metascore
    • 40 Luke Y. Thompson
    It's hard to see why her audience seems so much more rabid than that of other, funnier comics. The secret seems to be in her appeal to the gay community.
    • 49 Metascore
    • 40 Luke Y. Thompson
    Too bad it isn't quite funny enough to be mistaken for "Jackass."
    • 32 Metascore
    • 40 Luke Y. Thompson
    It's not a bad film, exactly, just a confused one, too violent to be a straight romance and too focused on aid relief to be an ass-kicking action flick.
    • 49 Metascore
    • 40 Luke Y. Thompson
    Isn't quite as offensive as it sounds, nor is it in any way rousing; Spacey and Bridges are watchable, but nothing more.
    • 50 Metascore
    • 40 Luke Y. Thompson
    The next time Irwin wants to make a feature, however, he should find a director who knows how.
    • New Times (L.A.)
    • 63 Metascore
    • 40 Luke Y. Thompson
    "Center of the World" portrays a much more believable example of what happens when a computer nerd realizes that his erotic fantasies aren't the same thing as love.
    • New Times (L.A.)
    • 52 Metascore
    • 40 Luke Y. Thompson
    The prettiest Dogme film to date may be the one that has the least to say.
    • New Times (L.A.)
    • 46 Metascore
    • 40 Luke Y. Thompson
    Since we know most of this cast is capable of acting, one must assume they received little instruction. Even if they did, who could blame them for not listening? After all, they are dealing with a script that tries to play scenes featuring drunken ghosts with silly accents for tragedy.
    • 68 Metascore
    • 40 Luke Y. Thompson
    Spends most of its 114 minutes on the making of a demo tape. People in a studio, rapping and recording. If you're going to watch that, wouldn't you prefer it to be Dr. Dre, or Lil Jon, or whoever, rather than actors pretending to be their kind?
    • 49 Metascore
    • 40 Luke Y. Thompson
    Where "Twin Falls" was slow, brooding and haunting in a manner that fit the subject matter -- the imminent death of one of the principal characters -- Jackpot is just slow and uneventful, like a cross-country Greyhound bus trip that never stops.
    • 63 Metascore
    • 40 Luke Y. Thompson
    Roberto Schaefer's cinematography keeps things visually interesting, but spending an hour and a half with a gloomy, static lunatic hardly makes for a scintillating evening out, no matter how pretty she may be.
    • 62 Metascore
    • 40 Luke Y. Thompson
    The bottom line, however, is that cheap and unoriginal as The Gift may be, it sucks you in.
    • 51 Metascore
    • 40 Luke Y. Thompson
    It's dull enough to make a Mormon fidget.
    • 36 Metascore
    • 40 Luke Y. Thompson
    Salva directs cheap thrills effectively, but his own apparent desires come off more frightening than any winged demon.
    • 50 Metascore
    • 40 Luke Y. Thompson
    The movie is perhaps most successful as a preview of greater things to come from both Hughley and Union.
    • 48 Metascore
    • 40 Luke Y. Thompson
    It's technically a well-made film: Chandrasekhar, who directed, gives it the look of a studio feature on a sizably smaller budget. It's just the script that betrays its cast.
    • 50 Metascore
    • 40 Luke Y. Thompson
    This mean-spirited little comedy actually isn't bad.
    • 25 Metascore
    • 40 Luke Y. Thompson
    Joe Morton, Linda Hunt and Kathy Bates show up in supporting roles, only to have Costner's flagging energy drag them down, too.
    • 43 Metascore
    • 40 Luke Y. Thompson
    Eternal promises kink and delivers next to nothing.
    • 40 Metascore
    • 40 Luke Y. Thompson
    Director Dwight Little, who has made many mediocre films as well as the gleefully gory Robert Englund version of "The Phantom of the Opera," gets at least one thing right -- he really does take time to establish the characters.
    • 57 Metascore
    • 40 Luke Y. Thompson
    So long as they're only stupidly endangering themselves along the way, it's easy to watch this with a sort of libertarian detachment. It's also annoyingly predictable this time around, though the leads at first maintain their strong chemistry and essential likability.
    • 35 Metascore
    • 40 Luke Y. Thompson
    Several visual nods to the game are amusing, but it's tough to recommend the movie to anyone who doesn't already own a PlayStation.
    • 79 Metascore
    • 40 Luke Y. Thompson
    The sappy trappings that director Raymond De Felitta piles onto the burgeoning romance story line kills any spark that remains, despite the best efforts of the cast to keep it real.
    • 48 Metascore
    • 40 Luke Y. Thompson
    A key problem here is that the film is adapting a short story, and, as such, has to pad it out to feature length -- it still comes in at a scant 82 minutes, about 52 minutes too long.
    • 42 Metascore
    • 40 Luke Y. Thompson
    Full of fits and starts, it never really gets going, stalling at every turn without even giving us enough of what we paid to see -- Snoop Dogg and gore.
    • 35 Metascore
    • 40 Luke Y. Thompson
    The heist itself is quite nicely filmed herein, but unfortunately, getting to it requires sitting through a bunch of noisy, fussy crap, from the overly busy soundtrack to the irritating narration of stoned guy Leonardo Nam.
    • 37 Metascore
    • 40 Luke Y. Thompson
    Imagine a feature-length version of the "Large Marge" sequence from "Pee-wee's Big Adventure" and you won't be too far off, only that was scarier.
    • 33 Metascore
    • 40 Luke Y. Thompson
    Jovovich isn't at her best, but that's mainly because her character is required to be in shock most of the movie, except when she remembers that she's a Charlie's Angel, or happily sheds clothing to maintain that R-rating. Frankly, most of us can live with that.
    • 44 Metascore
    • 40 Luke Y. Thompson
    Taylor and Pearce just aren't believable.
    • 43 Metascore
    • 40 Luke Y. Thompson
    A film you can dump your kids off at the mall to see in order to get peace and quiet for an hour and a half.
    • 23 Metascore
    • 40 Luke Y. Thompson
    Hilarity should ensue, but it doesn't.
    • 46 Metascore
    • 40 Luke Y. Thompson
    This is fun for a while, but the ending is so ridiculous, and obvious, as to sully all the small joys that come before it.
    • 61 Metascore
    • 40 Luke Y. Thompson
    Unless you count "Lilo & Stitch," this is the first of several surfer-girl movies out of the gate, and it seems clear that in the rush to put it out there, a script was the last thing on Universal's mind.
    • New Times (L.A.)
    • 39 Metascore
    • 40 Luke Y. Thompson
    What this Reagan movie really needed was . . . more Reagan. None of his admirers have his charisma, and none of the footage here is surprising. Fox News could easily produce a better film.
    • 36 Metascore
    • 40 Luke Y. Thompson
    For better or worse -- plenty of both, in fact --it's a movie that has a coherent vision. It's a shame that vision just doesn't happen to be very interesting.
    • 50 Metascore
    • 40 Luke Y. Thompson
    The big-screen surround-sound effects are nice; too bad they're the only aspect of the film that's ready to rumble. And parents, be warned: There's an astonishing amount of bloodletting for a PG-13 film.
    • 62 Metascore
    • 40 Luke Y. Thompson
    Be forewarned: The rural Irish accents may be incomprehensible to viewers who aren't accustomed to them.
    • 45 Metascore
    • 40 Luke Y. Thompson
    You will regret paying money to see something that unfolds rather like something you'd watch on TV when you're ill and bedridden and confronted with nothing else but daytime soaps.
    • 16 Metascore
    • 40 Luke Y. Thompson
    If sudden loud noises, relentless strobe lights, digital hallucinations and mutilated corpses make you jump, and you feel that nothing more is required for a good time at the movies, welcome to Feardotcom.
    • New Times (L.A.)
    • 19 Metascore
    • 40 Luke Y. Thompson
    The budget is low and the acting grade C at best, but director Lorena David stages one or two genuinely impressive stunts, and the script, by newbies Scott Duncan and Ned Kerwin, manages to skillfully maintain the plot's central mystery all the way to the end.

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