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

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Devil in a Blue Dress
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 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.
    • 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.
    • 39 Metascore
    • 40 Maitland McDonagh
    Whaley's determination to immerse you in sheer, unrelenting wretchedness is exhausting.
    • 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.
    • 40 Metascore
    • 40 Maitland McDonagh
    Although it looks like an action thriller with a sci-fi twist, the bad guys aren't scary (Biehn's soul patch notwithstanding), the sci-fi element is silly and the action is limited to some extreme bike riding and computer-generated zipping around.
    • 52 Metascore
    • 40 Maitland McDonagh
    So inconsequential that it starts evaporating from memory the minute it's over.
    • 35 Metascore
    • 40 Maitland McDonagh
    It's familiar, undemanding and not as bad as it could have been, but you can't help thinking that somewhere else, there's a real party going on.
    • 51 Metascore
    • 40 Maitland McDonagh
    Smith's unrepentantly juvenile sense of humor leans heavily on elementary pop-culture parody, a particularly tiresome and parasitic form of humor that depends on an audience of smirking know-it-alls who can be trusted to snicker whenever they get the reference.
    • 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.
    • 30 Metascore
    • 40 Maitland McDonagh
    Feather-light and proudly goofy, this Jackie Chan action comedy appears to be aimed squarely at under-12s.
    • 46 Metascore
    • 40 Maitland McDonagh
    It careens from coarse comedy to smart-ass stylization to vicious violence without ever becoming convincing on any level.
    • 70 Metascore
    • 40 Maitland McDonagh
    The acting is top-notch and some scenes are authentically well-observed.
    • 63 Metascore
    • 40 Maitland McDonagh
    Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.
    • 35 Metascore
    • 40 Maitland McDonagh
    The car stunts are ridiculous, all lightning-fast editing and computer enhancement -- by the time action is this far removed from reality, who cares?
    • 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.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    As the mismatched interrogators, Travolta and Nielson seem to be in two different and incompatible movies.
    • 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.
    • 14 Metascore
    • 40 Maitland McDonagh
    Jeremy Irons, giving what is, hands down, the worst performance of his career.
    • 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.
    • 21 Metascore
    • 40 Maitland McDonagh
    The bad news is that, though professionally produced on a micro-budget, Azita Zendel's ambitious writing-directing debut is undermined by an awkward script and some very amateurish acting.
    • 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.
    • 23 Metascore
    • 40 Maitland McDonagh
    A straight-faced throwback to the glory days of mutant wildlife on the rampage.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    A slow-moving, dramatically slack film.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    Professionally produced and surprisingly tame.
    • 52 Metascore
    • 40 Maitland McDonagh
    Writer/director Austin Chick falls into the timeworn trap of making an immature, irritating film about immature, irritating characters.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    Toothless satire punctuated by the occasional biting gag.
    • 13 Metascore
    • 40 Maitland McDonagh
    No one expects a light teen romance to be "Madame Bovary," but this is Colorforms filmmaking.
    • 29 Metascore
    • 40 Maitland McDonagh
    Derivative, predictable and entirely forgettable, the sort of low-expectations genre picture that generally goes directly to video.
    • 48 Metascore
    • 40 Maitland McDonagh
    Should please undiscriminating fans. But it in no way improves on the clichéd formula.
    • 24 Metascore
    • 40 Maitland McDonagh
    Weepy, overwrought love story.
    • 46 Metascore
    • 40 Maitland McDonagh
    The satire is broad and easy, while the romance is thoroughly unconvincing.
    • 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
    All too often, dramatic confrontations feel like barely dramatized debates.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 40 Maitland McDonagh
    The film's greatest asset is Linney, whose prickly, finely calibrated performance as the doomed Harraway makes her loss resonate more powerfully than any of the point-counterpoint rhetoric.
    • 64 Metascore
    • 40 Maitland McDonagh
    Buried deep inside this ponderous, repetitive psychological thriller is a fantastic half-hour "Twilight Zone" episode.
    • 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.
    • 58 Metascore
    • 40 Maitland McDonagh
    The tone is inconsistent -- sometimes it seems to be straining for black comedy, other times it seems dead serious.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    It's really all about the cars, kandy-kolored nitro-injected streamline babies with sweeter curves than a Playboy photo spread, more personality than Rome, Brian and Monica combined and enough juice to send a fleet of rockets to the farthest reaches of the known universe.
    • 38 Metascore
    • 40 Maitland McDonagh
    If this is your idea of fun, step right up.
    • 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.
    • 9 Metascore
    • 40 Maitland McDonagh
    Formulaic but performed with some verve.
    • 22 Metascore
    • 40 Maitland McDonagh
    The movie's gossamer-thin plot, padded with dream sequences and flashbacks to scenes you saw less than an hour earlier, exists only as an excuse for obvious homages to better films, stunt casting...and what pass for clever remarks in circles unfamiliar with real wit.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Maitland McDonagh
    The film is meticulously crafted but frustratingly meaningless.
    • 37 Metascore
    • 40 Maitland McDonagh
    All of which would be fine if Figgis managed to work up any real suspense, but the film slogs towards its inevitable mano-a-mano showdown like something up to its knees in mud.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Maitland McDonagh
    Dave Collard's preposterous script relies heavily on fortuitous coincidence... and thoroughly stupid behavior.
    • 58 Metascore
    • 40 Maitland McDonagh
    The end is hardly in doubt, since this sweet-natured film treads a path worn smooth and hard by countless other tiny feet. Its message is as unimpeachable as it is familiar, differentiated from countless similar tales only by the Filipino setting.
    • 36 Metascore
    • 40 Maitland McDonagh
    Mines familiar territory and does nothing especially new with it. On the plus side, Kishitani is a spectacular villain.
    • 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.
    • 38 Metascore
    • 40 Maitland McDonagh
    A gloomy-doomy ghost story that gets off to a creepy start and then spirals into flat-out preposterousness.
    • 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.
    • 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.
    • 68 Metascore
    • 40 Maitland McDonagh
    Gallo's poor, poor pitiful me routine wears very thin, very fast, but Ricci is incandescent, a softly-glowing dumpling of a dream-girl in powder-blue fishnet tights and sparkly tap shoes: She's the diamond in the dirt.
    • 36 Metascore
    • 40 Maitland McDonagh
    Even by the standards of pop-moral parables passing for entertainment, this is bland stuff.
    • 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.
    • 40 Metascore
    • 40 Maitland McDonagh
    A three-hankie weeper in disaster-movie drag, and its tear-jerking bull's-eyes are separated by long stretches of tedium.
    • 46 Metascore
    • 40 Maitland McDonagh
    The movie's "shock" payoff still feels like a cheap trick.
    • 48 Metascore
    • 40 Maitland McDonagh
    This dopey swashbuckler offers little action but lashings of DiCaprio's soft, hairless flesh.
    • 44 Metascore
    • 40 Maitland McDonagh
    The insidious influence of too much therapy permeates this misguided and very long picture.
    • 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.
    • 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
    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.
    • 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
    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.
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    There's a surprising sweetness under its crude exterior.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Maitland McDonagh
    An Arthurian tale minus everything the average person knows or cares about Arthur and his knights.
    • 47 Metascore
    • 40 Maitland McDonagh
    To make the package look fresh, there's a pile of complications.
    • 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."
    • 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.
    • 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.
    • 27 Metascore
    • 40 Maitland McDonagh
    Overall, though, the film drags at 91 minutes, filled with dead air that should be crackling with pulp energy.
    • 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.
    • 23 Metascore
    • 40 Maitland McDonagh
    Although the story is as predictable as can be -- "surprise" twist ending included -- the performances are better than those in most super-low budget horror pictures, and Jessica Gallant's super-16mm cinematography is surprisingly handsome.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    The film's gotcha! payoff doesn't justify the gloomy journey.
    • 29 Metascore
    • 40 Maitland McDonagh
    A reductive spook show in which a bunch of puny humans get chased around by scary monsters.
    • 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.
    • 46 Metascore
    • 40 Maitland McDonagh
    The less time you've devoted to thinking about the nature and uses of the erotic imagination, the more challenging this will seem.
    • 47 Metascore
    • 40 Maitland McDonagh
    Nathanson processes this pungent stew of greed, ambition and self-delusion into pablum so sweet and bland it wouldn't shock a convent-raised idealist.
    • 56 Metascore
    • 40 Maitland McDonagh
    It can hardly help but outrage at least some of the people some of the time.
    • 48 Metascore
    • 40 Maitland McDonagh
    One soggy, charmless heap of chum.
    • 34 Metascore
    • 40 Maitland McDonagh
    The occasional amusing one-liner can't compensate for the broad caricatures and awkwardly structured story.
    • 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.
    • 43 Metascore
    • 40 Maitland McDonagh
    Ruthlessly efficient and utterly predictable.
    • 29 Metascore
    • 40 Maitland McDonagh
    Costner's ponderous post-apocalyptic morality tale feels every minute of its nearly three hours.
    • 42 Metascore
    • 40 Maitland McDonagh
    As provocative as Michael Moore's "Fahrenheit 9/11," but nowhere near as engaging.
    • 52 Metascore
    • 40 Maitland McDonagh
    A feature-length Twilight Zone episode, filtered -- not entirely successfully -- though the sensibilities of David Lynch and his Wild at Heart collaborator, Barry Gifford.
    • 38 Metascore
    • 40 Maitland McDonagh
    A caper comedy without chemistry is just a bunch of waiting around for something to get stolen.
    • 49 Metascore
    • 40 Maitland McDonagh
    Poky, oddly uninvolving.
    • 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.
    • 44 Metascore
    • 40 Maitland McDonagh
    Labored and dispiriting.
    • 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.
    • 39 Metascore
    • 40 Maitland McDonagh
    It's a silly, stupendously artificial enterprise.
    • 47 Metascore
    • 40 Maitland McDonagh
    This simplistic animated feature falls firmly within the long tradition of bland, upbeat and earnest religious instructional films.
    • 42 Metascore
    • 40 Maitland McDonagh
    The film's secret weapon is its kicky soundtrack.
    • 58 Metascore
    • 40 Maitland McDonagh
    This lackluster sequel was surely much more fun to make than it is to watch.
    • 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.
    • 62 Metascore
    • 40 Maitland McDonagh
    It's so cool all the life has drained away, leaving nothing behind but a faint whiff of attitude.
    • 62 Metascore
    • 40 Maitland McDonagh
    Things quickly degenerate into a series of juvenile jokes about flatulence and bosoms, and by the end the cast is reduced to frantically manhandling a corpse for yucks. Not funny.
    • 68 Metascore
    • 40 Maitland McDonagh
    A sickly soft-swirl confection of low laughs and smarmy sentiment.
    • 41 Metascore
    • 40 Maitland McDonagh
    Danner, whose Dina actually resembles a human being, would be its saving grace if her gracefully controlled performance weren't lost in a sea of braying caricatures.
    • 39 Metascore
    • 40 Maitland McDonagh
    Freundlich's postmodern road movie contains several sharply observed scenes but doesn't really add up to much.
    • 64 Metascore
    • 40 Maitland McDonagh
    It's merely glum when it should be bracingly grim.
    • 47 Metascore
    • 40 Maitland McDonagh
    Contrived, meandering, clichéd and just plain preposterous.
    • 49 Metascore
    • 40 Maitland McDonagh
    The story itself is uninteresting, and the songs are painfully undistinguished.
    • 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.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    Contains several profanely amusing moments, but they don't add up to much.
    • 22 Metascore
    • 40 Maitland McDonagh
    If Reeves weren't onboard this picture would have gone straight to video.
    • 15 Metascore
    • 40 Maitland McDonagh
    It never actually coalesces into a movie.
    • 35 Metascore
    • 40 Maitland McDonagh
    The movie fails to make Alma a vivid presence -- She deserves better, and so do viewers.
    • 41 Metascore
    • 40 Maitland McDonagh
    Hugely smug and annoying.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Maitland McDonagh
    A long, dark night o' slacker despair, courtesy of Richard Linklater and self-important blowhard Eric Bogosian.
    • 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.
    • 35 Metascore
    • 40 Maitland McDonagh
    Were it not for Kumar's luminous charisma, the film would be unwatchable.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Maitland McDonagh
    You can't help but wish the set up were shorter and the dilemma longer.
    • 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.
    • 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.
    • 34 Metascore
    • 38 Maitland McDonagh
    Like Doom itself, the movie is rich in backstory, but sparse in actual story.
    • 62 Metascore
    • 38 Maitland McDonagh
    The willowy Danes' rich, melancholy characterization is sown in a barren field of snippy attitude and too-cool posturing, and the film's disingenuous air of bittersweet chic becomes deeply tiresome long before it's over.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 38 Maitland McDonagh
    Rip Torn, Linda Hunt and Jerry O'Connell mark time in minor supporting roles.
    • 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.
    • 45 Metascore
    • 38 Maitland McDonagh
    The charismatic Rajskub, who played a prickly computer geek on TV's "24," has nothing to do as Jack's loyal secretary.
    • 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.
    • 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.
    • 26 Metascore
    • 38 Maitland McDonagh
    For all the sex and slicing, the most shocking thing about it is how dreary it is.
    • 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.
    • 46 Metascore
    • 38 Maitland McDonagh
    To call the film noisy and brainless isn't even a criticism - it's unadulterated auto-porn, as shallow and shiny as it wants to be.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 38 Maitland McDonagh
    The result is a soggy swamp of nyah-nyah-nyah-nyah-nyahing, its only grace notes are Giamatti's fine, nuanced performance as Heep and Christopher Doyle's handsome cinematography.
    • 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.
    • 30 Metascore
    • 38 Maitland McDonagh
    Astonishingly inept drama.
    • 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.
    • 49 Metascore
    • 38 Maitland McDonagh
    A ludicrous mishmash undermined by ghastly performances and a hopelessly convoluted screenplay.
    • 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.
    • 43 Metascore
    • 38 Maitland McDonagh
    John Gulager's directing debut is horror at its most reductive and least resonant.
    • 44 Metascore
    • 38 Maitland McDonagh
    For all its crudeness, Phillips' tale of men behaving badly is remarkably toothless.
    • 29 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.
    • 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.
    • 38 Metascore
    • 38 Maitland McDonagh
    Tedious and obscure where it was apparently meant to be atmospheric and tantalizing.
    • 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.
    • 32 Metascore
    • 38 Maitland McDonagh
    The whole film is plagued by a sense of false, desperate cheerfulness.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 38 Maitland McDonagh
    Insipid, formulaic and suitable for the dumbed-down sensibilities of lowest-common-denominator couch potatoes.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 38 Maitland McDonagh
    The occasional eerie moment can't elevate this routine piece of by-the-numbers J-horror above the pack.
    • 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.
    • 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.
    • 45 Metascore
    • 38 Maitland McDonagh
    Too elliptical to be convincing.
    • 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.
    • 55 Metascore
    • 38 Maitland McDonagh
    The trouble is that Turturro's reach considerably exceeds his grasp.
    • 62 Metascore
    • 38 Maitland McDonagh
    A stale rehash of Woody Allen-style "he's a neurotic Jew, she's a flaky shiksa" gags.
    • 41 Metascore
    • 38 Maitland McDonagh
    It goes without saying that the humor is vulgar and juvenile.
    • 30 Metascore
    • 38 Maitland McDonagh
    So overwrought that it quickly crosses the line into unintentionally funny and never recovers.
    • 49 Metascore
    • 38 Maitland McDonagh
    The movie's film-studentish navel-gazing wears thin long before its over.
    • 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.
    • 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.
    • 32 Metascore
    • 38 Maitland McDonagh
    For a family-friendly holiday comedy, it's still coarse, formulaic and occasionally just plain weird.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's all mean-spirited, foulmouthed sniping.
    • 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.
    • 49 Metascore
    • 38 Maitland McDonagh
    The thrills are few and the expository dialogue tediously overwhelming in this preachy cautionary tale about getting too big for one's britches.
    • 39 Metascore
    • 38 Maitland McDonagh
    It's tough going relieved only by some lovely Irish scenery. -
    • 41 Metascore
    • 38 Maitland McDonagh
    A slack combination of faith-based inspiration and broad 'hood comedy.
    • 38 Metascore
    • 38 Maitland McDonagh
    Proof that the US has no monopoly on white-trash humor.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Maitland McDonagh
    A crude, artless bogey tale.
    • 31 Metascore
    • 38 Maitland McDonagh
    It's familiar stuff if you've sampled the vast body of work devoted to LA-dammerung.
    • 47 Metascore
    • 38 Maitland McDonagh
    Thinly conceived and thoroughly shallow.
    • 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.
    • 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."
    • 43 Metascore
    • 38 Maitland McDonagh
    Noisy, derivative and thoroughly preposterous even by the standards of 21st-century action movies.
    • 39 Metascore
    • 38 Maitland McDonagh
    A shameless puddle of romantic slop.
    • 31 Metascore
    • 30 Maitland McDonagh
    There's about half an hour's worth of sickly amusing material here...Unfortunately, that leaves a solid hour's worth of witless screaming, running around and expiring in a welter of icky special effects.
    • 30 Metascore
    • 30 Maitland McDonagh
    Earnest but unenlightening drama.
    • 21 Metascore
    • 30 Maitland McDonagh
    This coarse, nearly incoherent action picture apparently aspires to a 'Pulp Fiction"-like mixture of brutality and self-referential insouciance.
    • 36 Metascore
    • 30 Maitland McDonagh
    Yet another of Israeli-born filmmaker Amos Kolleck's pointless, meandering tales of eccentric New Yorkers navigating the treacherous waters of love and survival.
    • 38 Metascore
    • 30 Maitland McDonagh
    An amazing technical accomplishment that never becomes a coherent movie.
    • 31 Metascore
    • 30 Maitland McDonagh
    Seriously undermined by its sour tone and an unusually charmless performance by star Chris O'Donnell.
    • 16 Metascore
    • 30 Maitland McDonagh
    Preposterous plotting and interchangeable young actors.
    • 25 Metascore
    • 30 Maitland McDonagh
    Pseudo sci-fi gobbledygook aside, X-Files alumni James Wong and Glen Morgan's script is little more than an excuse for Jet Li to kick his own ass, which he does energetically and often.
    • 21 Metascore
    • 30 Maitland McDonagh
    It's all terribly schematic, thematically obvious and not in the least bit funny.
    • 40 Metascore
    • 30 Maitland McDonagh
    Amateurish performances from nonprofessional actors undermine this ultra-low-budget crime drama.
    • 46 Metascore
    • 30 Maitland McDonagh
    (Griffith's) appearance often verges on the grotesque. Which, come to think of it, could be said of the movie as well.
    • 30 Metascore
    • 30 Maitland McDonagh
    Anemic chronicle of money grubbing New Yorkers and their serial loveless hook ups.
    • 20 Metascore
    • 30 Maitland McDonagh
    Hardman is a grating, mannered onscreen presence, which is especially unfortunate in light of the fine work done by most of the rest of her cast.
    • 27 Metascore
    • 30 Maitland McDonagh
    The best thing about it is the cast. Baldwin's moronic Barney is an acquired taste, but Krakowski is an adorable, sassy Betty, and Johnston brings an endearing coltishness to the sensible Wilma.
    • 37 Metascore
    • 30 Maitland McDonagh
    Hogan returns with what feels like a feature-length vanity project.
    • 26 Metascore
    • 30 Maitland McDonagh
    The locations and production design are breathtakingly beautiful. But though cast largely with Chinese actors, it was shot in English, which no doubt made business sense but almost certainly accounts for many truly awful performances.
    • 33 Metascore
    • 30 Maitland McDonagh
    The only serendipitous touch is the casting of New York's "quality of life" watchdog, Rudolph Giuliani, as himself.
    • 42 Metascore
    • 30 Maitland McDonagh
    Vonnegut's brand of juvenile surrealism...doesn't age especially well...but it could hardly be worse served than to be brought to the screen with such ham-fisted literal-mindedness.
    • 12 Metascore
    • 30 Maitland McDonagh
    This big-budget bore looks lovely but is so miscalculated that you can't help but wonder whether anyone involved had ever seen the original.
    • 24 Metascore
    • 30 Maitland McDonagh
    Dopey "thriller."
    • 14 Metascore
    • 30 Maitland McDonagh
    Unfortunately, the mystery isn't mysterious and the characters are caricatures; the wintery New England landscape is the most striking thing about the film, but it's not interesting enough to justify watching it for 100 minutes.
    • 39 Metascore
    • 30 Maitland McDonagh
    A crudely executed affair that doesn't play well to Western sensibilities.
    • 27 Metascore
    • 30 Maitland McDonagh
    Frankly, the film's nostalgia for the "coffee, tea or me?" era of flying, when stewardesses were fantasy figures in soaring heels and uniforms tailored for bust enhancement rather than utility, is retro in all the wrong ways.
    • 39 Metascore
    • 30 Maitland McDonagh
    The film seems longer than its 93-minute running time, but kids will probably enjoy its potty humor, many scenes of 4-year-olds getting the better of harried adults and the inevitable moment when a cute little girl kicks the fat guy in the nads.
    • 17 Metascore
    • 30 Maitland McDonagh
    The dramatic scenes are frequently unintentionally funny, and the action sequences -- clearly the main event -- are surprisingly uninvolving, especially given that director Christian Duguay is an extreme skiing buff who habitually shoots dangerous stunts himself.
    • 47 Metascore
    • 30 Maitland McDonagh
    It's not the bomb on the plane that scuttles this film: It's the mugging, ham-fisted direction and total absence of comic timing.
    • 11 Metascore
    • 30 Maitland McDonagh
    This picture is just shapeless and shrill. It's disposable, forgettable and aimed at an audience that doesn't care.
    • 18 Metascore
    • 30 Maitland McDonagh
    The script, by co-writers and -directors Douglas McGrath and Peter Askin, is intermittently clever, but their direction is leaden and assassinates every gag with a lethal accuracy the CIA could only hope to achieve.
    • 24 Metascore
    • 30 Maitland McDonagh
    This is a terrible movie in its own right, tasteless and condescending -- if Sandler's character is an Everyman, than the Everyman of today is a boorish jackass
    • 44 Metascore
    • 30 Maitland McDonagh
    A romantic comedy whose sour take on romance never manages to be comic.
    • 40 Metascore
    • 30 Maitland McDonagh
    X
    This film will doubtless interest serious anime fans, but it won't win any converts.
    • 38 Metascore
    • 30 Maitland McDonagh
    A misfire of spectacular proportions.
    • 29 Metascore
    • 30 Maitland McDonagh
    The film's subtexts are profoundly reactionary. Women are foolish and untrustworthy.
    • 16 Metascore
    • 30 Maitland McDonagh
    There's a germ of an interesting idea here, but it's smothered by gloomy cinematography a la "Seven" (1995) and grating implausibilities, like the fact that everyone lives in the kind of cavernous, dankly art-directed dumps that only internet millionaires and trust fund twinkies can afford in the real New York.
    • 19 Metascore
    • 30 Maitland McDonagh
    The tiny, impassive-faced Liu is a disaster. She looks cute in her custom commando gear, but she's not actress enough to make Sever's ridiculous, faux hard-boiled dialogue sound like anything but the formulaic nonsense it is.
    • 33 Metascore
    • 30 Maitland McDonagh
    It's more silly than scary and relies excessively on surprisingly low-rent CGI effects and crude wirework to drum up interest in the slight story.
    • 30 Metascore
    • 30 Maitland McDonagh
    Though clearly well-intentioned, this cross-cultural soap opera is painfully formulaic and stilted.
    • 25 Metascore
    • 30 Maitland McDonagh
    There's some fun to be had in seeing two of TV's resident sweetie pies, Campbell and ER's Noah Wyle, play unrepentant sons of bitches, but it's not enough.
    • 42 Metascore
    • 30 Maitland McDonagh
    Coarse, cliched and clunky.
    • 25 Metascore
    • 30 Maitland McDonagh
    Two idiots embark on a life of crime to help a deserving teenager attend Harvard in this lowbrow but generally sweet-natured comedy.
    • 29 Metascore
    • 30 Maitland McDonagh
    This noisy, time-wasting spectacle is crammed with what purports to be characters, except that not one of them has any more depth than will fit into a one-line description.
    • 24 Metascore
    • 30 Maitland McDonagh
    This mean-spirited invisible man movie tries to hide its poverty of fresh ideas behind a load of state-of-the-art special effects.
    • 36 Metascore
    • 30 Maitland McDonagh
    Soulless, sleekly executed product.
    • 33 Metascore
    • 30 Maitland McDonagh
    Boyar's best efforts -- which are quite good -- can't begin to compensate for Guttenberg's grotesque excesses or make the weirdly warm relationship that develops between them convincing, let alone appealing.
    • 23 Metascore
    • 30 Maitland McDonagh
    Its real problem is that Matilda Dixon, apparently conceived as a cross between the Blair Witch and Freddy Krueger, is an oddly characterless bogeyman, perhaps because she's 100 percent special effects technology with no actor underneath.
    • 27 Metascore
    • 30 Maitland McDonagh
    This whimsical weeper gets off to an awkward start and never finds its footing.
    • 28 Metascore
    • 30 Maitland McDonagh
    No better than the first.
    • 28 Metascore
    • 30 Maitland McDonagh
    The movie is simultaneously soft and icky; the gross-out effects are grafted onto a sub-"Tales from the Crypt" ghost story that never scares up any serious chills.
    • 23 Metascore
    • 30 Maitland McDonagh
    Sleek, pointless action picture.
    • 42 Metascore
    • 30 Maitland McDonagh
    Most of the scenes fall flatter than a lead soufflé, and the film's sight gags -- Andy dumping campers' bodies by the roadside, Gene humping the refrigerator -- are outrageous without actually being funny.
    • 29 Metascore
    • 30 Maitland McDonagh
    So shallow and brainless it's in perpetual danger of drying up and blowing away.
    • 41 Metascore
    • 30 Maitland McDonagh
    Hard though this antic farce tries to be outrageous, its satirical jabs at American culture are obvious and juvenile, as is the use of Jimmy's plastic bubble as a goofy metaphor for fear of life.
    • 49 Metascore
    • 30 Maitland McDonagh
    Films like this are the definition of "critic proof"; if the casting, synopsis and very concept don't deter you, you'll probably find it very funny.
    • 23 Metascore
    • 30 Maitland McDonagh
    As to the dream sequence featuring Lonnie's and Brandy's trash-talking babies, it's just creepy.
    • 41 Metascore
    • 30 Maitland McDonagh
    Self-indulgent wallow in privileged malaise.
    • 56 Metascore
    • 30 Maitland McDonagh
    A leaden, tone-deaf remake of the 1955 Ealing comedy starring Alec Guinness, the Coen brothers' painfully unfunny rehash hinges on the duel of wits between five larcenous oddballs and one sweet but strong-willed old lady.
    • 21 Metascore
    • 30 Maitland McDonagh
    The less you demand of this bloody, by-the-numbers sequel, the more you'll enjoy it.
    • 37 Metascore
    • 30 Maitland McDonagh
    Hong Kong action pioneer Tsui Hark is in high form here, tricking out the bare-bones story with disorienting camera angles, trick photography and virtuoso action sequences.
    • 24 Metascore
    • 30 Maitland McDonagh
    Despite its provocative premise, this throwback to deliberately paced, low-tech chillers of the pre-CGI era is a dreary slog through haunted-child movie cliches -- portentous dreams, glassy-eyed stares, cryptic pronouncements.
    • 30 Metascore
    • 30 Maitland McDonagh
    This amateurish picture was built around surfing footage that Mikelson shot for a Compaq computer ad and developed with an eye for accommodating a series of lush tropical locations: It's no wonder the plot and characters feel like afterthoughts.
    • 33 Metascore
    • 30 Maitland McDonagh
    Harlin's brisk pacing leaves little time for reflection, but the whole house of blood-spattered cards dissolves upon even cursory reflection.
    • 42 Metascore
    • 30 Maitland McDonagh
    The movie takes a desperately wrong turn about 45 minutes in, and you can almost hear the great sucking sound as the whole thing churns down the drain in a swirl of narrative contradictions.
    • 46 Metascore
    • 30 Maitland McDonagh
    You can see the outline of an interesting movie beneath the cutesy-pie characterizations and heavy-handed mockery of small-town small-mindedness, but any chance it might have had is short-circuited by director Griffin Dunne's overwhelming inability to establish a consistent tone for the admittedly off-kilter material.
    • 38 Metascore
    • 30 Maitland McDonagh
    Why would anyone who wanted his or her film to be taken seriously saddle it with a cutesy title like this?
    • 19 Metascore
    • 30 Maitland McDonagh
    Though there's some trashy fun to be had in the film's first half, this cynical sequel -- devolves into space junk even faster than the unfortunate Ross.
    • 28 Metascore
    • 30 Maitland McDonagh
    If it weren't all so cluelessly sleazy it might be funny.