Maitland McDonagh

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For 2,233 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 7.6 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Devil in a Blue Dress
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2233 movie reviews
    • 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.
    • 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.
    • 26 Metascore
    • 40 Maitland McDonagh
    Slight, smart-alecky romantic comedy.
    • 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
    • 31 Metascore
    • 40 Maitland McDonagh
    A painfully claustrophobic picture.
    • 70 Metascore
    • 40 Maitland McDonagh
    A sickly soft-swirl confection of low laughs and smarmy sentiment.
    • 62 Metascore
    • 40 Maitland McDonagh
    The performances are uneven and the loosely structured story never actually goes anywhere.
    • 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.
    • 30 Metascore
    • 40 Maitland McDonagh
    The movie's tone and plot twists are so ludicrously overwrought that even Washington's admirably restrained performance -- can't rescue it from its own excesses.
    • 32 Metascore
    • 40 Maitland McDonagh
    This scattershot comedy (which might be called "irreverent" if anyone actually revered movies like AMERICAN PIE) features vulgar gags at the expense of recent youth-oriented pictures.
    • 20 Metascore
    • 40 Maitland McDonagh
    A hyperactive hodgepodge.
    • 33 Metascore
    • 40 Maitland McDonagh
    Lacks a sense of bone-chilling dread.
    • 52 Metascore
    • 40 Maitland McDonagh
    The youngsters all turn in game performances, but the standout is Anne Heche, whose weird Missy Egan is pure Mimsy Farmer at maximum twitch.
    • 46 Metascore
    • 40 Maitland McDonagh
    He (Allen) seems to have forgotten that comedy is all about timing, letting individual scenes meander -- often to accommodate his own stammering monologues -- and giving viewers far too much downtime in which to consider the staleness of many of the film's gags.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Maitland McDonagh
    Fatuous twaddle posing as a REALLY DEEP consideration of what's wrong with our crazy, mixed-up world, Matthew Ryan Hoge's slick but deeply dumb film unfolds in a picture-perfect suburb of Anywheresville, USA.
    • 44 Metascore
    • 40 Maitland McDonagh
    Labored and dispiriting.
    • 49 Metascore
    • 40 Maitland McDonagh
    This dogged journey of self-delusion is interrupted periodically by snippets of footage...that promise a dark revelation that would give an edge to the otherwise tedious goings-on but, sadly, never materializes.
    • 63 Metascore
    • 40 Maitland McDonagh
    This disappointing sequel to last year's horror sleeper gets trapped in the clichés it's trying to send up.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Maitland McDonagh
    Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.
    • 59 Metascore
    • 40 Maitland McDonagh
    Would be too long even if it were twice as funny. And that about sums up the movie.
    • 38 Metascore
    • 40 Maitland McDonagh
    A slow-moving, dramatically slack film.
    • 34 Metascore
    • 40 Maitland McDonagh
    The occasional amusing one-liner can't compensate for the broad caricatures and awkwardly structured story.
    • 61 Metascore
    • 40 Maitland McDonagh
    Turturro's sweaty, lumpen Cain is a profoundly disagreeable guide down the rabbit hole of hallucinatory paranoia.
    • 18 Metascore
    • 40 Maitland McDonagh
    A rapper doesn't make the story fresh.
    • 22 Metascore
    • 40 Maitland McDonagh
    Witless comedy.
    • 41 Metascore
    • 40 Maitland McDonagh
    The mere sight of strapping men in micro-mini skirts suffering the indignities of thong underwear, catcalls and pushy pick-up artists is good for a couple of lowbrow laughs, but they're buried pretty deep in dreck.
    • 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.
    • 66 Metascore
    • 40 Maitland McDonagh
    Mediocre documentary squanders a terrific subject.
    • 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.
    • 46 Metascore
    • 40 Maitland McDonagh
    It careens from coarse comedy to smart-ass stylization to vicious violence without ever becoming convincing on any level.
    • 42 Metascore
    • 40 Maitland McDonagh
    Director Forest Whitaker, who appears to have been typed as a female-friendly director in the wake of "Waitinh to Exhale's" runaway success, drags out the already painfully slow proceedings with syrupy dissolves, slo-mo sequences and redundant flashbacks, underscoring it all with an intrusively obvious country soundtrack that matches lyrics to emotions with cringe-inducing exactness.
    • 64 Metascore
    • 40 Maitland McDonagh
    It's merely glum when it should be bracingly grim.
    • 47 Metascore
    • 40 Maitland McDonagh
    To make the package look fresh, there's a pile of complications.
    • 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.
    • 31 Metascore
    • 40 Maitland McDonagh
    Thoroughly preposterous on every level.
    • 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.
    • 52 Metascore
    • 40 Maitland McDonagh
    The sequences are handsomely designed, but frankly, you might as well be watching someone play a video game.
    • 39 Metascore
    • 40 Maitland McDonagh
    Whaley's determination to immerse you in sheer, unrelenting wretchedness is exhausting.
    • 23 Metascore
    • 40 Maitland McDonagh
    A straight-faced throwback to the glory days of mutant wildlife on the rampage.
    • 19 Metascore
    • 40 Maitland McDonagh
    8MM
    The superficially cheery “Boogie Nights” is infinitely scarier.
    • 26 Metascore
    • 40 Maitland McDonagh
    In the end it's the same old blood pudding.
    • 46 Metascore
    • 40 Maitland McDonagh
    The limp thriller plot Deery constructs to frame his theological inquiries is both artificial and not very interesting, a lethal combination.
    • 33 Metascore
    • 40 Maitland McDonagh
    Utterly predictable, noisy and stupid.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 40 Maitland McDonagh
    So formulaic it starts to fade from memory before the last punch is thrown.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Maitland McDonagh
    Dave Collard's preposterous script relies heavily on fortuitous coincidence... and thoroughly stupid behavior.
    • 74 Metascore
    • 40 Maitland McDonagh
    The big surprise is so obvious that it makes the deliberate pacing seem painfully slow, and Kidman's prissy accent and tight-lipped performance are more than a little grating.
    • 47 Metascore
    • 40 Maitland McDonagh
    Goofy and surprisingly slow-moving.
    • 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.
    • 53 Metascore
    • 40 Maitland McDonagh
    John Cleese supplies the voice of George's brainy and terrifically tolerant sidekick, a very unconvincing animatronic gorilla named Ape, but even he can't raise the level of humor above the harmlessly goofy.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    This tale has been told and retold; the races and rackets change, but the song remains the same.
    • 47 Metascore
    • 40 Maitland McDonagh
    While in her earlier movies Jennifer Love Hewitt made an impression by spilling out of her tops, in this one she spills out of her clothes at both ends. This could, if one were feeling charitable, be construed as a broadening of her range.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Maitland McDonagh
    The generally competent B-list actors are hobbled by cliché-ridden dialogue but do their best to react in remotely plausible ways each time the script nails them with some new melodramatic contrivance.
    • 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.
    • 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.
    • 15 Metascore
    • 40 Maitland McDonagh
    It never actually coalesces into a movie.
    • 14 Metascore
    • 40 Maitland McDonagh
    An amazing artifact; the decor and lighting mix '70s tackiness with odd '50s touches, the sound design is elaborate.
    • 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.
    • 42 Metascore
    • 40 Maitland McDonagh
    McTiernan's extensive action background is nowhere evident in the murky, all-but-impossible to follow battle sequences.
    • 48 Metascore
    • 40 Maitland McDonagh
    Should please undiscriminating fans. But it in no way improves on the clichéd formula.
    • 42 Metascore
    • 40 Maitland McDonagh
    The film's secret weapon is its kicky soundtrack.
    • 73 Metascore
    • 40 Maitland McDonagh
    For all its tongue-in-cheek toying with images, it doesn't reward attempts at serious intellectual analysis. It has the air of a surprisingly juvenile lark, a pop-influenced prank whose charms are immediately apparent and wear thin with repetition.
    • 40 Metascore
    • 40 Maitland McDonagh
    For all the tear-jerking plot twists, it's a glumly dry-eyed affair.
    • 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.
    • 58 Metascore
    • 40 Maitland McDonagh
    May
    The talented Bettis works her heart out, but McKee apparently directed her to play May as a quivering crazy from the start.
    • 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.
    • 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.
    • 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.
    • 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.
    • 26 Metascore
    • 40 Maitland McDonagh
    Only Sol and Sara even approach being real characters; the supporting players, Black and Jewish alike, are shrill stereotypes.
    • 45 Metascore
    • 40 Maitland McDonagh
    Contains some nicely observed moments, but they're buried in an unrepentantly sitcomy script.
    • 60 Metascore
    • 40 Maitland McDonagh
    Essentially a supersize episode that ignores a slew of fifth-season developments and adds yet another monster to the mix, one that owes a striking debt to "Alien."
    • 13 Metascore
    • 40 Maitland McDonagh
    No one expects a light teen romance to be "Madame Bovary," but this is Colorforms filmmaking.
    • 41 Metascore
    • 40 Maitland McDonagh
    Inspired mockumentary-a-clef so clotted with in-jokes that it should come with a crib sheet.
    • 61 Metascore
    • 40 Maitland McDonagh
    Although the performances by the star-studded cast are generally excellent, only Billy Crystal really manages to transcend the dour misery of Allen's script: His witty turn as a dapper Satan is a blessed relief from the neurotic gloom.
    • 49 Metascore
    • 40 Maitland McDonagh
    There are people who eat this kind of thing right up -- if you're one of them, dig in.
    • 47 Metascore
    • 40 Maitland McDonagh
    Strident and bombastic.
    • 54 Metascore
    • 40 Maitland McDonagh
    Gives off an air of clammy desperation that feels all too authentic without being especially funny and bogs down early in repetitive shtick. (review of re-release)
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    There's a surprising sweetness under its crude exterior.
    • 33 Metascore
    • 40 Maitland McDonagh
    Handsome and sometimes creepy, but formulaic in the extreme.
    • 38 Metascore
    • 40 Maitland McDonagh
    A caper comedy without chemistry is just a bunch of waiting around for something to get stolen.
    • 47 Metascore
    • 40 Maitland McDonagh
    Hokey, slow-moving thriller.
    • 44 Metascore
    • 40 Maitland McDonagh
    This tale may well weave a more compelling spell on the page; onscreen it's simply ponderous.
    • 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.
    • 62 Metascore
    • 40 Maitland McDonagh
    Watching this string of sketches about small town wackos is like channel surfing a heavy sitcom zone.
    • 33 Metascore
    • 40 Maitland McDonagh
    The film's tone is hard to pin down, especially with the actors dubbed flatly into English.
    • 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.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    The film's gotcha! payoff doesn't justify the gloomy journey.
    • 28 Metascore
    • 40 Maitland McDonagh
    It's a gee-whiz kiddie movie imagined by pervy grown-ups who get a giggle out of mixing bloodless fight scenes with close-ups of rubber-wrapped butts and baskets.
    • 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.
    • 30 Metascore
    • 40 Maitland McDonagh
    The film's poky pacing is a liability -- the setup takes an awfully long time.
    • 46 Metascore
    • 40 Maitland McDonagh
    The satire is broad and easy, while the romance is thoroughly unconvincing.
    • 42 Metascore
    • 40 Maitland McDonagh
    So clotted with back story that the Romeo and Juliet-style romance between a warrior vampire and a reluctant werewolf never has a chance to breath, Len Wiseman's revisionist horror tale is all look and no bite.
    • 33 Metascore
    • 40 Maitland McDonagh
    None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.
    • 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.
    • 63 Metascore
    • 40 Maitland McDonagh
    The trouble with director and co-writer Laetitia Colombani's debut feature is that the story isn't really interesting enough to be told twice, let alone dragged out another 20 minutes after that.
    • 9 Metascore
    • 40 Maitland McDonagh
    Formulaic but performed with some verve.
    • 47 Metascore
    • 40 Maitland McDonagh
    Contrived, meandering, clichéd and just plain preposterous.
    • 27 Metascore
    • 40 Maitland McDonagh
    The bar scenes are the only reason to sit through this jello shot of a movie.
    • 30 Metascore
    • 40 Maitland McDonagh
    Increasingly preposterous, thoroughly credibility-straining escapades.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    As the mismatched interrogators, Travolta and Nielson seem to be in two different and incompatible movies.
    • 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.
    • 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.
    • 70 Metascore
    • 40 Maitland McDonagh
    The acting is top-notch and some scenes are authentically well-observed.
    • 57 Metascore
    • 40 Maitland McDonagh
    Overall it's a harmless disappointment, hampered by the thin story and a surprisingly dreary looking video-game setting, heavy on the floating platforms, cartoony future-cityscapes and goofy gadgetry.
    • 56 Metascore
    • 40 Maitland McDonagh
    It can hardly help but outrage at least some of the people some of the time.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    Pearce can sing, but Drum's trademark "speaking out" -- free-associative ramblings that recall Jim Morrison of the Doors at his most embarrassingly pretentious -- falls far short of the hypnotic effect Tyler describes.
    • 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.
    • 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.
    • 32 Metascore
    • 40 Maitland McDonagh
    The downside is that it all feels like a big in-joke, and you're not in on it.
    • 29 Metascore
    • 40 Maitland McDonagh
    A reductive spook show in which a bunch of puny humans get chased around by scary monsters.
    • 37 Metascore
    • 40 Maitland McDonagh
    The "Bullet" is an amusement-park roller coaster, and the title is a ham-fisted metaphor for facing your fears.
    • 52 Metascore
    • 40 Maitland McDonagh
    So inconsequential that it starts evaporating from memory the minute it's over.
    • 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.
    • 53 Metascore
    • 40 Maitland McDonagh
    Slight and pleasantly predictable film coasts along on the considerable charms of its cast and exotic setting.
    • 64 Metascore
    • 40 Maitland McDonagh
    The film is meticulously crafted but frustratingly meaningless.
    • 53 Metascore
    • 40 Maitland McDonagh
    Palindromes read the same way backward and forward, and Todd Solondz' sour tale ends where it begins.
    • 43 Metascore
    • 40 Maitland McDonagh
    Affleck is no more convincing as a flesh-and-blood action than as a superbrain, Thurman is cruelly photographed and director Woo appears to be imitating his own worst work.
    • 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.
    • 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.
    • 14 Metascore
    • 40 Maitland McDonagh
    Jeremy Irons, giving what is, hands down, the worst performance of his career.
    • 62 Metascore
    • 40 Maitland McDonagh
    It's so cool all the life has drained away, leaving nothing behind but a faint whiff of attitude.
    • 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.
    • 41 Metascore
    • 40 Maitland McDonagh
    The movie's tone fluctuates wildly, suggesting that no one was exactly sure what kind of movie they were making.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    Serviceable enough, if you come to it with sufficiently modest expectations.
    • 53 Metascore
    • 40 Maitland McDonagh
    Queen Latifah's warmly formidable presence drives this amiable but poky comedy.
    • 21 Metascore
    • 40 Maitland McDonagh
    Gets off to a pretty intriguing start before degenerating into a series of routine action sequences.
    • 44 Metascore
    • 40 Maitland McDonagh
    Toothless satire punctuated by the occasional biting gag.
    • 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.
    • 45 Metascore
    • 40 Maitland McDonagh
    Norman Jewison's honorable but stodgy exercise in ethical outrage, based on Brian Moore's acclaimed 1996 novel, fairly aches to be called a thinking man's thriller.
    • 27 Metascore
    • 40 Maitland McDonagh
    Overall, though, the film drags at 91 minutes, filled with dead air that should be crackling with pulp energy.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    Lurches queasily between ghastly broad gags and oddly engaging, character-driven laughs born of clashing cultures and expectations.
    • 46 Metascore
    • 40 Maitland McDonagh
    Simultaneously sober and silly horror picture.
    • 58 Metascore
    • 40 Maitland McDonagh
    Most of the film's humor derives from smug anachronisms (the Brit-pop soundtrack, Wang and Roy's use of modern slang) and jokes about bad English food, teeth and weather that were old when Victoria was a girl.
    • 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.
    • 39 Metascore
    • 40 Maitland McDonagh
    Foxx is a charmer, and he makes Alvin's unlikely evolution from relentless hustler to reasonably solid citizen believable, and even rather touching.
    • 43 Metascore
    • 40 Maitland McDonagh
    Despite some strong performances, never rises above the level of a telanovela.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Maitland McDonagh
    A train wreck of a film whose chaotic, partly improvised story and too-tricky mix of film stocks, image sizes, split-screen effects and color/B&W footage overwhelm some phenomenally beautiful sequences and a memorable performance by Saffron Burroughs.
    • 52 Metascore
    • 40 Maitland McDonagh
    The identity of the bad guy is ludicrously obvious; and his public unmasking relies on the dopiest contrivance in recent memory.
    • 49 Metascore
    • 40 Maitland McDonagh
    All too often, dramatic confrontations feel like barely dramatized debates.
    • 43 Metascore
    • 40 Maitland McDonagh
    This neo-noir pastiche is so preposterously overwrought that you keep figuring it must be some kind of joke, except that it's not funny.
    • 46 Metascore
    • 40 Maitland McDonagh
    The movie's "shock" payoff still feels like a cheap trick.
    • 52 Metascore
    • 40 Maitland McDonagh
    Rather than converting messy, real-life experience into slick, formulaic entertainment, Well's script transforms it into a shapeless, internally inconsistent mess of artificial contrivances.
    • 74 Metascore
    • 40 Maitland McDonagh
    Fun for the kids, but no Beauty and the Beast or Lion King. This child-friendly retelling of Hercules' story takes the predictable liberties with a story originally chockablock with sex, violence and generally sordid behavior. After several passes through the Disney wringer, a sanitized, blandly blond Hercules (voice of Tate Donovan) emerges, ready to enter no pantheon other than that of muscle-beach pinup boys.
    • 57 Metascore
    • 40 Maitland McDonagh
    Bond spends an awful lot of time being rescued from peril by supporting characters.
    • 49 Metascore
    • 40 Maitland McDonagh
    Poky, oddly uninvolving.
    • 52 Metascore
    • 40 Maitland McDonagh
    Writer/director Austin Chick falls into the timeworn trap of making an immature, irritating film about immature, irritating characters.
    • 38 Metascore
    • 40 Maitland McDonagh
    There's just no reason why it should take more than two hours for so little to happen.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    If this is your idea of fun, step right up.
    • 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.
    • 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
    There's way too much of the usual bonding, beatings, petty humiliation by guards, cat fights in the yard and trips to the hole.
    • 34 Metascore
    • 40 Maitland McDonagh
    Contains several profanely amusing moments, but they don't add up to much.
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film works best when it's sticking to the guns and poses conventions of macho crime pictures. When it reaches for emotional resonance, the results range from unconvincing to ludicrous.
    • 36 Metascore
    • 40 Maitland McDonagh
    What a joyless, fussy contraption of a movie!
    • 45 Metascore
    • 40 Maitland McDonagh
    Crowe preserves the original film's plot twists and turns, but his version lumbers when it should be whipping along, daring you to keep up. The wall-to-wall pop music soundtrack eventually becomes oppressive, and Cruise's oily smile doesn't really constitute a characterization.
    • 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.
    • 45 Metascore
    • 40 Maitland McDonagh
    Clearly, there's the germ of a good -- potentially even great -- movie here, but it's thoroughly smothered by a pair of lazy, self-congratulatory star turns by Hoffman and Travolta.
    • 51 Metascore
    • 40 Maitland McDonagh
    If Griffin were a jowly Southern redneck, his mean-spirited rants would make him a pariah.
    • 43 Metascore
    • 40 Maitland McDonagh
    Jelski's screenplay, a finalist in the fiercely competitive Walt Disney Screenwriting Fellowship competition, is repetitive and stagy.
    • 30 Metascore
    • 40 Maitland McDonagh
    Rymer's film doesn't revitalize vampire clichés in any significant way and, frankly, "Velvet Goldmine" is a more seductive movie about sex, death and rock and roll -- and it's not even about vampires.
    • 59 Metascore
    • 40 Maitland McDonagh
    Fresnadillo's film is little more than a gloomy and attenuated Twilight Zone episode, reminiscent of Alex Cox's portentous "The Winner" (1997) without the truly breathtaking conclusion.
    • 46 Metascore
    • 40 Maitland McDonagh
    An Arthurian tale minus everything the average person knows or cares about Arthur and his knights.
    • 49 Metascore
    • 40 Maitland McDonagh
    Overall the film is a stylish lark with no resonance, a mean-spirited one-night stand of a movie.
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    Mines familiar territory and does nothing especially new with it. On the plus side, Kishitani is a spectacular villain.
    • 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.
    • 47 Metascore
    • 40 Maitland McDonagh
    This simplistic animated feature falls firmly within the long tradition of bland, upbeat and earnest religious instructional films.
    • 13 Metascore
    • 40 Maitland McDonagh
    The film isn't even enjoyably sleazy: It's just dumb and tacky.
    • 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.
    • 58 Metascore
    • 40 Maitland McDonagh
    You can't help but wish the set up were shorter and the dilemma longer.
    • 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?
    • 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.
    • 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.
    • 46 Metascore
    • 40 Maitland McDonagh
    As a debut it holds out the promise that Montias might do something more interesting in his next film.
    • 68 Metascore
    • 40 Maitland McDonagh
    Patwardhan offers no solutions, but poses disturbing questions.
    • 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.
    • 19 Metascore
    • 40 Maitland McDonagh
    Director Rick Rosenthal ("Halloween II") seems to have forgotten everything he ever knew about generating suspense, relying on cliched shadows and grainy, handheld images supposedly shot by the increasingly terrified students.
    • 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.
    • 41 Metascore
    • 40 Maitland McDonagh
    Hugely smug and annoying.
    • 43 Metascore
    • 40 Maitland McDonagh
    Ruthlessly efficient and utterly predictable.
    • 23 Metascore
    • 40 Maitland McDonagh
    Cocky, vulgar and very noisy picture.
    • 36 Metascore
    • 40 Maitland McDonagh
    While the transgressive trappings (especially the frank sex scenes) ensure that the film is never dull, Rodrigues's beast-within metaphor is ultimately rather silly and overwrought, making the ambiguous ending seem goofy rather than provocative.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film is never dull.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    A protracted piece of whimsy.
    • 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.
    • 59 Metascore
    • 40 Maitland McDonagh
    While billed as "an intimate look" at Jay-Z, the film reveals next to nothing about him beyond the fact that he possesses a formidable ability to spin and remember lengthy rhymes, however vulgar and reductive their content.
    • 34 Metascore
    • 40 Maitland McDonagh
    Pinup appeal alone does not a compelling movie make.
    • 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.
    • 35 Metascore
    • 40 Maitland McDonagh
    Were it not for Kumar's luminous charisma, the film would be unwatchable.
    • 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.
    • 57 Metascore
    • 40 Maitland McDonagh
    Long, lumpy and sadly charmless, this adaptation of John Berendt's nonfiction portrait of Savannah, GA, refracted through the prism of a scandalous true-crime story, tramples all over the silkily seductive voice that makes the book so compulsively readable and eerily haunting.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    A gloomy-doomy ghost story that gets off to a creepy start and then spirals into flat-out preposterousness.
    • 29 Metascore
    • 40 Maitland McDonagh
    Derivative, predictable and entirely forgettable, the sort of low-expectations genre picture that generally goes directly to video.
    • 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.
    • 29 Metascore
    • 40 Maitland McDonagh
    Costner's ponderous post-apocalyptic morality tale feels every minute of its nearly three hours.
    • 43 Metascore
    • 38 Maitland McDonagh
    No cliché is unturned, no "dog duty" pun avoided (get it -- dog doody), no creepy gay-panic subtext unplumbed in this family comedy.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's all mean-spirited, foulmouthed sniping.
    • 47 Metascore
    • 38 Maitland McDonagh
    Hopelessly muddled film cries out for the firm hand of a dyed-in-the-wool cynic like Billy Wilder, who would have put some teeth in its jabs at amoral politicians and blindly ambitious journalists.
    • 27 Metascore
    • 38 Maitland McDonagh
    The sad thing is that Arnett, Shepard and McBride quickly establish a loose, easy camaraderie that's a real pleasure to watch. The shame is that they're working with such unrewarding material.
    • 62 Metascore
    • 38 Maitland McDonagh
    A stale rehash of Woody Allen-style "he's a neurotic Jew, she's a flaky shiksa" gags.
    • 31 Metascore
    • 38 Maitland McDonagh
    That the 27-year-old Usher isn't much of an actor is no surprise, but he's strikingly uncharismatic for someone who's been in the spotlight since he was six.
    • 42 Metascore
    • 38 Maitland McDonagh
    The story vacillates between broad, kid-friendly gags and a series of oddly sour riffs on the theme of adult sibling rivalry.
    • 18 Metascore
    • 38 Maitland McDonagh
    This trashy, overwrought thriller gets itself worked up into a fine, sleazy lather that recalls the matricidal glories "Die! Die! My Darling!" and "You'll Like My Mother", then wimps out at the end.
    • 55 Metascore
    • 38 Maitland McDonagh
    The trouble is that Turturro's reach considerably exceeds his grasp.
    • 31 Metascore
    • 38 Maitland McDonagh
    It's familiar stuff if you've sampled the vast body of work devoted to LA-dammerung.
    • 30 Metascore
    • 38 Maitland McDonagh
    Though Verow attended the American Film Institute and has made more than a dozen shorts and features since 1994, his low-budget gay-themed films are characterized by phenomenal indifference to framing, sound quality and performance. If his relentless amateurishness is deliberate, it's self-defeating; if not, it's inexplicable: Most people who do anything for more than a decade get better at it.
    • 36 Metascore
    • 38 Maitland McDonagh
    This live-action cartoon tries to walk the line between pleasing the faithful and appealing to a broad-based action audience. It fails on both fronts: It's too lifeless and watered-down to stand on its own high heels, but commits the cardinal sin of messing with the original.
    • 29 Metascore
    • 38 Maitland McDonagh
    The film's major draws are R-rated gore and some nice physical effects, proof that a man in a top-of-the-line monster suit can still be more effective than CGI.
    • 26 Metascore
    • 38 Maitland McDonagh
    For all the sex and slicing, the most shocking thing about it is how dreary it is.
    • 47 Metascore
    • 38 Maitland McDonagh
    Ironically, Faris' Samantha is the most convincing personality in the mix: She's a grotesque caricature of Courtney Love by way of Nancy Spungen, a vulgar, selfish monster of unbridled id, but you always know where she's coming from.
    • 63 Metascore
    • 38 Maitland McDonagh
    The loose, rambling conversations that substitute for action might be more interesting if any of the characters were capable of real introspection. But they're so shallow and distracted they can't even manage sustained navel-gazing, which makes their so-called relationships profoundly uninteresting.
    • 35 Metascore
    • 38 Maitland McDonagh
    Marvel-man Mark Steven Johnson, who wrote and directed "Daredevil" (2003) and scripted "Elektra" (2005), continues to demonstrate the wrong way to make comic book movies: Make sure special effects overwhelm the characters, let campy mannerisms go unchecked and be sure dialogue is declaimed rather than spoken.
    • 49 Metascore
    • 38 Maitland McDonagh
    A ludicrous mishmash undermined by ghastly performances and a hopelessly convoluted screenplay.
    • 52 Metascore
    • 38 Maitland McDonagh
    It's a one-gag film that rises or falls on how funny you find the sight of fat, grease-slicked Jack Black crammed into spandex pants and capering like an epileptic lamb.
    • 41 Metascore
    • 38 Maitland McDonagh
    It goes without saying that the humor is vulgar and juvenile.
    • 47 Metascore
    • 38 Maitland McDonagh
    Thinly conceived and thoroughly shallow.
    • 32 Metascore
    • 38 Maitland McDonagh
    The whole film is plagued by a sense of false, desperate cheerfulness.
    • 38 Metascore
    • 38 Maitland McDonagh
    Pays backhanded homage to Woody Allen via the travails of college loser Max (Gary Lundy), who fears that years of wallowing in "Annie Hall" have permanently poisoned his love life.
    • 43 Metascore
    • 38 Maitland McDonagh
    Noisy, derivative and thoroughly preposterous even by the standards of 21st-century action movies.
    • 38 Metascore
    • 38 Maitland McDonagh
    Tedious and obscure where it was apparently meant to be atmospheric and tantalizing.
    • 25 Metascore
    • 38 Maitland McDonagh
    Larry Bishop's painfully self-conscious homage to biker films of yesteryear is a carefully crafted pastiche that doesn't miss a wild-deadly-angels-devils-sadists-revenge cliché and can't hold a candle to the down-and-dirty likes of "The Glory Stompers."
    • 33 Metascore
    • 38 Maitland McDonagh
    The film pulls off a couple of "gotchas!", but the subtle creepiness of its predecessors is gone, replaced by a sense of numbing predictability.
    • 22 Metascore
    • 38 Maitland McDonagh
    Postal's touches of wit are lost in the flying body parts, gross-out gags, and the full frontal spectacle of Foley's no-longer-private parts.
    • 49 Metascore
    • 38 Maitland McDonagh
    The movie's film-studentish navel-gazing wears thin long before its over.
    • 52 Metascore
    • 38 Maitland McDonagh
    A crude, artless bogey tale.
    • 23 Metascore
    • 38 Maitland McDonagh
    Steve Austin is conspicuously inarticulate and uncharismatic. Former soccer lout Vinnie Jones, whom no one will ever mistake for Laurence Olivier, acts rings around him.
    • 37 Metascore
    • 38 Maitland McDonagh
    Welsh-born actor Roger Rees bares body and soul in director/cowriter Eric Werthman's handsomely photographed examination of the dynamic that unites a masochist and the sex worker who caters to his desires.
    • 25 Metascore
    • 38 Maitland McDonagh
    This formulaic mess of sports-movie cliches and self-esteem claptrap contains a couple of funny bits, but you have to slog through a lot of done-to-death bodily function jokes to get to them.
    • 32 Metascore
    • 38 Maitland McDonagh
    First-time writer-director Robert Edwards is nothing if not ambitious, attempting to encapsulate the history of totalitarian oppression and misguided revolutionary zeal into a broad, blunt, black comedy.
    • 34 Metascore
    • 38 Maitland McDonagh
    M. Night Shyamalan's sixth film mines a rich lode of end-of-the-world-as-we-know-it clichés, but while the set up is spooky, the development is heavy handed and marred by Shyamalan's inability to write natural-sounding dialogue or convincing characters.
    • 38 Metascore
    • 38 Maitland McDonagh
    Rip Torn, Linda Hunt and Jerry O'Connell mark time in minor supporting roles.
    • 33 Metascore
    • 38 Maitland McDonagh
    It's by no stretch of the imagination a good film, but it delivers what it promises: naked girls whaling on each other, flesh-ripping zombies and genre stalwart Todd growling and glowering satanically from beneath a mane of dreadlocks - the He-Who-Kills teeth are a nice touch.
    • 39 Metascore
    • 38 Maitland McDonagh
    A shameless puddle of romantic slop.
    • tbd Metascore
    • 38 Maitland McDonagh
    The occasional eerie moment can't elevate this routine piece of by-the-numbers J-horror above the pack.
    • 30 Metascore
    • 38 Maitland McDonagh
    Who will survive and what will be left of them? If you don't have a pretty good idea, this is not the movie for you. If you do, rest assured you've seen it all before.
    • 22 Metascore
    • 38 Maitland McDonagh
    Morgan borrows Christmas-specific nastiness from a wide range of fright flicks, but the result is less than the sum of its parts.
    • 56 Metascore
    • 38 Maitland McDonagh
    Though Keaton is convincing as a smarmy narcissist who secretly thinks he deserves to fail because writing plays isn't REAL work, he's also thoroughly unlikable -- a problematic trait in a protagonist.
    • 27 Metascore
    • 38 Maitland McDonagh
    If the characters were more interesting, the long, long buildup to their night of ghostly reckoning might be suspenseful rather than tedious.
    • 39 Metascore
    • 38 Maitland McDonagh
    It's tough going relieved only by some lovely Irish scenery. -
    • 16 Metascore
    • 38 Maitland McDonagh
    The most shocking thing about this ludicrous serial-killer shocker, released the week troubled 21-year-old former child star Lindsay Lohan was arrested on DUI and cocaine-possession charges, is that it's the kind of film actresses generally make when their careers are well and truly on the skids.
    • 38 Metascore
    • 38 Maitland McDonagh
    Proof that the US has no monopoly on white-trash humor.
    • 43 Metascore
    • 38 Maitland McDonagh
    John Gulager's directing debut is horror at its most reductive and least resonant.
    • 68 Metascore
    • 38 Maitland McDonagh
    The films of writer/director Francis Veber are a bracing reminder that French comedies can be every bit as broad, unsophisticated and cliched as their American counterparts.
    • 41 Metascore
    • 38 Maitland McDonagh
    A slack combination of faith-based inspiration and broad 'hood comedy.
    • 45 Metascore
    • 38 Maitland McDonagh
    There's no meat on this film's borrowed bones: They're polished to an exquisitely tasteful shine, but efforts to class up exploitation are pointless.
    • 44 Metascore
    • 38 Maitland McDonagh
    For all its crudeness, Phillips' tale of men behaving badly is remarkably toothless.
    • 25 Metascore
    • 38 Maitland McDonagh
    The outtakes that accompany the end credits suggest that making the movie was a blast; it's a shame the same can't be said for watching it.
    • 45 Metascore
    • 38 Maitland McDonagh
    Too elliptical to be convincing.
    • 65 Metascore
    • 38 Maitland McDonagh
    Insipid, formulaic and suitable for the dumbed-down sensibilities of lowest-common-denominator couch potatoes.
    • 28 Metascore
    • 38 Maitland McDonagh
    Bean carves out his own modest variations on the theme of John Ryder-on-the-storm, but Bush and Knighton are so blandly forgettable that it's hard to believe that they're the protagonists and not Victims 1 and 2.
    • 30 Metascore
    • 38 Maitland McDonagh
    So overwrought that it quickly crosses the line into unintentionally funny and never recovers.
    • 34 Metascore
    • 38 Maitland McDonagh
    Like Doom itself, the movie is rich in backstory, but sparse in actual story.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.
    • 31 Metascore
    • 38 Maitland McDonagh
    Black comedy requires perfect pitch: Pedro Almodovar has it and cowriters/directors Michalis Reppas and Thanasis Papathanasiou don't, at least by the evidence of this film.
    • 37 Metascore
    • 38 Maitland McDonagh
    There's less than meets the eye to writer-director Flowers' time-hopping narrative, and what could have been a routine but entertaining crime story gets hopelessly muddled in its telling, despite the efforts of a generally strong cast.
    • 30 Metascore
    • 38 Maitland McDonagh
    Astonishingly inept drama.
    • 30 Metascore
    • 38 Maitland McDonagh
    The supernatural plot elements are developed so unconvincingly that the story seems to be about people ruining their own lives by believing in stupid superstitions, so it’s a shock to realize the ghostly goings-on are meant to be taken seriously.
    • 36 Metascore
    • 38 Maitland McDonagh
    There may be a way to remake 1973's cult thriller The Wicker Man, in which a deeply Christian cop has his religious convictions shaken to the core as he investigates the disappearance of a child from within a cheerfully pagan community, but Neil LaBute didn't find it.
    • 51 Metascore
    • 38 Maitland McDonagh
    Watts is good -- occasionally very good -- and her willingness to be filmed at unflattering angles, in pore-wallowing or with bright blue ice cream smeared on her face is admirable.
    • 55 Metascore
    • 38 Maitland McDonagh
    It takes a certain genius to make butchered corpses, sociopathic lunacy and meth-fueled debauchery nerve-scrapingly dull, and German director Marc Schoelermann and screenwriters Mark Neveldine and Brian Taylor (Crank) possess it.

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