Maitland McDonagh
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For 2,229 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.9 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 In the Shadow of the Moon
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 55 Metascore
    • 50 Maitland McDonagh
    By the time the film winds itself up, the sophisticated fizz of its first 45 minutes has been smothered by explosive bombast.
    • 25 Metascore
    • 50 Maitland McDonagh
    Though handsomely mounted, this parable of intersecting destinies and implacable tragedy is as lifeless as a wax tableau.
    • 34 Metascore
    • 50 Maitland McDonagh
    There's nothing under the goofball gags and gushing gore, and its welcome is worn out well before it's over.
    • 36 Metascore
    • 50 Maitland McDonagh
    Dawson actually delivers the film's most persuasive performance.
    • 44 Metascore
    • 50 Maitland McDonagh
    Stylish but shallow story.
    • 65 Metascore
    • 50 Maitland McDonagh
    The film's epic look is undermined by his narrow focus; in the end it feels rather thin and less than the sum of its handsome parts.
    • 50 Metascore
    • 50 Maitland McDonagh
    For a slick pop entertainment, more than the usual quotient of timely ideas rattle around between the relentless product placements and futuristic geegaws.
    • 65 Metascore
    • 50 Maitland McDonagh
    For all the updated riffs and personal noodling, it's best when it doesn't stray too far from the original material.
    • 51 Metascore
    • 50 Maitland McDonagh
    The strong cast keeps the material from descending into sheer smutty tripe, but it's an uphill battle and in the end, not really worth their considerable efforts.
    • 60 Metascore
    • 50 Maitland McDonagh
    The film's woozy, digital-video gorgeousness is undeniable, and the glittering shots from atop the Brooklyn Bridge could make a tough guy weep.
    • 53 Metascore
    • 50 Maitland McDonagh
    An earnest, thoughtful, surprisingly well-written (given the number of writers who worked on it) drama about guilt and betrayal that features excellent performances by Harrison Ford and Brad Pitt and dares to defy the juvenile wham bam thank you ma'am aesthetics that have turned mainstream action pictures into feature-length video games.
    • 35 Metascore
    • 50 Maitland McDonagh
    It's seldom boring and always beautifully photographed, but it's also considerably less than satisfying, perhaps because its internal logic never comes into focus.
    • 39 Metascore
    • 50 Maitland McDonagh
    But clichéd rapid-fire editing and cheap-looking digital-image manipulation drain away every ounce of atmosphere, and overexplanation blows what could have been a darkly ambiguous ending.
    • 36 Metascore
    • 50 Maitland McDonagh
    Though conceptually clever, the results look stagy and schematic and recall nothing more than a pale imitation of Terry Gilliam's "Brazil" (1985).
    • 42 Metascore
    • 50 Maitland McDonagh
    G
    A hip-hop reimagining of "The Great Gatsby" that fails both as an update of F. Scott Fitzgerald's dissection of American aspirations and class barriers and on its own boorish terms.
    • 30 Metascore
    • 50 Maitland McDonagh
    The soundtrack, which ranges from Johnny Cash to Serge Gainsbourg to the Wu-Tang Clan, is admirably eclectic but can't be said to pull things together.
    • 19 Metascore
    • 50 Maitland McDonagh
    The result is 93 very long minutes' worth of admirably committed actors putting themselves through the emotional wringer to very little end.
    • 54 Metascore
    • 50 Maitland McDonagh
    Suicide, child molestation, corruption, insanity and the faintest implication of incest are wound around the film's suggestion that the cure for modern-day alienation and anomie lies in embracing traditional Japanese culture, like ritual tattooing.
    • 82 Metascore
    • 50 Maitland McDonagh
    The title refers to a diorama at New York City's American Museum of Natural History that depicts a whale and a giant squid locked in mortal combat.
    • 34 Metascore
    • 50 Maitland McDonagh
    Todd McFarlane's Spawn plays better on the page, but the adolescents of all ages who buy Spawn comics will probably enjoy the movie. Others should consider themselves forewarned.
    • 23 Metascore
    • 50 Maitland McDonagh
    Nathanson's script has a disheartening let's get on with it air, and the film feels like marathon training...
    • 46 Metascore
    • 50 Maitland McDonagh
    Though unpolished and formulaic, this tribute to the power of faith and music benefits from the contributions of musicians Tamyra Gray, a first-generation American Idol contestant who plays D.T.'s wholesome love interest; Grammy winner Kirk Franklin, who contributed six songs — three original — to the rousing soundtrack; and faith-based singers Yolanda Adams, Martha Munizzi, Fred Hammond (who also executive produced) and Delores Winans.
    • 50 Metascore
    • 50 Maitland McDonagh
    Pacino is a one-man three-ring circus, blustering, capering, cursing, raging and weaseling his way through this predictable morality play like a trickster Satan on speed.
    • 45 Metascore
    • 50 Maitland McDonagh
    This lighthearted meditation on life, death, love and timing contains some genuinely lovely scenes, but they're buried in a shapeless jumble of cutesy-pie vignettes.
    • 41 Metascore
    • 50 Maitland McDonagh
    Yet another variation on the theme of Ambrose Bierce's "An Occurrence at Owl Creek Bridge." If you've read the short story, you'll see where things are going in no time flat; if you haven't and want to be surprised, don't look it up.
    • 47 Metascore
    • 50 Maitland McDonagh
    This unnecessary and overlong sequel fails to recapture its predecessor's zing.
    • 58 Metascore
    • 50 Maitland McDonagh
    The film's greatest asset, however, is its unusually authentic use of Manhattan locations: Younger clearly knows New York much better than the topography of the human heart.
    • 40 Metascore
    • 50 Maitland McDonagh
    The perky Aniston is both unflatteringly photographed and utterly unconvincing in the pivotal role of Lucinda, and overall the film has the oddly disconnected quality of '70s Euro-thrillers whose international casts spoke different languages on the set and were dubbed into conformity.
    • 67 Metascore
    • 50 Maitland McDonagh
    The film's Buck Rogers-style graphics are cool, but the shrilly squabbling brothers -- realistic though they may be -- are insufferable, the story's your-turn/my-turn structure is tedious, and its relentlessly reiterated message about brotherly love and cooperation is really grating.
    • 72 Metascore
    • 50 Maitland McDonagh
    This thin chronicle of bad behavior among the rich and self-obsessed is above all painfully derivative, borrowing wholesale from Theodore Dreiser's "An American Tragedy" and echoes Allen's own "Crimes and Misdemeanors."
    • 52 Metascore
    • 50 Maitland McDonagh
    The film falls short even as a record of Broderick and Lane's crowd-pleasing rapport: Both have done the show so many times that every scrap of life is gone.
    • 47 Metascore
    • 50 Maitland McDonagh
    Unfortunately, the remake is as toothless as the original and gets bogged down in the humiliations of the Harpers' down-slipping life.
    • 35 Metascore
    • 50 Maitland McDonagh
    Westby's sympathy for the Scottys of the world is evident, but like them he doesn't always know how to put his best face forward.
    • 58 Metascore
    • 50 Maitland McDonagh
    While the subject is potentially fascinating, Gosling's unfocused, sluggish film is a case study in missed opportunities.
    • 34 Metascore
    • 50 Maitland McDonagh
    Repetitive and uninspired, it panders to the lowest expectations of horror buffs and squanders the efforts of a competent cast.
    • 24 Metascore
    • 50 Maitland McDonagh
    The film delivers lots of high-pitched hysteria but never manages to make its spoiled protagonists interesting.
    • 52 Metascore
    • 50 Maitland McDonagh
    As a film, it is earnest, cliched, often awkward and unlikely to inspire anyone who isn't already thoroughly sold on its message of salvation through community activism.
    • 37 Metascore
    • 50 Maitland McDonagh
    Desperate-to-shock slice of sleaze life.
    • 65 Metascore
    • 50 Maitland McDonagh
    Cushioned by money - which frees him from needing to work and allows him to fly around the world looking for his past - Bruce is attractive and well-spoken but not especially interesting, which leaves a yawning void at the story's center.
    • 43 Metascore
    • 50 Maitland McDonagh
    Stanzler's ideas about the psychic legacy of 9/11 are so confused -- that by the time he unveils the final plot twist, his film has lost every shred of credibility.
    • 43 Metascore
    • 50 Maitland McDonagh
    Crafting this crude, noisy remake of Disney's first live-action comedy required the labor of no fewer than five screenwriters.
    • 65 Metascore
    • 50 Maitland McDonagh
    The film is dreary and attenuated, the tedium broken only by the occasional golden moment when one of the stellar supporting players - Ron Silver as the principled presiding judge who alternately tolerates and quashes Jackie's antics, Peter Dinklage as the lead defense attorney or Annabella Sciorra as Jackie's ex - manages to cut through the clutter.
    • 24 Metascore
    • 50 Maitland McDonagh
    Horror buffs looking for a novel twist on genre formulas should look elsewhere, but this body-count potboiler about a sinister video game and the poor dopes who make the mistake of playing it is the movie equivalent of junk food: It's not good, but it's predictable and even satisfying, in a low-expectations way.
    • 46 Metascore
    • 50 Maitland McDonagh
    As to what happens between shows, well, apparently not a whole hell of a lot. If there are groupies, demolished hotel rooms, midnight payoffs to the vice squad or drug- and alcohol-fueled misbehavior, there's no evidence of it here.
    • 45 Metascore
    • 50 Maitland McDonagh
    Gets the details right while missing the big picture.
    • 49 Metascore
    • 50 Maitland McDonagh
    Douglas and Sutherland do crackling hostility with devilish glee, and the fireworks are nothing if not entertaining.
    • 30 Metascore
    • 50 Maitland McDonagh
    Runs out of story a good half hour before it runs out of spooky images, but it comes to a quietly chilling conclusion far more haunting than any bloody mayhem.
    • 54 Metascore
    • 50 Maitland McDonagh
    Though the performances are surprisingly good - the characters are drawn with a broad brush, but the actors, almost all professional comics, hit all the right notes - the material just isn't funny enough to justify the film's length.
    • 38 Metascore
    • 50 Maitland McDonagh
    Neither as dull nor as insufferably smug as it could easily have been.
    • 33 Metascore
    • 50 Maitland McDonagh
    RV
    Once you get past the lengthy, graphic geyser-of-liquid-excrement gag, it's not as irredeemably vulgar as it might have been.
    • 46 Metascore
    • 50 Maitland McDonagh
    Only McKellan seems to understand the profound silliness of the film in which he finds himself, and he camps it up accordingly.
    • 47 Metascore
    • 50 Maitland McDonagh
    Bill Murray plays the secondary role of a nameless American gag writer brimming with one-liners about the absurdity of Cuban life, Dustin Hoffman has a cameo as kvetching gangster Meyer Lansky.
    • 46 Metascore
    • 50 Maitland McDonagh
    The child actors are bland, the adult characters are forced to act like dunderheads to keep the paper-thin plot going, and the generic-sounding Jimmy Buffett songs are just a LITTLE out of sync with the film's target age group.
    • 50 Metascore
    • 50 Maitland McDonagh
    Overall it's slick, brainless entertainment.
    • 45 Metascore
    • 50 Maitland McDonagh
    Done in by its tone.
    • 46 Metascore
    • 50 Maitland McDonagh
    The results isn't especially engaging, despite a quietly charismatic performance by Weiss, a relative newcomer who holds his own against far more experienced actors.
    • 46 Metascore
    • 50 Maitland McDonagh
    The film looks great, but there's nothing under the high-gloss veneer.
    • 61 Metascore
    • 50 Maitland McDonagh
    The story wears thin long before it's over, but Machado draws strong performances from his leads and makes excellent use of its rundown locations.
    • 45 Metascore
    • 50 Maitland McDonagh
    An uneasy mix of frat-boy yocks and "Twilight Zone"-style science-fiction.
    • 41 Metascore
    • 50 Maitland McDonagh
    Though the film contains many haunting images, the absence of a solid emotional foundation makes its increasingly preposterous story developments feel arbitrary and ultimately pointless.
    • 50 Metascore
    • 50 Maitland McDonagh
    Most of the gags recycle the same tired old romantic comedy schtick, with special effects.
    • 48 Metascore
    • 50 Maitland McDonagh
    For the first time, Allen's trademark shtick sounds less like the anxious kvetching of an endearingly neurotic New Yorker and more like the ramblings of a tired, elderly man fumbling for the right words.
    • 58 Metascore
    • 50 Maitland McDonagh
    The whole enterprise has the sweaty sheen that comes from trying too hard to be cool.
    • 52 Metascore
    • 50 Maitland McDonagh
    An odd blend of recycled American exploitation movie tropes and snarky Euro-art film attitude.
    • 47 Metascore
    • 50 Maitland McDonagh
    If all this were anarchically funny, its shambling idiocy could be forgiven.
    • 43 Metascore
    • 50 Maitland McDonagh
    Never adds up to much of anything.
    • 52 Metascore
    • 50 Maitland McDonagh
    It's little more than a disjointed succession of kick-ass action scenes.
    • 61 Metascore
    • 50 Maitland McDonagh
    The images of gods and ordinary Tibetans that Bush captures are more eloquent that his turgid narration, and overall the film works better as a travelogue than an introduction to Tibetan Buddhist beliefs or history.
    • 32 Metascore
    • 50 Maitland McDonagh
    The Country Music Channel's first foray into feature filmmaking is sickly sweet and thoroughly predictable, and woefully underuses veterans Harper and Reynolds, but it features some stirring performances, including BeBe Winans and Willie Nelson dueting on "The Uncloudy Day."
    • 49 Metascore
    • 50 Maitland McDonagh
    The film ends before Franken can actually take the step from commentator to participant, which adds to its overall unfinished and unfocused air.
    • 52 Metascore
    • 50 Maitland McDonagh
    The film is relentlessly formulaic -- it's like a super-sized Afterschool Special with PG-13-rated bad language -- and is weighed down by Trevor Rabin's bombastic score, which telegraphs the appropriate emotional response to every feel-good moment.
    • 38 Metascore
    • 50 Maitland McDonagh
    It's a sorry state of affairs when a goldfish and a frog (Ginger's prize specimen, unsubtly named Casanova) have more chemistry than a romantic comedy's human leads.
    • 39 Metascore
    • 50 Maitland McDonagh
    Wobbles unsteadily between broad humor and paranoid thrills. The result is a bland muddle.
    • 42 Metascore
    • 50 Maitland McDonagh
    Sax keeps things moving, but the best thing about the film is the British cast.
    • 61 Metascore
    • 50 Maitland McDonagh
    Animator Bill Plympton's seventh feature is a must-see for fans of his often witty, always scabrous, hand-drawn work.
    • 40 Metascore
    • 50 Maitland McDonagh
    Features a nutty mix of broad comedy, romance and maudlin melodrama.
    • 38 Metascore
    • 50 Maitland McDonagh
    London-born director Asif Kapadia's second feature, following 2001's critically acclaimed "The Warrior," is a slow, low-key supernatural thriller whose story is too slender to justify its feature-length running time.
    • 50 Metascore
    • 50 Maitland McDonagh
    In the end, the sheer obviousness of Shainberg and screenwriter Erin Cressida Wilson's take on Diane Arbus' perverse determination to examine and document the forbidden overshadows even Kidman's beautifully modulated performance, which takes Diane from brittle neurosis to a vaguely predatory ingenuousness.
    • 59 Metascore
    • 50 Maitland McDonagh
    More music and less melodrama would serve audiences better.
    • 51 Metascore
    • 50 Maitland McDonagh
    An intoxicatingly beautiful but painfully simplistic fable about love and death.
    • 53 Metascore
    • 50 Maitland McDonagh
    Ultimately, the film feels unfocused and attenuated, despite its brief running time.
    • tbd Metascore
    • 50 Maitland McDonagh
    Overall, this puff piece is shapeless, repetitive and feels much longer than it is.
    • 45 Metascore
    • 50 Maitland McDonagh
    Despite, or perhaps because of, a flurry of 11th-hour recutting and reshoots -- the film feels rushed and unfocused.
    • 28 Metascore
    • 50 Maitland McDonagh
    In all, it's a peculiar mishmash, simultaneously bland and suggestive.
    • 49 Metascore
    • 50 Maitland McDonagh
    It's a shame it's not a better movie, but its small virtues include an uncompromising performance by English actor Jonny Lee Miller.
    • 34 Metascore
    • 50 Maitland McDonagh
    Ultimately aimed at a Christian audience looking for genre entertainment with a certain sense of propriety (which partly translates into there being no murders), the film tries to serve two masters and doesn't quite deliver for either.
    • 33 Metascore
    • 50 Maitland McDonagh
    A far cry from such sneakily subversive werewolf-sex tales as "The Company of Wolves" (1984) or "Ginver Snaps" (2000), this pallid little picture is all "Lost Boys" (1987) posturing by way of the sublimely ridiculous "Covenant" (2006).
    • 43 Metascore
    • 50 Maitland McDonagh
    Without the gloss of novelty, the film's underdeveloped characters and thin -- though busy -- story are forced into the foreground, and its 88-minute running time feels far longer.
    • 55 Metascore
    • 50 Maitland McDonagh
    While the cast is uniformly committed, some are able to make more of the material than others.
    • 34 Metascore
    • 50 Maitland McDonagh
    The trouble isn't just that this haunted-house story, written by Mark Wheaton and directed by Hong Kong filmmakers Danny and Oxide Pang, is both formulaic and derivative. It's that it's completely free of atmosphere, the very thing that their 2002 "The Eye" had in such creepy abundance.
    • 41 Metascore
    • 50 Maitland McDonagh
    There are effective scenes and powerful performances scattered among long sequences in which various members of the family gaze into space as they contemplate the burden of the past, walk aimlessly through Atlanta or have odd encounters with strangers.
    • 37 Metascore
    • 50 Maitland McDonagh
    The voice-over narration is obvious, but overall the message is integrated into an unusual story that's enhanced by Liberato's and Fulton's appealing performances as the youngsters who see through their elders' lies and help right a terrible wrong.
    • 49 Metascore
    • 50 Maitland McDonagh
    There are fewer laughs and more lectures -- but there's plenty of sass and soul in between.
    • 59 Metascore
    • 50 Maitland McDonagh
    What charm the movie has is almost entirely due to Grant and Barrymore -- the master of smarmily irresistible self-deprecation meets the sweetly vulnerable queen of awkward self-sabotage. While they have no romantic chemistry, they're certainly appealing.
    • 61 Metascore
    • 50 Maitland McDonagh
    Cocaine Angel may be a fine counterpoint to glammy cocaine-scare films like "Less Than Zero" (1987) and "Blow" (2001), but it comes on so strong it risks being dismissed along with the "this is your brain on drugs" school of dope-scare PSAs.
    • 49 Metascore
    • 50 Maitland McDonagh
    It is message filmmaking so blunt you might be tempted to root for the parasitic reprobate over the saintly old man, and that's just not right.
    • 33 Metascore
    • 50 Maitland McDonagh
    The first half of Lover's film is surprisingly affecting...But the film comes apart in its second half, when James' flight triggers a long series of flashbacks to the brothers' childhood.
    • 26 Metascore
    • 50 Maitland McDonagh
    Stylish and twisty, but not clever enough to support its more outrageous plot machinations.
    • 34 Metascore
    • 50 Maitland McDonagh
    No one and nothing can be taken at face value in Beach's twisty tale of secrets and lies, which buries its very interesting idea in a welter of ludicrous dialogue and skin-flick imagery.
    • 52 Metascore
    • 50 Maitland McDonagh
    Despite its failings, Wind Chill represents a road rarely taken by 21st-century American horror films: Original (in the non-remake sense of the term), subtle and restrained.
    • 58 Metascore
    • 50 Maitland McDonagh
    The real trouble is that the filmmakers consistently choose gags over character.
    • 38 Metascore
    • 50 Maitland McDonagh
    Overall, it's an interesting experiment, but the idea is stronger than the end result.
    • 40 Metascore
    • 50 Maitland McDonagh
    Ukraine-born, American-based filmmaker Andrei Zagdansky's deeply frustrating "documentary essay" examines the Orange Revolution.
    • 45 Metascore
    • 50 Maitland McDonagh
    The result is strictly for those who like their comic-book movies short and stupid.
    • 64 Metascore
    • 50 Maitland McDonagh
    It's an overblown campfire tale that doesn't know when to stop.
    • 53 Metascore
    • 50 Maitland McDonagh
    Overall, the performances are surprisingly convincing, but the mockumentary elements – feel out of place and the intrusive.
    • 63 Metascore
    • 50 Maitland McDonagh
    It is ultimately a simplistic film that will play better to youngsters who wish their grandpas were this cool and to parents who are nostalgic for the kind of exceptional childhood they neither had nor can provide for their own children.
    • 61 Metascore
    • 50 Maitland McDonagh
    8-year-olds of all ages, prepare to storm the multiplex!
    • 54 Metascore
    • 50 Maitland McDonagh
    Ellis' slight film has its charms, and the backstory he concocted to lead into the original 18-minute short is effective. But the film lags badly in the middle.
    • 52 Metascore
    • 50 Maitland McDonagh
    The film's seriousness of intent is unimpeachable – Forman and Carriere see disturbing echoes of the modern world in 18th-century Spain -- but the execution borders on farce.
    • 47 Metascore
    • 50 Maitland McDonagh
    To call Christian's film unpolished is an understatement.
    • 33 Metascore
    • 50 Maitland McDonagh
    Adds little to the annals of werewolf lore. But it's briskly paced and features a couple of clever twists on genre conventions.
    • 37 Metascore
    • 50 Maitland McDonagh
    So low-key that it verges on unconsciousness.
    • 48 Metascore
    • 50 Maitland McDonagh
    Jamal's comedy of family dysfunction is essentially a sitcom episode writ large; it's not subtle, but it's good-natured and hits its marks with ruthless efficiency.
    • 50 Metascore
    • 50 Maitland McDonagh
    A strong cast that flounders in profoundly unappealing material.
    • 45 Metascore
    • 50 Maitland McDonagh
    Actor-turned-filmmaker Ethan Hawke's second feature, an adaptation of his own novel about youthful heartbreak, is hobbled by its singularly unappealing lead characters.
    • 40 Metascore
    • 50 Maitland McDonagh
    This tale of crime and punishment is wrapped in a veneer of flashy attitude but founders on mundane details.
    • 62 Metascore
    • 50 Maitland McDonagh
    Goofy, raunchy and very Japanese, Miike's film will probably play best to fanboys who love "Power Rangers" and "Ultraman" -- and there are plenty of them to go around.
    • 45 Metascore
    • 50 Maitland McDonagh
    There's little room for ideas when there are flaming cars to be crashed, and overall the film is an infelicitous hodgepodge that lifts as liberally from "The Quatermass Experiment" (1956) and "28 Weeks Later" (2007) as "Body Snatchers" while leaving all the best bits behind -- even the iconic pods are gone.
    • 54 Metascore
    • 50 Maitland McDonagh
    A dismal misfire that attempts to make black comedy out of the adventures of war correspondents and the dirty business of international politics.
    • 39 Metascore
    • 50 Maitland McDonagh
    Cinematographer Alain Dostie's stunning, painterly cinematography is the best -- and perhaps only -- reason to endure this stunted epic.
    • 68 Metascore
    • 50 Maitland McDonagh
    Maybe the life was edited out of it in the two years between shooting and release, or maybe Dominik was simply overwhelmed by the outsized myths of the West, but the film only comes to life after James' death, when Ford quite literally takes center stage.
    • 36 Metascore
    • 50 Maitland McDonagh
    Painfully cliched. The music is throbbing and the leads are cute, but there's nothing here viewers haven't seen before.
    • 67 Metascore
    • 50 Maitland McDonagh
    The trouble with this precious fable isn't that the Whitmans are self-absorbed ninnies: It's that they aren't characters at all.
    • 45 Metascore
    • 50 Maitland McDonagh
    History gets short shrift from screenwriters William Nicholson and Michael Hirst -- starting with the not insignificant fact that in 1585, Elizabeth was 52 years old – but Kapur is clearly more interested in spectacle and soap opera than dusty old facts.
    • 70 Metascore
    • 50 Maitland McDonagh
    Gosling is the film's salvation: He really is good enough to make this underwritten fantasy feel as though it amounts to something. But it doesn't.
    • 49 Metascore
    • 50 Maitland McDonagh
    The result is unfortunate: Pinter can't find emotional depths that just aren't there, but dispenses with most of what made the original entertaining in the search for them.
    • tbd Metascore
    • 50 Maitland McDonagh
    The rhythms of Charlotte's mannered, artificial dialogue are better suited to stage than screen -- each segment started life as a one-act play and overall the film works better as a conversation starter than drama.
    • 51 Metascore
    • 50 Maitland McDonagh
    The film's meandering narrative, melodramatic conclusion and underdeveloped characters overshadow the genuinely shocking abuses it condemns.
    • 37 Metascore
    • 50 Maitland McDonagh
    P2
    No two ways about it: The screenplay is derivative. But the location adds a little novelty to the standard-issue running and screaming.
    • 44 Metascore
    • 50 Maitland McDonagh
    The first full-fledged Indian musical coproduced and distributed by a major Hollywood studio, this fanciful love story takes its unlikely inspiration from Fyodor Dostoevsky's short story "White Nights."
    • 47 Metascore
    • 50 Maitland McDonagh
    If not exactly dull, Hopkins' stream-of-consciousness rant is nonetheless self-indulgent and crammed with bits of business that never add up to anything much.
    • 59 Metascore
    • 50 Maitland McDonagh
    First and foremost a showcase for the latest developments in motion-capture and 3-D technology.
    • 35 Metascore
    • 50 Maitland McDonagh
    This violent action is stylish but painfully formulaic, even by the undemanding standards of video-game narratives.
    • 57 Metascore
    • 50 Maitland McDonagh
    The film's mix of cheap gags, macabre coming-of-age story, social satire and Cronenbergian body horror is apparently meant to gel into black comedy, but it never quite does.
    • 66 Metascore
    • 50 Maitland McDonagh
    It's a shame to see such dedicated performers flay their psyches in the service of such fundamentally shallow material.
    • 51 Metascore
    • 50 Maitland McDonagh
    For all the complicated backstory, weighty themes, action set pieces and fanciful production design, the film is oddly unengaging.
    • 43 Metascore
    • 50 Maitland McDonagh
    Coppola's awkward screenplay never finds its tone -- or perhaps it deliberately evokes the pulp conventions of WWII adventures, horror films, weepy melodrama, psychological mysteries and superhero origin stories as a way of evoking the fundamental artificiality of the cinema. Either way, it never comes together into a cohesive whole, and is seriously undermined by Roth's morose performance.
    • 64 Metascore
    • 50 Maitland McDonagh
    An efficient but shallow fright show.
    • 41 Metascore
    • 50 Maitland McDonagh
    The actors -- especially Klein and Bernthal -- deliver startlingly powerful performances.
    • 47 Metascore
    • 50 Maitland McDonagh
    Light, formulaic and soft around the middle.
    • 35 Metascore
    • 50 Maitland McDonagh
    Freakies fans will swoon.
    • 35 Metascore
    • 50 Maitland McDonagh
    The film LOOKS great, but at a brisk 88 minutes, there's no time to fill in back story, from the epic history of paladin persecution to the deeply personal mystery of David's mother, and the cliffhanger ending is so abrupt that the movie seems bizarrely truncated.
    • 62 Metascore
    • 50 Maitland McDonagh
    The obvious product of a corporate search for the next great fantasy franchise, this adaptation of the first in a series of popular children's books by the writer-illustrator team of Holly Black and Tony DiTerlizzi is a lump of leaden whimsy.
    • 50 Metascore
    • 50 Maitland McDonagh
    The stepping is terrific and the climactic sequence, a knowing nod to the infamous Bollywood "wet sari" number, is a knock out. But the united colors of we-can-overcome cuties, predictable class conflicts and sanitized keeping-it-real bluster bring the story's intensely formulaic nature into the.
    • 40 Metascore
    • 50 Maitland McDonagh
    At a certain point, its sheer can you top this excess, and credibility files out the window three's no reason to continue paying attention.
    • 46 Metascore
    • 50 Maitland McDonagh
    The prodigiously talented Allen, Bates and Lange give it their all, but there's a limit to what even they can do with platitudes and prefabricated homilies.
    • 41 Metascore
    • 50 Maitland McDonagh
    A disappointing hodgepodge of rehashed clichés.
    • 48 Metascore
    • 50 Maitland McDonagh
    The film's bright spot is Irish comedian Dylan Moran, who plays Libby's charmingly dissolute cousin and who also happens to be Dennis' best friend. He's fresh, unpredictable and genuinely funny -- everything the film isn't.
    • 32 Metascore
    • 50 Maitland McDonagh
    How engaging you find this loosely structured road movie will depend on how charming you find the over-aged slackers played by Josh Alexander, who also wrote the screenplay, and Robert Bogue.
    • 32 Metascore
    • 50 Maitland McDonagh
    The film's 85 minutes drag by painfully slowly, because there's no respite from Chapman's tedious, self-pitying reveries.
    • 56 Metascore
    • 50 Maitland McDonagh
    A screwball comedy without a charismatic, smart-talking dame is no screwball comedy at all.
    • 17 Metascore
    • 50 Maitland McDonagh
    Formulaic to the core, this reworking of the fondly remembered high-school slasher picture works surprisingly well on its own terms.
    • 55 Metascore
    • 50 Maitland McDonagh
    There are two kinds of police officers in David Ayers and James Ellroy's convoluted, ultraviolent tale of corruption within the LAPD: dirty cops and dirtier ones.
    • 38 Metascore
    • 50 Maitland McDonagh
    It's sad to see such subtle, wrenchingly emotional work expended on such trifling material.
    • 37 Metascore
    • 50 Maitland McDonagh
    It's hard to say whether the Wachowski brothers' live action take on the Japanese Speed Racer cartoons is more irritating because it looks like a Hot Wheels video game or because the brothers seem to think that there's a powerful family drama humming away beneath the flashing lights and spinning wheels.
    • 46 Metascore
    • 50 Maitland McDonagh
    Even Stevenson, a singularly accomplished and versatile actress, can't do much with Julia's early scenes, in which she's forced to dither around like a complete idiot.
    • 37 Metascore
    • 50 Maitland McDonagh
    The trouble with this satirical take US involvement in Iraq, penned by Mark Leyner, John Cusack and Jeremy Pikser, is that the real thing is equally absurd and only marginally less funny.
    • 59 Metascore
    • 50 Maitland McDonagh
    Features some strikingly intimate footage of Noonan's extended family, but lets Noonan himself drives the show and his colorful tales of villainy that cry out for more context than MacIntyre provides.
    • 57 Metascore
    • 50 Maitland McDonagh
    Though inspired by Weiland's own childhood, the film's plot sticks close to the underdog's coming-of-age formula and is marred by young Bernie's gratingly self-pitying voice-over.
    • 35 Metascore
    • 50 Maitland McDonagh
    Essentially an extended trailer for the 2008 Cartoon Network animated series.
    • 47 Metascore
    • 50 Maitland McDonagh
    Tediously predictable thriller.
    • 53 Metascore
    • 50 Maitland McDonagh
    Has a certain weird charm, but it's too seamy for children and too simplistic played for adults.
    • 50 Metascore
    • 50 Maitland McDonagh
    The impulses that produced this project, which brings together three short, English-language films by African female filmmakers into a feature-film package introduced by rap icon Queen Latifah, are commendable, but the results are uneven.
    • 59 Metascore
    • 40 Maitland McDonagh
    Bond spends an awful lot of time being rescued from peril by supporting characters.
    • 45 Metascore
    • 40 Maitland McDonagh
    Though some individual scenes crackle, overall the film feels unfocussed and flabby, like a series of acting improv exercises strung together.
    • 52 Metascore
    • 40 Maitland McDonagh
    Then there's the utter lack of sexual chemistry between Li and Aaliyah, sucking all the urgency out of the relationship between the star-crossed lovers.
    • 25 Metascore
    • 40 Maitland McDonagh
    As for first-time feature director Mark Piznarski, he should be cited for excessive use of slow motion, sun-dappled trees and golden light; one more cliche violation and his license to direct would be forfeit.
    • 38 Metascore
    • 40 Maitland McDonagh
    Diehard Sandler fans will probably find it uproarious, but others will have to make do with the occasional chuckle.
    • 24 Metascore
    • 40 Maitland McDonagh
    Shot in shades of steely gray and streaked with near-constant rain, this gloomy revenge thriller is a sadistic cartoon.
    • 51 Metascore
    • 40 Maitland McDonagh
    The idea is more interesting than the screenplay, which lags badly in the middle and lurches between not-very-funny comedy, unconvincing dramatics and some last-minute action strongly reminiscent of "Run Lola Run." Great soundtrack, though.
    • 27 Metascore
    • 40 Maitland McDonagh
    The film's mealy-mouthed messages about feminine empowerment will almost certainly fall on deaf ears, since even 11-year-olds know Spears's power resides largely in her taut torso.
    • 49 Metascore
    • 40 Maitland McDonagh
    Overall the film is a stylish lark with no resonance, a mean-spirited one-night stand of a movie.
    • 46 Metascore
    • 40 Maitland McDonagh
    As a debut it holds out the promise that Montias might do something more interesting in his next film.
    • 31 Metascore
    • 40 Maitland McDonagh
    Thoroughly preposterous on every level.
    • 34 Metascore
    • 40 Maitland McDonagh
    The script is heavy on platitudes about friendship, but since there isn't a single fully fleshed character in sight, who cares?
    • 42 Metascore
    • 40 Maitland McDonagh
    The big trouble here is that there seem to be pieces of three different films rubbing up against each other without ever fitting together.
    • 35 Metascore
    • 40 Maitland McDonagh
    Adults -- even the die-hard dog lovers -- will just have to resign themselves to being bored silly whenever the cartoonish Cruella is absent from the screen.
    • 33 Metascore
    • 40 Maitland McDonagh
    Utterly predictable, noisy and stupid.
    • 37 Metascore
    • 40 Maitland McDonagh
    Slick and glib when it means to be profound yet ruefully witty; its rhythms are pure sitcom, complete with emotional rimshots.
    • 32 Metascore
    • 40 Maitland McDonagh
    Ralston gets solid performances out of his cast, and the film has a surprisingly polished look. But in the end, there isn't much to it.
    • 43 Metascore
    • 40 Maitland McDonagh
    The movie's selling point is Schneider acting goofy, chewing on worms, making goo-goo eyes at a she-goat and licking his private parts.
    • 38 Metascore
    • 40 Maitland McDonagh
    A protracted piece of whimsy.
    • 49 Metascore
    • 40 Maitland McDonagh
    The story's self-conscious seaminess cries out for the ministrations of a filmmaker like direct-to-video auteur Gregory Hippolyte.
    • 26 Metascore
    • 40 Maitland McDonagh
    Only Sol and Sara even approach being real characters; the supporting players, Black and Jewish alike, are shrill stereotypes.
    • 44 Metascore
    • 40 Maitland McDonagh
    This tale may well weave a more compelling spell on the page; onscreen it's simply ponderous.
    • 55 Metascore
    • 40 Maitland McDonagh
    It quickly becomes clear that Nijinsky's disordered thoughts are simply the rantings of a man losing his grip on reality. They're sad and occasionally evocative, but they're not especially interesting in and of themselves, and do nothing to evoke or illuminate Nijinsky's genius.
    • 42 Metascore
    • 40 Maitland McDonagh
    McTiernan's extensive action background is nowhere evident in the murky, all-but-impossible to follow battle sequences.
    • 13 Metascore
    • 40 Maitland McDonagh
    The film isn't even enjoyably sleazy: It's just dumb and tacky.
    • 34 Metascore
    • 40 Maitland McDonagh
    Lurches queasily between ghastly broad gags and oddly engaging, character-driven laughs born of clashing cultures and expectations.
    • 36 Metascore
    • 40 Maitland McDonagh
    This flashy and ultimately conservative morality tale relies on shockingly frank sex talk to cover the fact that the characters are shockingly poorly developed.
    • 34 Metascore
    • 40 Maitland McDonagh
    A preposterous wilderness adventure (the kind that makes kids think sneaking into the zoo's bear pit is a cool idea) laid over a touchy-feelie story about good parenting.
    • 29 Metascore
    • 40 Maitland McDonagh
    Smacks of a certain kind of TV movie filled with pious uplift, even as it makes token concessions to contemporary lifestyles.
    • 42 Metascore
    • 40 Maitland McDonagh
    If Michael Wincott -- who under normal circumstances can chill your blood just by breathing -- can't make the villain compelling, you know the movie's in trouble.
    • 34 Metascore
    • 40 Maitland McDonagh
    The cast, including genre veteran Bruce Dern as a kindly lawyer, do their best with the material, but you can't make a crackling thriller out of soggy cliches.
    • 29 Metascore
    • 40 Maitland McDonagh
    This old-fashioned Western about the glory years of the Texas Rangers, cast with fresh-faced, telegenic young actors whose performances range from adequate to awful, is undermined by a serious lack of true grit.
    • 27 Metascore
    • 40 Maitland McDonagh
    The novelty value of seeing 17th-century French swordsmen fight like Chinese martial artists doesn't compensate for the film's generally wooden performances and clichéd dialogue.
    • 49 Metascore
    • 40 Maitland McDonagh
    The film's flashy visuals (apparently geared to engaging video game-impaired attention spans) are entertaining, but its cynicism is distasteful.
    • 40 Metascore
    • 40 Maitland McDonagh
    Whether this riot of unrepentant trashiness strikes you as tediously ridiculous or brainlessly amusing is probably a matter of mood.
    • 30 Metascore
    • 40 Maitland McDonagh
    A lightweight parody of the porn industry and daytime talk shows that has the look and feel of a middling direct-to-video feature.
    • 39 Metascore
    • 40 Maitland McDonagh
    The climactic shootout might have more impact if we actually cared about the so-called characters.
    • 16 Metascore
    • 40 Maitland McDonagh
    Unfortunately, Flicker wasn't able to rise above the limitations of his microbudget, and his message is compromised by student-film production values and performances that range from adequate to pretty awful.
    • 66 Metascore
    • 40 Maitland McDonagh
    Camille's desperate, destructive antics just don't seem especially cute or funny.
    • 14 Metascore
    • 40 Maitland McDonagh
    An amazing artifact; the decor and lighting mix '70s tackiness with odd '50s touches, the sound design is elaborate.
    • 32 Metascore
    • 40 Maitland McDonagh
    The downside is that it all feels like a big in-joke, and you're not in on it.
    • 62 Metascore
    • 40 Maitland McDonagh
    The performances are uneven and the loosely structured story never actually goes anywhere.
    • 38 Metascore
    • 40 Maitland McDonagh
    There's just no reason why it should take more than two hours for so little to happen.
    • 49 Metascore
    • 40 Maitland McDonagh
    Visually stunning and breathtakingly frank, but thrill-seekers beware.
    • 46 Metascore
    • 40 Maitland McDonagh
    Maybe such cloddish sight gags as dipsomaniac priest chug-a-lugging from the communion chalice or an apparently straight-laced yuppie in full S&M drag just aren't very funny.
    • 27 Metascore
    • 40 Maitland McDonagh
    Slight, over-long.
    • 45 Metascore
    • 40 Maitland McDonagh
    Contains some nicely observed moments, but they're buried in an unrepentantly sitcomy script.
    • 33 Metascore
    • 40 Maitland McDonagh
    Lacks a sense of bone-chilling dread.
    • 62 Metascore
    • 40 Maitland McDonagh
    Watching this string of sketches about small town wackos is like channel surfing a heavy sitcom zone.
    • 26 Metascore
    • 40 Maitland McDonagh
    Slight, smart-alecky romantic comedy.
    • 42 Metascore
    • 40 Maitland McDonagh
    This unsubtle parody probably worked better on stage; its candy-colored artifice looks more than a little strained on film, and the actors are all trying really hard to be camp.
    • 71 Metascore
    • 40 Maitland McDonagh
    The material is familiar, and doesn't have anything new to say about the ways men and women wound each other.
    • 52 Metascore
    • 40 Maitland McDonagh
    The sequences are handsomely designed, but frankly, you might as well be watching someone play a video game.
    • 43 Metascore
    • 40 Maitland McDonagh
    Despite some strong performances, never rises above the level of a telanovela.
    • 18 Metascore
    • 40 Maitland McDonagh
    A rapper doesn't make the story fresh.
    • 47 Metascore
    • 40 Maitland McDonagh
    Goofy and surprisingly slow-moving.
    • 21 Metascore
    • 40 Maitland McDonagh
    Gets off to a pretty intriguing start before degenerating into a series of routine action sequences.
    • 47 Metascore
    • 40 Maitland McDonagh
    Strident and bombastic.
    • 28 Metascore
    • 40 Maitland McDonagh
    The script recycles clichés that go back to 1937'S "Dead End," the performances are one-note, and the whole thing has the flat, bright look of a TV cop show.
    • 36 Metascore
    • 40 Maitland McDonagh
    Serviceable enough, if you come to it with sufficiently modest expectations.
    • 56 Metascore
    • 40 Maitland McDonagh
    The story is painfully familiar, and McIlhenney regularly stops it in its tracks by indulging the actors in arty monologues that sap the movie of any suspense or sense of momentum.
    • 49 Metascore
    • 40 Maitland McDonagh
    There are people who eat this kind of thing right up -- if you're one of them, dig in.
    • 56 Metascore
    • 40 Maitland McDonagh
    It's got turns, it's got an attractive cast that gets shish-kabobed with ruthless regularity. It's just tired.
    • 34 Metascore
    • 40 Maitland McDonagh
    The main characters are defined by their problems, and the secondary characters (notably Brigette's parents) are so crudely drawn it's hard to imagine what Cates was thinking.
    • 74 Metascore
    • 40 Maitland McDonagh
    This gentle, slow-moving film contains some charming sequences but no new insights into the pleasures and burdens of family.
    • 34 Metascore
    • 40 Maitland McDonagh
    This labored farce relies on an unpleasant collection of stereotypes for its comic effects, and Janger is a singularly unappealing leading man.
    • 38 Metascore
    • 40 Maitland McDonagh
    It has the air of a particularly accomplished student film, by a student whose philosophical concerns outweigh his interest in narrative filmmaking.
    • 32 Metascore
    • 40 Maitland McDonagh
    While handsomely mounted and generally well acted, the film is undermined by long stretches of awkward, obvious dialogue and by the vagueness of Lisa's revolt against the status quo.
    • 62 Metascore
    • 40 Maitland McDonagh
    A gloomy, preposterous psychological thriller.
    • 70 Metascore
    • 40 Maitland McDonagh
    Falls far short of its grim potential.
    • 45 Metascore
    • 40 Maitland McDonagh
    Film's real sticky wicket is that the bad guys not only threaten to nuke a major American city but do it — a conceit that might have been more amusing before terrorists destroyed the World Trade Center using hijacked commercial jets. Witnesses said the WTC attack looked like a movie; they didn't say it was a movie they wanted to see.
    • 44 Metascore
    • 40 Maitland McDonagh
    The offbeat cast and gorgeous Barcelona locations can't quite make up for the thinness of the mystery and forced quirkiness of the characters and their tangled relationships.
    • 27 Metascore
    • 40 Maitland McDonagh
    The bar scenes are the only reason to sit through this jello shot of a movie.
    • 61 Metascore
    • 40 Maitland McDonagh
    Production-designed within an inch of its life, this remake's best conceit is the casting of Crispin Glover as its socially maladroit rat fancier.
    • 32 Metascore
    • 40 Maitland McDonagh
    Film is preposterous without being surreal; only at the Tailor's Ball -- which takes place shortly before the end -- does it strike that perfect balance between the bizarre and the curiously mundane.
    • 32 Metascore
    • 40 Maitland McDonagh
    Noisy and obnoxious, this flashy action picture is so hell-bent on seeming smart that it fairly forces you to think about how fundamentally stupid it is.
    • 20 Metascore
    • 40 Maitland McDonagh
    A hyperactive hodgepodge.
    • 30 Metascore
    • 40 Maitland McDonagh
    This high-concept gangster picture tries unsuccessfully to duplicate Reservoir Dogs's(1992) hair-raising high-wire balance between dark comedy and violent crime thriller, undermining some entertaining performances and the script's small virtues in the process.
    • 34 Metascore
    • 40 Maitland McDonagh
    The few minutes of footage devoted to a performance by bona fide jazz artist "Little" Jimmy Scott, an eccentric cult favorite, is more genuinely evocative than anything else in the film
    • 26 Metascore
    • 40 Maitland McDonagh
    In the end it's the same old blood pudding.
    • 22 Metascore
    • 40 Maitland McDonagh
    Witless comedy.
    • 57 Metascore
    • 40 Maitland McDonagh
    In a film about the ruthless corporate destruction of small businesses, it's hard not to flinch at the prominent placement accorded IBM, Starbucks and AOL logos.
    • 35 Metascore
    • 40 Maitland McDonagh
    Though occasional flashes of the radiantly bi-cultural romp that might have been peek through, writer-director Deepa Mehta's hybrid is strangely clumsy, given that she's an experienced filmmaker familiar with both Hollywood and Bollywood conventions.
    • 32 Metascore
    • 40 Maitland McDonagh
    Though Dylan shuffles through the dramatic sequences like a dessicated mummy, the music sequences are strikingly vibrant -- he's never looked worse or sounded better.
    • 40 Metascore
    • 40 Maitland McDonagh
    So formulaic it starts to fade from memory before the last punch is thrown.
    • 49 Metascore
    • 40 Maitland McDonagh
    A disappointment that mines the same vein of gross-out romantic comedy as"There's Something About Mary," without that film's oddball charm.
    • 51 Metascore
    • 40 Maitland McDonagh
    If Griffin were a jowly Southern redneck, his mean-spirited rants would make him a pariah.
    • 14 Metascore
    • 40 Maitland McDonagh
    The music is lavishly overproduced pop pablum of the first order, and there's a deeply shallow irony in the fact the film's most memorable tune, KC and the Sunshine Band's 28-year-old "That's the Way I Like It," is easily twice the age of its target audience.
    • 47 Metascore
    • 40 Maitland McDonagh
    The jabs at the expense of self-centered New Yorkers with more money than sense are so mild they're pointless -- if satire doesn't hurt, what's the point?
    • 45 Metascore
    • 40 Maitland McDonagh
    It's hard not to feel sorry for the high-profile cast, obviously working for brownie points in heaven -- they're so good, yet nothing they do can make the movie fly.
    • 21 Metascore
    • 40 Maitland McDonagh
    Ledger swirls his cassock glamorously, while Weller is clearly concealing cloven hoofs beneath his; Addy plays the fool and the one-note Sossamon is thoroughly annoying, as fey as Meg Tilly but without Tilly's redeeming faraway air.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film delivers a few slick thrills before beaching itself on an ending that would be chilling if its depiction of unimaginable horror's lingering legacy weren't so muddled.
    • 53 Metascore
    • 40 Maitland McDonagh
    Slight and pleasantly predictable film coasts along on the considerable charms of its cast and exotic setting.
    • 29 Metascore
    • 40 Maitland McDonagh
    There's way too much of the usual bonding, beatings, petty humiliation by guards, cat fights in the yard and trips to the hole.
    • 56 Metascore
    • 40 Maitland McDonagh
    The complications are predictable, as is the resolution; what keeps the film from sinking into its own inconsequentiality is the throaty-voiced Henderson, who can make the most preposterous behavior ring absolutely true.
    • 68 Metascore
    • 40 Maitland McDonagh
    Patwardhan offers no solutions, but poses disturbing questions.
    • 79 Metascore
    • 40 Maitland McDonagh
    This is a psychological study that rejects psychology, an erotic drama of surpassing coldness, and a story of amour fou in which the madness is calculated and the love frozen.
    • 33 Metascore
    • 40 Maitland McDonagh
    The film's tone is hard to pin down, especially with the actors dubbed flatly into English.
    • 43 Metascore
    • 40 Maitland McDonagh
    Jelski's screenplay, a finalist in the fiercely competitive Walt Disney Screenwriting Fellowship competition, is repetitive and stagy.
    • 37 Metascore
    • 40 Maitland McDonagh
    Tatou IS adorable, but Michele is a such a brainless flibbertigibbet that it's hard to take her spiritual quest at all seriously, and if you don't feel in your heart that she's really TRYING to grow and mature as a spiritual person, then who cares about her idiotic antics?
    • 71 Metascore
    • 40 Maitland McDonagh
    The result isn't very funny: There are clever bits, sure, but they're embedded in long, painfully obvious sequences built around one-shot gags.
    • 30 Metascore
    • 40 Maitland McDonagh
    The film's poky pacing is a liability -- the setup takes an awfully long time.
    • 28 Metascore
    • 40 Maitland McDonagh
    For horror fans in a forgiving mood, it's an adequate fear fix.
    • 51 Metascore
    • 40 Maitland McDonagh
    Duvall at his worst is still an accomplished performer; Pedraza is a modern-day Ali McGraw, lithe and beautiful but no kind of actress. For all her fluidity on the dance floor, she's a dead weight who drags the film down.
    • 59 Metascore
    • 40 Maitland McDonagh
    "Double Indemnity's" darkly poetic carnality is timeless. Trashy, throwaway fluff like De Palma's film can only look bad by comparison.
    • 31 Metascore
    • 40 Maitland McDonagh
    Simultaneously nakedly formulaic and oddly clumsy, particularly in terms of character introduction.
    • 55 Metascore
    • 40 Maitland McDonagh
    Where "Charade" unfolds in a fantasy Paris full of glamorous white people, Demme's film takes place in a gray tangle of streets teeming with multi-ethnic Parisians. Newton and Robbins mimic Hepburn and Matthau, while Wahlberg is the anti-Grant, lumpen and thuggish rather than beguilingly debonair.
    • 33 Metascore
    • 40 Maitland McDonagh
    Hauser and Miles go for broke, lobbing their every comic idea at the screen. Some work better than others, and overall tomfoolery like this is a matter of taste.
    • 35 Metascore
    • 40 Maitland McDonagh
    Bad enough that the plot is shopworn, but the tough-gal talk is unintentionally hilarious, and the complicated narrative structure is annoying and pointless.
    • 33 Metascore
    • 40 Maitland McDonagh
    None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.
    • 44 Metascore
    • 40 Maitland McDonagh
    To an outsider, it's pretty thin stuff.
    • 45 Metascore
    • 40 Maitland McDonagh
    The results are a bit amateurish, but wholesome and achingly sweet.
    • 38 Metascore
    • 40 Maitland McDonagh
    This tale has been told and retold; the races and rackets change, but the song remains the same.
    • 59 Metascore
    • 40 Maitland McDonagh
    The film's underlying themes dovetail efficiently with the action but don't generate the emotional gut punch the movie needs; overall it feels padded and logy.
    • 48 Metascore
    • 40 Maitland McDonagh
    xXx
    The irony is that for all its "not your father's spy movie" posing, it's exactly like the later James Bond pictures: predictable, lightweight and 100 percent disposable
    • 29 Metascore
    • 40 Maitland McDonagh
    Fiore captures various artists horsing around with groupies, smoking dope and hanging out backstage, and cuts the material together in the kinetic but meaningless manner of MTV promos.
    • 31 Metascore
    • 40 Maitland McDonagh
    A painfully claustrophobic picture.
    • 27 Metascore
    • 40 Maitland McDonagh
    Though glossy and smoothly directed, this limp concoction has all the sparkle of flat champagne.
    • 48 Metascore
    • 40 Maitland McDonagh
    This bizarre hybrid of romantic comedy cliches and less-than-subtle social commentary defeats their best efforts to make it sparkle.
    • 19 Metascore
    • 40 Maitland McDonagh
    8MM
    The superficially cheery “Boogie Nights” is infinitely scarier.
    • 40 Metascore
    • 40 Maitland McDonagh
    For all the tear-jerking plot twists, it's a glumly dry-eyed affair.
    • 53 Metascore
    • 40 Maitland McDonagh
    Pacino's no-holds-barred performance is either the reason to see this tepid thriller or the reason to avoid it. His evocation of a Sidney Falco-style flack worn to a nub by decades of trying to spin this dirty town is nothing if not bravura.
    • 35 Metascore
    • 40 Maitland McDonagh
    Sprawling, gooey and profoundly juvenile, this derivative thriller piles on the cheese: aliens, male bonding, psychoanalytic gobbledygook, childhood secrets, military black ops, gross-out special effects, explosions, bodily function humor and a retarded boy with special powers.
    • 36 Metascore
    • 40 Maitland McDonagh
    What a joyless, fussy contraption of a movie!
    • 45 Metascore
    • 40 Maitland McDonagh
    Has a terminal case of the cutes.
    • 45 Metascore
    • 40 Maitland McDonagh
    Penn, in particular, is so subdued he's hardly there, while Hurley's seductive, hyper-articulate Adaline is actually ludicrous, sucking suggestively on ice cubes and reciting poetry like a phone-sex operator pretending to be a book-reading babe.
    • 18 Metascore
    • 40 Maitland McDonagh
    The effectiveness of this kind of issue-driven give and take relies heavily on casting, and Ritchie puts himself at a disadvantage: Madonna looks terrific in a bikini but she can't act, and the younger Giannini is stunt casting.
    • 36 Metascore
    • 40 Maitland McDonagh
    Though his film is breathtakingly art-directed, Greenaway wallows in epater le bourgeois nastiness -- his inner naughty child could use a good paddling.
    • 20 Metascore
    • 40 Maitland McDonagh
    Despite the handsome production values and best efforts of the attractive young cast, it's hard to get deeply involved with the frantic "what's going on?" sturm und drang.
    • 59 Metascore
    • 40 Maitland McDonagh
    Would be too long even if it were twice as funny. And that about sums up the movie.
    • 33 Metascore
    • 40 Maitland McDonagh
    Handsome and sometimes creepy, but formulaic in the extreme.
    • 23 Metascore
    • 40 Maitland McDonagh
    Cocky, vulgar and very noisy picture.
    • 34 Metascore
    • 40 Maitland McDonagh
    Herzfeld's sophomore movie is one long howl of rage over the relationship between criminals, journalists and thrill-hungry audiences.
    • 22 Metascore
    • 40 Maitland McDonagh
    This picture's b-movie values probably play better on video than in theaters.
    • 52 Metascore
    • 40 Maitland McDonagh
    The film is dull going, even for the pre-adolescents at whom it's aimed, and feels far longer than it actually is.
    • 33 Metascore
    • 40 Maitland McDonagh
    Without an assured character at its center, the movie quickly collapses in a heap of moldy clichés and contrived (and not especially funny) situations.