For 413 reviews, this critic has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

M. E. Russell's Scores

  • Movies
Average review score: 62
Highest review score: 100 Kiss Kiss Bang Bang
Lowest review score: 0 Underclassman
Score distribution:
  1. Negative: 36 out of 413
413 movie reviews
    • 51 Metascore
    • 50 M. E. Russell
    Are Will Ferrell and director Adam McKay getting tired of their own shtick?
    • 66 Metascore
    • 50 M. E. Russell
    Unsurprisingly, the formulaic "Breakfast Club" casting yields a formulaic narrative.
    • 51 Metascore
    • 50 M. E. Russell
    At one point during the big race, the kids get passed at close range by a team of pros so seasoned, they wrote the navigation software the kids use. I was begging the camera crew to follow them.
    • 63 Metascore
    • 50 M. E. Russell
    An extremely weird and frustrating viewing experience. I think it's that way because Eastwood, 78, can't be bothered to wrangle the vast material into a tighter shape.
    • 36 Metascore
    • 50 M. E. Russell
    The movie gets just enough right that the things it doesn't get right (beyond its overdependence on a not-so-surprising story puzzle) smack you cold in the face.
    • 45 Metascore
    • 50 M. E. Russell
    I love that fanboys fought for Fanboys. Unfortunately, their passion was misplaced.
    • 52 Metascore
    • 50 M. E. Russell
    The Rock charms you through the worst of it, but the effects are cheap, the dialogue is about as challenging as a "Hannah Montana" episode, and the pace manages to be both brisk and numbing.
    • 45 Metascore
    • 50 M. E. Russell
    This will personally go down as the flick that really made me realize how much I hate CGI stunts.
    • 34 Metascore
    • 50 M. E. Russell
    The dialogue is almost primitive at times, almost every female character is an idiot and McConaughey grossly overplays the bachelor-sleazeball antics at the beginning.
    • 55 Metascore
    • 50 M. E. Russell
    Keaton offers glimpses of a directorial gift, but this odd little piece feels like a warm-up for something more compelling.
    • 42 Metascore
    • 50 M. E. Russell
    The movie pads the good stuff out with a bunch of mediocre mainstream-thriller junk. It takes too long to get started, it pulls some key punches, its dialogue is deeply uninteresting, it relies way too heavily on endless jump-scares and its finale is pure slasher-flick formula.
    • 43 Metascore
    • 50 M. E. Russell
    The film is competent without being spectacular or thrilling.
    • 34 Metascore
    • 50 M. E. Russell
    Sporadically clever and chilling.
    • 55 Metascore
    • 50 M. E. Russell
    Feels like a movie that wants to bare its fangs, but only manages a mild gumming.
    • 36 Metascore
    • 50 M. E. Russell
    I appreciate that talented people wanted to honor Shelly by making this film. They likely would have better honored her by mounting her script as a play.
    • 43 Metascore
    • 50 M. E. Russell
    Fine moments, images and performances stand cheek-by-jowl with the clich├ęd, the on-the-nose and the slightly dopey.
    • 56 Metascore
    • 50 M. E. Russell
    King is good enough that you can't help but root for her. But frankly, I can't imagine paying full ticket price plus concessions for that privilege.
    • 58 Metascore
    • 50 M. E. Russell
    The fun thing about Eclipse is watching Lautner emerge as the Han Solo of this series, getting all the laughs and calling Edward and Bella on their preciousness.
    • 47 Metascore
    • 50 M. E. Russell
    The drama is telegraphed and glossy and un-fascinating; the edges have been belt-sanded until any camp value is lost. And it's filmed in that "Moulin Rouge"/"Chicago" style where you see half a dance move before the shot cuts -- which somehow makes a lot of difficult, sexy work seem simultaneously frenetic and boring.
    • 51 Metascore
    • 50 M. E. Russell
    Still, this feels like minor Phillips to me -- something in the neighborhood of 2006's "School for Scoundrels," quality-wise, though with a much grimmer heart.
    • 65 Metascore
    • 50 M. E. Russell
    Carrey fearlessly gives it his best shot, but this fundamental schizophrenia strong-armed me out of the film, and left me feeling like McGregor's more grounded performance existed in another movie entirely.
    • 36 Metascore
    • 50 M. E. Russell
    That cast is precisely what makes the new Arthur so frustrating.
    • 45 Metascore
    • 50 M. E. Russell
    Surprisingly dull.
    • 64 Metascore
    • 50 M. E. Russell
    Dolphin Tale is inoffensive enough -- little kids will probably dig it -- and I'm not suggesting that family-friendly docudramas should tightly conform to real life. But when they do embellish, they should distill the story into something more compelling, rather than watering it down with pleasant-but-utterly-forgettable inspirational boilerplate.
    • 58 Metascore
    • 50 M. E. Russell
    A modestly charming family crowd-pleaser despite too-broad characterizations by many in the supporting cast.
    • 62 Metascore
    • 50 M. E. Russell
    To my thinking, this splendid low-key bummer of a ghost story was eventually undermined by the film's increasing reliance on shock-scares, in which something suddenly and noisily jumps into the frame, over and over and over.
    • 39 Metascore
    • 50 M. E. Russell
    When it sticks to its central flirtation, the latest movie based on a Nicholas Sparks romance, The Lucky One, is blandly pleasant enough.
    • 36 Metascore
    • 50 M. E. Russell
    The end result is mediocre, slightly sloppy and a mild waste of a great cast.
    • 45 Metascore
    • 50 M. E. Russell
    The movie's excessive and logistically goofy in a way "Taken" wasn't.
    • 49 Metascore
    • 50 M. E. Russell
    Quality-wise, the crime drama Broken City lives in a frustrating mid-range area: It's too complex and competently crafted to dismiss as junk -- but it's also nowhere near sharp enough to work as the serious grown-up detective movie it clearly wants to be.