Maitland McDonagh, TV Guide
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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 4.6 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
Average review score: 54
Highest review score: 100 Pride & Prejudice
Lowest review score: 0 Vulgar
Score distribution:
2,229 movie reviews
    • 41 Metascore
    • 50 Maitland McDonagh
    Sporadically funny... occasionally very funny.
    • 68 Metascore
    • 50 Maitland McDonagh
    The film's much-vaunted stunts are deliberately unrealistic, from over-the-top wire-work to CGI-soccer balls that streak through the air like flaming cannon balls.
    • 65 Metascore
    • 50 Maitland McDonagh
    A successful thriller makes you forget such impossibilities, but here they poison every scene.
    • 54 Metascore
    • 50 Maitland McDonagh
    The supporting cast is a riot of stock exotic characters, verging on the offensively stereotypical.
    • 90 Metascore
    • 50 Maitland McDonagh
    Such a glorious cast, deployed to such trivial effect!
    • 42 Metascore
    • 50 Maitland McDonagh
    This psychological horror picture is harrowing and occasionally macabre -- you'll come away wondering what kind of father would cast his daughter in such a sexually brutal film.
    • 45 Metascore
    • 50 Maitland McDonagh
    From her speech patterns to her body language, Roberts's performance is wrong for the period.
    • 45 Metascore
    • 50 Maitland McDonagh
    Fluff in the tradition of Hollywood's screwball comedies of remarriage, lacking the wit or grace of such classics as "His Girl Friday" (1940) and "The Awful Truth" (1937).
    • 48 Metascore
    • 50 Maitland McDonagh
    Suffers from an excess of material crammed into too little screen time. There's so much story that the characters get short shrift; you have to wonder, for example, what became of Siddalee's three siblings.
    • 55 Metascore
    • 50 Maitland McDonagh
    Grace fares better than Linney, and both escape with more dignity than Harden, whose blowsy, wanton Missy is a coarse, soap-opera caricature of a suburban hoyden.
    • 44 Metascore
    • 50 Maitland McDonagh
    Wang's film doesn't really have anything more to say about power, manipulation and the wild unpredictability of sexual energy than "Last Tango" did 30 years ago.
    • 39 Metascore
    • 50 Maitland McDonagh
    Lack of chemistry between Richard Gere and Julia Roberts sinks this souffle.
    • 52 Metascore
    • 50 Maitland McDonagh
    The pace is brisk and the details are carefully arranged, but there's no sparkle -- and what's a romance without that?
    • 48 Metascore
    • 50 Maitland McDonagh
    Has honorable aspirations, even as it becomes mired in mainstream movie conventions.
    • 58 Metascore
    • 50 Maitland McDonagh
    The climactic revelation is a real disappointment, humdrum rather than chilling.
    • 40 Metascore
    • 50 Maitland McDonagh
    There's no faulting this movie's Capra-esque concept, equal parts optimism and sad recognition of the world's intrinsic harshness, but its manipulative execution may rub you the wrong way.
    • 46 Metascore
    • 50 Maitland McDonagh
    Small children should be delighted by the menagerie of chatty critters, but their parents may be less than thrilled by what the animals have to say.
    • 43 Metascore
    • 50 Maitland McDonagh
    Naim's potential is evident, but his debut is a frustrating exercise in missed opportunities.
    • 36 Metascore
    • 50 Maitland McDonagh
    Despite earnest performances by Mueller-Stahl, Bierko, Mol and Vincent d'Onofrio (in the duel role of a programmer and a VR bartender), the movie feels like a bit of a rehash.
    • 60 Metascore
    • 50 Maitland McDonagh
    That's not to say it isn't entertaining, only that the scenes which rely entirely on the fragile interplay between Jessica and Ryan suggest a more compelling movie that got lost in the welter of high-speed highway recklessness.
    • 48 Metascore
    • 50 Maitland McDonagh
    The action is ridiculously overwrought, a state-of-the-art combination of CGI wizardry and Hong Kong-style wirework so removed from the laws of physical reality that it might as well be animated.
    • 45 Metascore
    • 50 Maitland McDonagh
    The film never escapes the constraints of its genre, but it's a hell of a ride.
    • 44 Metascore
    • 50 Maitland McDonagh
    Although inspired by actual events, the film proceeds along formulaic wish-fulfillment lines, its dynamics unaltered by the casting of a mixed-race actor in what was originally a redneck role; it's a sign of some sort of social progress that justified ass-kicking trumps race.
    • 33 Metascore
    • 50 Maitland McDonagh
    The second attempt to bring a dark corner of the Marvel comic-book universe to the screen, this comic-book-based revenge story is undermined by its inconsistent tone.
    • 46 Metascore
    • 50 Maitland McDonagh
    Formulaic but surprisingly affecting drama.
    • 55 Metascore
    • 50 Maitland McDonagh
    Unfortunately, this visually sumptuous epic is the very definition of a "prestige production," swaddled in good taste and better intentions.
    • 70 Metascore
    • 50 Maitland McDonagh
    This teen-oriented gloss on Shakespeare's tale is cute and occasionally quite funny, but it's undermined by slack direction.
    • 56 Metascore
    • 50 Maitland McDonagh
    (Salerno-Sonnenberg's) determination and resilience should speak to a broader audience.
    • 55 Metascore
    • 50 Maitland McDonagh
    Stiller's performance throws the whole enterprise out of whack -- he's a grotesque mass of tics, twitches and swaggering macho shoulder action.
    • 35 Metascore
    • 50 Maitland McDonagh
    As live-action adaptations of cheap, unapologetically stupid cartoons go, this is top of the line: The cast is appealing, the sets brightly colored and fun to look at, the mystery as lame and goofy as any featured in the many inexplicably beloved Scooby-Doo cartoons.
    • 63 Metascore
    • 50 Maitland McDonagh
    This southern-fried mess of poetic crime-movie cliches is redeemed by standout performances.
    • 62 Metascore
    • 50 Maitland McDonagh
    Robles and Hidalgo ring enough changes on a stock situation that you're never sure where it's going.
    • 42 Metascore
    • 50 Maitland McDonagh
    Swank is painfully uncharismatic, leaving Christopher Walken, in the minor role of occultist Count Cagliostro, to decamp with any scene in which he appears. His performance may not be historically credible, but it's hugely entertaining: Would that the same were true of the film overall.
    • 53 Metascore
    • 50 Maitland McDonagh
    And while the divas make their characters hugely entertaining, they're also such high profile actresses in such a soft-edged film that it's hard to actually worry about what's to become of them.
    • 62 Metascore
    • 50 Maitland McDonagh
    This film is no exception to the rule that philosophical debate seldom spawns compelling cinema.
    • 51 Metascore
    • 50 Maitland McDonagh
    This slow, derivative chiller (which lifts liberally from "Ghost Story," "Rear Window" and "A Stir of Echoes") wastes far too much time on red herrings and telegraphs its plot points with painfully obvious dialogue.
    • 40 Metascore
    • 50 Maitland McDonagh
    Ricci brings her trademark gravity to the wary Suzie, but Blanchett's role is the dazzler.
    • 30 Metascore
    • 50 Maitland McDonagh
    This efficient but soulless funhouse ride eschews suspense in favor of frantic scrambling from disturbing specters, like the naked female ghost who lurks around bloody bathtubs.
    • 41 Metascore
    • 50 Maitland McDonagh
    You can't accuse the film of making speed addiction look glamorous, but the freak-show kick is too compelling for it to be called cautionary.
    • 42 Metascore
    • 50 Maitland McDonagh
    Smarter and more engaging than it has to be.
    • 42 Metascore
    • 50 Maitland McDonagh
    James Woods adds another hateful, embittered creep to his gallery of losers, neurotics and junkyard dogs with vampire slayer Jack Crow.
    • 53 Metascore
    • 50 Maitland McDonagh
    A film for fans of this alternate universe of movies that flourished as soon as the 1934 Production Code effectively excised most prurient, violent and otherwise titillating material from Hollywood films and withered in the '70s as mainstream movies finally caught up with the indies.
    • 63 Metascore
    • 50 Maitland McDonagh
    Undeniably handsome..., but no cliché is left unturned, right down to the spray of toy soldiers falling from the hand of a dead child. Everything old isn't new again.
    • 47 Metascore
    • 50 Maitland McDonagh
    Tries to be all things to all people and winds up a tedious muddle.
    • 56 Metascore
    • 50 Maitland McDonagh
    Director Mike Hodges and screenwriter Trevor Preston's dark revenge tale strips its crime-story cliches of their hopped-up energy and seedy glamour, leaving nothing but sordid sadness.
    • 56 Metascore
    • 50 Maitland McDonagh
    Van Bebber is out to capture the mood of a generation-long bad trip and succeeds with unnerving accuracy by telling the story within the family circle.
    • 78 Metascore
    • 50 Maitland McDonagh
    It's as hard not to ask what former New York Doll David Johansen is doing in their company, prancing his way through an irrelevant version of Howlin' Wolf's "Killing Floor," as it is not to wonder why the audience is so overwhelmingly white.
    • 55 Metascore
    • 50 Maitland McDonagh
    More isn't always better; everything feels slightly forced, and the funny bits -- make no mistake, there are several -- are all but lost in the noise.
    • 45 Metascore
    • 50 Maitland McDonagh
    Ultimately, the more intensely you buy into the notion that golf is a complex metaphor for the human condition, the more susceptible you'll be to the film's insipid blandishments.
    • 79 Metascore
    • 50 Maitland McDonagh
    The combination of Lee's discomforting subject matter and distancing style -- calculating artlessness punctuated by occasional flights of lyrical fantasy -- makes this slow-moving drama a challenge that doesn't seem entirely worth the effort.
    • 53 Metascore
    • 50 Maitland McDonagh
    An utterly formulaic, teen-oriented romance whose greatest asset is charming leads Julia Stiles and Sean Patrick Thomas.
    • 43 Metascore
    • 50 Maitland McDonagh
    Mena's characters rarely do the sort of spectacularly stupid things that provoke derisive laughter from seasoned horror-moviegoers.
    • 73 Metascore
    • 50 Maitland McDonagh
    Features phenomenally beautiful background animation and complex characterizations, and offers glimpses of a poverty-stricken Tokyo underclass that's rarely featured -- let alone portrayed sympathetically -- in mainstream Japanese films.
    • 68 Metascore
    • 50 Maitland McDonagh
    The effect is hypnotically disorienting, but the less familiar you are with this period in 20th-century Chinese history, the easier it is to get hopelessly lost in the tangle of personal and political loyalties and betrayals.
    • 44 Metascore
    • 50 Maitland McDonagh
    While the film delivers some sharp dialogue, overall it's soft and slightly unfocused.
    • 63 Metascore
    • 50 Maitland McDonagh
    The plot is more of the same old running and screaming, but Weaver is worth the price of admission all by herself, which is just as well in light of the less-than-fleshed out characters by whom she's surrounded.
    • 54 Metascore
    • 50 Maitland McDonagh
    This brazen mix of old and new is undermined by the predictable story, shallow characterizations and a dopey sense of humor.
    • 65 Metascore
    • 50 Maitland McDonagh
    All the right intentions but never overcomes the essential problem of showing what's going on inside people's heads.
    • 41 Metascore
    • 50 Maitland McDonagh
    This is a thoroughly conventional story of one man's search for redemption in the neon slime; its multiple flashback structure is just a way of parceling out information, not a device used to undermine the narrative.
    • 56 Metascore
    • 50 Maitland McDonagh
    The gorgeous Mole Antonelliana is the breakout star of Ferrario's fluffy valentine to the cinema.
    • 60 Metascore
    • 50 Maitland McDonagh
    This supremely silly supernatural potboiler is slickly entertaining for just under two hours and absolutely hilarious for 10 minutes near the end.
    • 49 Metascore
    • 50 Maitland McDonagh
    A leaden excuse for family entertainment, loosely inspired by Jules Verne's 1873 novel, coarsened almost beyond recognition and dominated by Jackie Chan's comic martial-arts schtick.
    • 30 Metascore
    • 50 Maitland McDonagh
    For the first hour director Arau and his co-writer and wife, actress Arizmendi, negotiate the story's tricky mix of comedy, social satire and science fiction with surprising aplomb.
    • 46 Metascore
    • 50 Maitland McDonagh
    Fleder delivers the requisite shocks, and his direction is brisk, efficient and occasionally stylish; Judd and Freeman both give more than the material demands.
    • 63 Metascore
    • 50 Maitland McDonagh
    If ever a movie cried out to be French, it's this one, and not just because it's a remake of Claude Chabrol's notoriously icy La Femme Infidele (1968).
    • 35 Metascore
    • 50 Maitland McDonagh
    A hokey monster mish-mash that plunders the richly textured histories of Dracula, the Wolfman and Frankenstein's monster.
    • 46 Metascore
    • 50 Maitland McDonagh
    Saw
    Wan's debut feature is a twisted, squirm-inducingly nasty bit of work, which isn't a criticism because that's exactly what he and cowriter Leigh Whannell had in mind.
    • 62 Metascore
    • 50 Maitland McDonagh
    Although notorious in South Africa, Stander is little known elsewhere and Canadian director Bronwen Hughes' unsatisfying account of his life and crimes is unlikely to earn him a spot on the outlaw celebrity A-list.
    • 36 Metascore
    • 50 Maitland McDonagh
    The production design is phenomenal, reproducing the series' swinging '60s decor and techno-geek flourishes, from the launch pad under the swimming pool to Lady Penelope's pink roadster, which turns into a mini-plane.
    • 51 Metascore
    • 50 Maitland McDonagh
    Young Tamimi is a terrific rider but a lackluster screen presence, and the film's brevity ensures that her trials have a perfunctory quality that keeps them from being truly compelling.
    • 41 Metascore
    • 50 Maitland McDonagh
    A peculiar and oddly haunting achievement.
    • 41 Metascore
    • 50 Maitland McDonagh
    This genial little picture, which has been kicking around for more than a year, doesn't have a mean bone in its body.
    • 60 Metascore
    • 50 Maitland McDonagh
    The crime story here is lazily constructed, mostly an excuse for the give-and-take between Tucker and Chan, which is shrill and raucous without being especially clever.
    • 58 Metascore
    • 50 Maitland McDonagh
    A buzzed-up gloss on the original, it's entertaining -- if fundamentally shallow.
    • 47 Metascore
    • 50 Maitland McDonagh
    Scott swaddles this fundamentally straightforward revenge story in a jumble of bleary freeze frames, random changes of color saturation and film stock, jump cuts and stuttering montages, splashing text from some menacing word soup onto the resulting collage of chicly disturbing images.
    • 43 Metascore
    • 50 Maitland McDonagh
    Boyle's movie jettisons much of the telling detail; it has the shambling rhythm of a shaggy dog story and so simplifies the characters' ethical dilemmas that it's hard to care what they do.
    • 38 Metascore
    • 50 Maitland McDonagh
    Is it funny? Sporadically.
    • 29 Metascore
    • 50 Maitland McDonagh
    Well-written and surprisingly well-acted by a relatively inexperienced cast
    • 65 Metascore
    • 50 Maitland McDonagh
    Eastwood, ironically, is the weak link in the cast, a less-than-ideal choice to play a screw-up who squeaks through life on personal magnetism: He's got star quality, sure, even a certain remote sexiness, but he's no charmer.
    • 52 Metascore
    • 50 Maitland McDonagh
    An old man's movie, filled with regret over things lost, corrupted and spoiled.
    • 73 Metascore
    • 50 Maitland McDonagh
    If only this amiable shaggy dog story...didn't degenerate into an implausible, second-rate thriller after takeoff.
    • 50 Metascore
    • 50 Maitland McDonagh
    Kilmer slips in and out of a series of ludicrously elaborate disguises, some more convincing than others, while poor Shue shuffles through the role of a sexy, book-reading babe pretending to be a dowdy lady scientist in kneesocks.
    • 58 Metascore
    • 50 Maitland McDonagh
    Milos Forman's film is a series of incredible simulations that never quite cohere into a movie.
    • 57 Metascore
    • 50 Maitland McDonagh
    There's not much substantive food for thought.
    • 49 Metascore
    • 50 Maitland McDonagh
    This handsomely photographed, briskly directed sci-fi fright picture is enjoyable enough on its own limited terms.
    • 72 Metascore
    • 50 Maitland McDonagh
    Epic, meticulously researched and ultimately disappointing, Martin Scorsese's bloody valentine to the birth of his beloved city is less than the sum of its parts.
    • 53 Metascore
    • 50 Maitland McDonagh
    The first-rate cast is lost at sea.
    • 27 Metascore
    • 50 Maitland McDonagh
    fans of this venerable Eurotrash form will welcome any evidence that it's still alive and writhing lasciviously.
    • 30 Metascore
    • 50 Maitland McDonagh
    Kutcher's performance isn't terrible, but the brilliant, bewildered, increasingly desperate Evan is the film's center, and grounding its flights of fantasy in rock-solid emotional reality is more than Kutcher can manage.
    • 55 Metascore
    • 50 Maitland McDonagh
    There's a thin line between fable and twaddle, and this feel-good trifle veers dangerously close to the latter.
    • 58 Metascore
    • 50 Maitland McDonagh
    Makes you wish consumer automobiles were built to NASCAR safety standards.
    • 21 Metascore
    • 50 Maitland McDonagh
    Walks a thin line between refreshing irreverence and shameless exploitation of offensive gay stereotypes.
    • 48 Metascore
    • 50 Maitland McDonagh
    This smooth concoction goes down with a pleasant tingle and leaves behind a warm glow.
    • 63 Metascore
    • 50 Maitland McDonagh
    Unfortunately, the trajectory of Mueller and co-screenwriter Kevin Kennedy's repetitive screenplay echoes "Taxi Driver" so closely as to invite unfavorable comparison with Martin Scorsese's benchmark chronicle of alienation.
    • 43 Metascore
    • 50 Maitland McDonagh
    Director Joseph Ruben's best efforts can't keep Gerald Di Pego's puzzle-picture script from toppling into absurdity as it lurches from melodrama to psychological thriller with supernatural overtones to full-blown exercise in X-Files-style nuttiness.
    • 43 Metascore
    • 50 Maitland McDonagh
    Sweet and sort of cute -- watch and see if it doesn't kind of sneak up on you.
    • 38 Metascore
    • 50 Maitland McDonagh
    Where "Pitch Black" relied on shadowy threats and sharply drawn relationships between a small group of stranded victims-to-be, Twohy's bloated space opera is an eye-popping three-ring circus of fabulously freaky costumes, over-ripe declaiming and computer-generated spectacle.
    • 65 Metascore
    • 50 Maitland McDonagh
    While sometimes evocative, they don't add up to a satisfying movie any more than, as several characters are cautioned, coffee and cigarettes constitute a healthy lunch.
    • 53 Metascore
    • 50 Maitland McDonagh
    The resulting awkward, earthbound mishmash thoroughly overshadows Judd and Kline's authentically moving performances.
    • 72 Metascore
    • 50 Maitland McDonagh
    Arguing that you shouldn't expect rich characterization from a comic-book movie misses the point: Vivid relationships separate the graphic novels from the funnies and, in the end, spectacular set design is just window dressing.
    • 55 Metascore
    • 50 Maitland McDonagh
    When the average comedy is aimed at juvenile 12-year-olds of all ages, the fact that Russell's target audience is precocious 12-year-olds of all ages is a significant improvement without actually being a triumph of mature wit over boorish puerility.
    • 66 Metascore
    • 50 Maitland McDonagh
    If the movie overall had the bitter brio of Malcolm McDowell's brief turn as Globecom guru Teddy K, a Franken-mogul stitched together from bits of Richard Branson, Barry Diller and Rupert Murdoch, it would be a pointed black comedy.
    • 20 Metascore
    • 50 Maitland McDonagh
    This sentimental comedy is generally sweet natured.
    • 47 Metascore
    • 50 Maitland McDonagh
    Writer-director Erik Palladino's admirably subtle bit of chronological trickery allows his small-scale drama, set in 9/11 New York, to deliver a sucker-punch of an ending.
    • 44 Metascore
    • 50 Maitland McDonagh
    Clearly, neither screenwriter Randall Wallace nor director Michael Bay ever met a cliche he didn't embrace.
    • 57 Metascore
    • 50 Maitland McDonagh
    While there's no denying that the film's animation is technically impressive and is sometimes quite clever, its inventiveness is frequently at the service of gags so distasteful that gag is the operative word.
    • 61 Metascore
    • 50 Maitland McDonagh
    The film's characters, computer-animated over motion-caputure footage of flesh-and-blood performers, are as blank-eyed and rubbery-looking as moving mannequins -- the stuff of nightmares, not dreams.
    • 64 Metascore
    • 50 Maitland McDonagh
    The result is undeniably offensive and occasionally very funny, but the gags fall flat as often as they hit their mark.
    • 77 Metascore
    • 50 Maitland McDonagh
    What's most disappointing is the thoroughly cliched story.
    • 56 Metascore
    • 50 Maitland McDonagh
    Even the dramatic heavy hitters, who include Cox, Gleeson, O'Toole and Julie Christie, as Achilles' mother, are powerless in the face of Pitt's yawning hollowness.
    • 40 Metascore
    • 50 Maitland McDonagh
    But beneath the bombast it's pure paste and tinsel and, robbed of the thrill of live performance, the show's deficiencies are glaringly apparent.
    • 55 Metascore
    • 50 Maitland McDonagh
    There's nothing much new going on here (we feel compelled to point out the resemblance to one of the worst-ever episodes of The X-Files, "Teso Los Bichos"), but it's all slickly done, with the requisite big jumps, false leads, weird science and scary trips down dark corridors.
    • 47 Metascore
    • 50 Maitland McDonagh
    It desperately wants to be a paranoid political thriller, but this cobbled-together collection of corruption-on-Capitol Hill and cop movie cliches is so implausible that it's hard to care about any of the conspiratorial cover-ups and counter cover-ups.
    • 36 Metascore
    • 50 Maitland McDonagh
    Though consistently handsome, the film never quite achieves the shallow but hugely seductive intensity of its MTV-style opening credits sequence.
    • 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.
    • 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...
    • 70 Metascore
    • 50 Maitland McDonagh
    De Mello's dedication is inspiring enough to speak for itself.
    • 30 Metascore
    • 50 Maitland McDonagh
    While his film is less than satisfying, it's a refreshingly off-kilter experience.
    • 46 Metascore
    • 50 Maitland McDonagh
    Tame as can be by today's standards, but will charm fans of vintage erotica.
    • 53 Metascore
    • 50 Maitland McDonagh
    This is a shameless, straightforward soap opera (no Almodovarian excess here!), but it's pretty entertaining on its own sudsy terms.
    • 29 Metascore
    • 50 Maitland McDonagh
    Heartfelt but overly familiar film.
    • 70 Metascore
    • 50 Maitland McDonagh
    A sober, earnest drama about child abuse.
    • 46 Metascore
    • 50 Maitland McDonagh
    Gorgeous but seriously unsatisfying.
    • 40 Metascore
    • 50 Maitland McDonagh
    The extremely intimate violence is more explicit than is the mainstream norm, and Dalle's mouth is the stuff of nightmares.
    • 32 Metascore
    • 50 Maitland McDonagh
    There's no denying the freak-show appeal and you don't see frontal nudity like this on TV, but otherwise it's all as contrived and artificial as "Survivor."
    • 67 Metascore
    • 50 Maitland McDonagh
    It's tremendously clever, but ultimately pointless.
    • 46 Metascore
    • 50 Maitland McDonagh
    Unfortunately, this flawed but interesting film will be Wassel's only legacy; the director was murdered in 2001 by Nathan C. Powell, who helped finance this film.
    • 45 Metascore
    • 50 Maitland McDonagh
    Hopkins possesses a Candide-like equanimity in the face of bizarre happenstance that is thoroughly charming and keeps the story's excesses from becoming exasperating.
    • 46 Metascore
    • 50 Maitland McDonagh
    It's hard to imagine anyone who isn't familiar with Graham and her place in 20th-century dance history getting drawn into Move and Herrmann's hall of Martha mirrors, but for the right viewer it's a fascinating exercise in self-reflexive mythmaking.
    • 53 Metascore
    • 50 Maitland McDonagh
    It's ultimately hard to care deeply about a silly, sheltered girl-woman who's taking an inordinately long time to learn that money can't buy happiness.
    • 26 Metascore
    • 50 Maitland McDonagh
    One youngster -- even a youngster as talented as Rossum -- can't transform a mess of clichés into a little gem.
    • 29 Metascore
    • 50 Maitland McDonagh
    Ethan and Lenny's story is silly, good-natured and full of unlikely moves, just like the titular twister.
    • 54 Metascore
    • 50 Maitland McDonagh
    Sentimental and predictable, Meily's sweet-natured feature-film debut was hugely popular in the Philippines; its day-to-day details will be exotic to non-Filipino audiences but the characters' dilemmas are couched in the universal language of sitcom complications and fortuitous resolutions.
    • tbd Metascore
    • 50 Maitland McDonagh
    This feverish drama examines issues of faith and redemption through the practice of prayer intercession.
    • 51 Metascore
    • 50 Maitland McDonagh
    Like most anthology films, this thematically linked trio of shorts is a mixed bag.
    • 24 Metascore
    • 50 Maitland McDonagh
    The politics get pretty short shrift, but cigarettes and liquor are everywhere.
    • 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.
    • 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).
    • 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.
    • 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.
    • 38 Metascore
    • 50 Maitland McDonagh
    Neither as dull nor as insufferably smug as it could easily have been.
    • 46 Metascore
    • 50 Maitland McDonagh
    The film looks great, but there's nothing under the high-gloss veneer.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Maitland McDonagh
    Overall, the performances are surprisingly convincing, but the mockumentary elements – feel out of place and the intrusive.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Maitland McDonagh
    The actors -- especially Klein and Bernthal -- deliver startlingly powerful performances.
    • 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.
    • 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.
    • 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.
    • 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.
    • 29 Metascore
    • 40 Maitland McDonagh
    A reductive spook show in which a bunch of puny humans get chased around by scary monsters.
    • 30 Metascore
    • 40 Maitland McDonagh
    Increasingly preposterous, thoroughly credibility-straining escapades.
    • 34 Metascore
    • 40 Maitland McDonagh
    Pinup appeal alone does not a compelling movie make.
    • 61 Metascore
    • 40 Maitland McDonagh
    Turturro's sweaty, lumpen Cain is a profoundly disagreeable guide down the rabbit hole of hallucinatory paranoia.
    • 35 Metascore
    • 40 Maitland McDonagh
    The film's last 20 minutes devolve into a tedious slog through the kind of pointless, predictable running and screaming that give horror movies a bad name.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film is never dull.
    • 44 Metascore
    • 40 Maitland McDonagh
    The amazing thing is how dull a movie crawling with gunfire, psycho tantrums and stuff blowing up can be when you just don't care what happens to anyone.
    • 39 Metascore
    • 40 Maitland McDonagh
    Its seductive stylishness is undermined by one narrative twist too many; by the time the last revelation has been unveiled with a "But wait!" flourish, the contrivances have entirely overwhelmed the characters.
    • 53 Metascore
    • 40 Maitland McDonagh
    Queen Latifah's warmly formidable presence drives this amiable but poky comedy.
    • 59 Metascore
    • 40 Maitland McDonagh
    Sternfeld's script, developed at the Sundance screenwriters' lab, is spare to the point of stinginess; individual scenes play beautifully without adding up to anything, stranding the actors in an emotional vacuum that drains the life from their performances.
    • 53 Metascore
    • 40 Maitland McDonagh
    Palindromes read the same way backward and forward, and Todd Solondz' sour tale ends where it begins.
    • 33 Metascore
    • 40 Maitland McDonagh
    The war between highly specific coming-of-age angst and icky-sticky overcoming-adversity cliches eventually brings the whole thing down.
    • 41 Metascore
    • 40 Maitland McDonagh
    Inspired mockumentary-a-clef so clotted with in-jokes that it should come with a crib sheet.
    • 75 Metascore
    • 40 Maitland McDonagh
    In stripping her potentially lurid material of salacious appeal, Martel also makes it murky and oddly arid, a mind-numbing exercise rather than an experience.
    • 41 Metascore
    • 40 Maitland McDonagh
    It delivers some bracingly nasty gore scenes, but there's no spark left in the run-scream-repeat formula, and a movie whose biggest draw is profoundly untalented hotel-fortune heiress Paris Hilton is in desperate need of some juice.
    • 48 Metascore
    • 40 Maitland McDonagh
    Sandler's performance is aimed squarely at the fans who love his smarty-pants man-boy shtick and Rock gets off some funny lines, but overall this is one dreary, formulaic slog through sports-movie cliches.
    • 55 Metascore
    • 40 Maitland McDonagh
    The verdict: More thoughtful than Harlin's version, but hardly the invigorating mix of shocks and metaphysical horror needed to revitalize the Exorcist franchise.
    • 44 Metascore
    • 40 Maitland McDonagh
    Weber's losers really are losers -- envious, spiteful, complacent, mean-spirited and ultimately boring malcontents pickled in their own poison, and they drag his film down with them.
    • 34 Metascore
    • 40 Maitland McDonagh
    Falls victim to an overly tricky rethinking of the way familiar TV shows are transformed into movies.
    • 66 Metascore
    • 40 Maitland McDonagh
    Mediocre documentary squanders a terrific subject.
    • 47 Metascore
    • 40 Maitland McDonagh
    There's less than meets the eye in this tricky psychological thriller, one of a long line of mess-with-your-head brain ticklers in which all is not as it seems.
    • 33 Metascore
    • 40 Maitland McDonagh
    So outrageously, unregenerately stupid that you might be tempted to think it's smart. But it's not: It's as dumb as Georgia dirt.
    • 47 Metascore
    • 40 Maitland McDonagh
    Hokey, slow-moving thriller.
    • 33 Metascore
    • 40 Maitland McDonagh
    If it weren't for the running flatulence gag, the whole silly business might be mistaken for slight, clean, fast-moving fun.
    • 49 Metascore
    • 40 Maitland McDonagh
    Lasse Hallstrom's leisurely drama about remorse, forgiveness and spiritual healing is a film of big emotions and ferociously small gestures.
    • 46 Metascore
    • 40 Maitland McDonagh
    Simultaneously sober and silly horror picture.
    • 29 Metascore
    • 40 Maitland McDonagh
    Derivative, predictable and entirely forgettable, the sort of low-expectations genre picture that generally goes directly to video.
    • 30 Metascore
    • 40 Maitland McDonagh
    The film's poky pacing is a liability -- the setup takes an awfully long time.
    • 30 Metascore
    • 40 Maitland McDonagh
    Feather-light and proudly goofy, this Jackie Chan action comedy appears to be aimed squarely at under-12s.
    • 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.
    • 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.
    • 31 Metascore
    • 40 Maitland McDonagh
    A painfully claustrophobic picture.
    • 43 Metascore
    • 40 Maitland McDonagh
    Jelski's screenplay, a finalist in the fiercely competitive Walt Disney Screenwriting Fellowship competition, is repetitive and stagy.
    • 51 Metascore
    • 40 Maitland McDonagh
    If Griffin were a jowly Southern redneck, his mean-spirited rants would make him a pariah.
    • 45 Metascore
    • 40 Maitland McDonagh
    Contains some nicely observed moments, but they're buried in an unrepentantly sitcomy script.
    • 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.
    • 26 Metascore
    • 40 Maitland McDonagh
    Only Sol and Sara even approach being real characters; the supporting players, Black and Jewish alike, are shrill stereotypes.
    • 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.
    • 49 Metascore
    • 40 Maitland McDonagh
    The story itself is uninteresting, and the songs are painfully undistinguished.
    • 22 Metascore
    • 40 Maitland McDonagh
    If Reeves weren't onboard this picture would have gone straight to video.
    • 46 Metascore
    • 40 Maitland McDonagh
    As a debut it holds out the promise that Montias might do something more interesting in his next film.
    • 38 Metascore
    • 40 Maitland McDonagh
    A protracted piece of whimsy.
    • 23 Metascore
    • 40 Maitland McDonagh
    A straight-faced throwback to the glory days of mutant wildlife on the rampage.
    • 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.
    • 45 Metascore
    • 40 Maitland McDonagh
    Has a terminal case of the cutes.
    • 38 Metascore
    • 40 Maitland McDonagh
    This tale has been told and retold; the races and rackets change, but the song remains the same.
    • 50 Metascore
    • 40 Maitland McDonagh
    There's nothing blatantly wrong with it (except perhaps the red-assed baboon ex machina), but it's 100% shock-free and coasts to a formulaic conclusion.
    • 25 Metascore
    • 40 Maitland McDonagh
    Cross an episode of "Friends" with an issue-of-the-week movie about gay parenthood and you have this glossy vanity project.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    Contains several profanely amusing moments, but they don't add up to much.
    • 39 Metascore
    • 40 Maitland McDonagh
    The climactic shootout might have more impact if we actually cared about the so-called characters.
    • 66 Metascore
    • 40 Maitland McDonagh
    Camille's desperate, destructive antics just don't seem especially cute or funny.
    • 62 Metascore
    • 40 Maitland McDonagh
    The performances are uneven and the loosely structured story never actually goes anywhere.
    • 43 Metascore
    • 40 Maitland McDonagh
    Despite some strong performances, never rises above the level of a telanovela.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 40 Maitland McDonagh
    The filmmakers created an animated version of the writer to accompany audio clips of Dick speaking. It's a well-intentioned but unsatisfying invention, which pretty much sums up the whole enterprise.
    • 49 Metascore
    • 40 Maitland McDonagh
    All too often, dramatic confrontations feel like barely dramatized debates.
    • 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.
    • 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.
    • 27 Metascore
    • 40 Maitland McDonagh
    Slight, over-long.
    • 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.
    • 21 Metascore
    • 40 Maitland McDonagh
    Gets off to a pretty intriguing start before degenerating into a series of routine action sequences.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Maitland McDonagh
    There are people who eat this kind of thing right up -- if you're one of them, dig in.
    • 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.
    • 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.
    • 31 Metascore
    • 40 Maitland McDonagh
    Thoroughly preposterous on every level.
    • 52 Metascore
    • 40 Maitland McDonagh
    Writer/director Austin Chick falls into the timeworn trap of making an immature, irritating film about immature, irritating characters.
    • 44 Metascore
    • 40 Maitland McDonagh
    Professionally produced and surprisingly tame.
    • 62 Metascore
    • 40 Maitland McDonagh
    Watching this string of sketches about small town wackos is like channel surfing a heavy sitcom zone.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    There's just no reason why it should take more than two hours for so little to happen.
    • 48 Metascore
    • 40 Maitland McDonagh
    The plot's contrivances are uncomfortably strained, and ultimately your reaction to its featherweight story of love and serendipity will be determined by how charming you find the dithering, slack-jawed Janice.
    • 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.
    • 27 Metascore
    • 40 Maitland McDonagh
    Though glossy and smoothly directed, this limp concoction has all the sparkle of flat champagne.
    • 21 Metascore
    • 40 Maitland McDonagh
    A lifelong baseball enthusiast, director and co-producer Mike Tollin -- persuaded many real-life baseball figures to make cameo appearances.
    • 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.
    • 49 Metascore
    • 40 Maitland McDonagh
    Overall the film is a stylish lark with no resonance, a mean-spirited one-night stand of a movie.
    • 47 Metascore
    • 40 Maitland McDonagh
    Contrived, meandering, clichéd and just plain preposterous.
    • 39 Metascore
    • 40 Maitland McDonagh
    Pascal's low-key presence is particularly important, since in another actor's hands Alain's whining and waffling could easily be insufferable.
    • 24 Metascore
    • 40 Maitland McDonagh
    Weepy, overwrought love story.
    • 63 Metascore
    • 40 Maitland McDonagh
    Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.
    • 13 Metascore
    • 40 Maitland McDonagh
    No one expects a light teen romance to be "Madame Bovary," but this is Colorforms filmmaking.
    • 59 Metascore
    • 40 Maitland McDonagh
    Bond spends an awful lot of time being rescued from peril by supporting characters.
    • 15 Metascore
    • 40 Maitland McDonagh
    It never actually coalesces into a movie.
    • 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.
    • 33 Metascore
    • 40 Maitland McDonagh
    Utterly predictable, noisy and stupid.
    • 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.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 40 Maitland McDonagh
    Screenwriter Lona Williams doesn't seem to have gotten much beyond the petty absurdity of theme headdresses and ludicrous talent competitions.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Maitland McDonagh
    The film's shortcomings notwithstanding, it's a must-see for Swinton fans, who can select a favorite among four different variations of their idol or simply adore them all.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Maitland McDonagh
    The film is meticulously crafted but frustratingly meaningless.
    • 26 Metascore
    • 40 Maitland McDonagh
    Slight, smart-alecky romantic comedy.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 40 Maitland McDonagh
    None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.
    • 53 Metascore
    • 40 Maitland McDonagh
    Slight and pleasantly predictable film coasts along on the considerable charms of its cast and exotic setting.
    • 45 Metascore
    • 40 Maitland McDonagh
    The results are a bit amateurish, but wholesome and achingly sweet.
    • 36 Metascore
    • 40 Maitland McDonagh
    What a joyless, fussy contraption of a movie!
    • 41 Metascore
    • 40 Maitland McDonagh
    Hugely smug and annoying.
    • 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.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    The film's liabilities include Lustig's excessive reliance on flashy editing, tacky special effects and a blaring alterna-rock soundtrack that's used to make the characters' thoughts and motivations painfully obvious. Among its assets are the clever premise and generally appealing performances.
    • 28 Metascore
    • 40 Maitland McDonagh
    The result is rather like eavesdropping on a bright but painfully self-absorbed adolescent's secret thoughts: sometimes fascinating, other times just infuriating.
    • 44 Metascore
    • 40 Maitland McDonagh
    Toothless satire punctuated by the occasional biting gag.
    • 14 Metascore
    • 40 Maitland McDonagh
    Jeremy Irons, giving what is, hands down, the worst performance of his career.
    • 51 Metascore
    • 40 Maitland McDonagh
    If you were to strip the "Austin Powers" films of their juvenile lewdness, psychedelic decor and swinging soundtrack while leaving intact the potty humor and pratfalls, the result would be something very like this pointless spy spoof.
    • 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?
    • 48 Metascore
    • 40 Maitland McDonagh
    This dopey swashbuckler offers little action but lashings of DiCaprio's soft, hairless flesh.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Maitland McDonagh
    Ostensibly an "adult comedy" about serious things, screenwriter Richard LaGravenese's disjointed directing debut rings profoundly false, a story about class distinctions and suffering conceived and executed in privilege.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    A slow-moving, dramatically slack film.
    • 33 Metascore
    • 40 Maitland McDonagh
    Lacks a sense of bone-chilling dread.
    • 36 Metascore
    • 40 Maitland McDonagh
    There's a surprising sweetness under its crude exterior.
    • 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.
    • 22 Metascore
    • 40 Maitland McDonagh
    Allowing for the fact that any Pokemon movie is essentially a feature-length commercial designed to make little kids want Pokémon stuff, this one has its moments.
    • 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.
    • 35 Metascore
    • 40 Maitland McDonagh
    The movie fails to make Alma a vivid presence -- She deserves better, and so do viewers.
    • 40 Metascore
    • 40 Maitland McDonagh
    For all the tear-jerking plot twists, it's a glumly dry-eyed affair.
    • 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?