M. E. Russell
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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 2.3 points higher than other critics. (0-100 point scale)

M. E. Russell's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Beat That My Heart Skipped
Lowest review score: 0 Underclassman
Score distribution:
  1. Negative: 36 out of 413
413 movie reviews
    • 57 Metascore
    • 58 M. E. Russell
    Minkoff lets the fight scenes go on for a while, which is nice, and all the best bits are in the middle, when Jackie and Jet spend a lot of time playing off each other.
    • 24 Metascore
    • 58 M. E. Russell
    I still kind of find myself admiring the actor, and the film. Love Guru is insane and self-indulgent but also fully committed, and there's a surprising undercurrent of earnestness to its philosophy portions.
    • 57 Metascore
    • 58 M. E. Russell
    It's inoffensive and shiny and competent and kids will dig it, and I can already barely remember a single thing that happened.
    • 60 Metascore
    • 58 M. E. Russell
    Its easy to see why Don Cheadle wanted to play Samir Horn, the hero of the post-9/11 thriller Traitor. Cheadles face is basically a perfect delivery system for woe, sadness and internal conflict. And Samir a deep-cover operative trying to infiltrate a terrorist outfit has to make brutal Sophies Choices roughly three times a day.
    • 58 Metascore
    • 58 M. E. Russell
    Maybe the real Ernie Davis really was this perfect, but the movie plays as if the filmmakers didn't want to offend his family.
    • 42 Metascore
    • 58 M. E. Russell
    Your 12-and-unders will dig it, and it might even serve as a sort of movie-Bookmobile and get them to read a little history, or at least a little Wikipedia. But otherwise it's utterly dispensable.
    • 53 Metascore
    • 58 M. E. Russell
    I'm not sure if parents will be counting out each of Shorts 89 minutes or not, begging for it to end, but I'm guessing 8-year-olds will absolutely love it, because Rodriguez isn't talking down to them or using pop-culture references in place of actual gags; he's making what might be called eye-level children's entertainment.
    • 44 Metascore
    • 58 M. E. Russell
    More solidly crafted and insults its audience quite a bit less than its predecessor, and it sets up several nice emotionally complicated cliffhangers for the next installment. I hope its target audience has a blast.
    • 47 Metascore
    • 58 M. E. Russell
    Performances are for the most part strong, especially Seyfried's, and Kusama uses Fox well, making the most of the actress' blank-eyed arrogance. It's not a performance that suggests a lot of range, but it's fun to watch.
    • 53 Metascore
    • 58 M. E. Russell
    This makes "Eli" sort of wonderfully silly toward the end, as if the Hughes brothers set out to make the first-ever faith-based "Mad Max" movie.
    • 57 Metascore
    • 58 M. E. Russell
    The movie's anchored by a strong lead performance and a steady sense of humor.
    • 47 Metascore
    • 58 M. E. Russell
    Jaa's performance as Tien is mostly wordless and humorless.
    • 59 Metascore
    • 58 M. E. Russell
    Starts well, builds drama and then proceeds to fly sort of crazily off the rails.
    • 49 Metascore
    • 58 M. E. Russell
    There's pleasure to be found in the resolute offbeatness of Henry's Crime. It's nearly as concerned with the play as it is with the heist (and with drawing parallels between the two).
    • 60 Metascore
    • 58 M. E. Russell
    Our Idiot Brother lives in a sort of relaxed in-between place where it doesn't really bite as drama or comedy, but the movie's world-class cast and big heart push it over.
    • 76 Metascore
    • 58 M. E. Russell
    I just wish the movie wasn't also so monologue-choked, muted to a fault and fond of oversimplifying financial lingo to the point of meaninglessness.
    • 52 Metascore
    • 58 M. E. Russell
    There are several things to enjoy here. The use of motel service-industry code words by the safe-house staff is dryly funny.
    • 45 Metascore
    • 58 M. E. Russell
    The surfing scenes are gorgeous and overwhelming. But the rest of the film...
    • 39 Metascore
    • 58 M. E. Russell
    In the films at least, there's something so naked about the Potter/Percy story parallels that's it's hard not to sit there as a viewer and get distracted playing connect the dots.
    • 42 Metascore
    • 50 M. E. Russell
    Does have its charms. While the videography and most of the supporting performances are amateurish, Clark and Caland are winning actors.
    • 39 Metascore
    • 50 M. E. Russell
    Nicolas Cageologists will be sad to hear that he's entirely too normal in National Treasure -- he's mildly funny but doesn't make any of the kooky dramatic choices (needless accents, ranting about the orifices of Greek gods) that made his other Bruckheimer performances so much fun to watch.
    • 53 Metascore
    • 50 M. E. Russell
    Imaginary Heroes feels like an endless series of wakes, awkward cocktail conversations and teen house parties, which would be fine if Harris wrote less cartoony dialogue.
    • 35 Metascore
    • 50 M. E. Russell
    Kind of a drag.
    • 45 Metascore
    • 50 M. E. Russell
    As satire, it doesn't add up -- but it's an admirable, if dull, experiment.
    • 37 Metascore
    • 50 M. E. Russell
    Hilariously, gut-bustingly, mind-blowingly, jaw-droppingly stupid.
    • 58 Metascore
    • 50 M. E. Russell
    The movie never recovers from its cheesy center.
    • 36 Metascore
    • 50 M. E. Russell
    It's just another bland, junior-high-basketball riff on "The Bad News Bears" formula, one that takes every single dramatic cue from the underdog sports-movie playbook.
    • 40 Metascore
    • 50 M. E. Russell
    It's a waste of classic material. Rent "The Incredibles" and see what should have been.
    • 47 Metascore
    • 50 M. E. Russell
    After getting off to a decent, somewhat muted start, Skeleton Key just gets sillier and sillier and sillier until it's yet another one of those stupid, noisy thrillers where everyone's running around in a house, yelling and falling down, and you're mostly wondering why nobody bothered to call the cops.
    • 47 Metascore
    • 50 M. E. Russell
    The leads are just too good to commit fully to something this baldly formulaic. It's sad.