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
    • 65 Metascore
    • 50 Maitland McDonagh
    The film is dreary and attenuated, the tedium broken only by the occasional golden moment when one of the stellar supporting players - Ron Silver as the principled presiding judge who alternately tolerates and quashes Jackie's antics, Peter Dinklage as the lead defense attorney or Annabella Sciorra as Jackie's ex - manages to cut through the clutter.
    • 65 Metascore
    • 70 Maitland McDonagh
    Medem's stupendously gorgeous puzzle movie features strong performances from its four leads.
    • 65 Metascore
    • 50 Maitland McDonagh
    Between Magruder's oily schmoozing and the camera-ready combo of Spanish moss and constant rain, he and cinematographer Changwei Gu whip up some amazing atmosphere.
    • 65 Metascore
    • 50 Maitland McDonagh
    The film's epic look is undermined by his narrow focus; in the end it feels rather thin and less than the sum of its handsome parts.
    • 64 Metascore
    • 63 Maitland McDonagh
    With its attractive cast, beguiling score and relatively straightforward narrative, this dark fable of letters and lust is one of Greenaway's most accessible works.
    • 64 Metascore
    • 60 Maitland McDonagh
    Sweet, likable and consistently engaging, if so insubstantial that it's always on the verge of blowing away.
    • 64 Metascore
    • 80 Maitland McDonagh
    An extraordinary technical achievement.
    • 64 Metascore
    • 63 Maitland McDonagh
    In the end, sharp writing and terrific performances can't compensate for the fact that the back-and-forth between a sour scribe and a manipulative celebrity doesn't amount to a hill of beans in this crazy world.
    • 64 Metascore
    • 75 Maitland McDonagh
    It's easy to envision the big-budget remake, but hard to imagine a mainstream American production capturing the original's sour, sweaty immediacy.
    • 64 Metascore
    • 75 Maitland McDonagh
    The mockumentary conceit gives a vivid immediacy to the material, and the PAL digital video cinematography is often surprisingly lyrical -- certain shots of empty, fog-shrouded San Francisco sites more than make up in eeriness what they lack in special-effects decrepitude.
    • 64 Metascore
    • 50 Maitland McDonagh
    Preachy and predictable, an afterschool special in all but name.
    • 64 Metascore
    • 60 Maitland McDonagh
    In the end, the film feels a little futile; its relentless, one-miserable-note tone is numbing.
    • 64 Metascore
    • 60 Maitland McDonagh
    Paxton is impressively subtle and elicits remarkable performances from O'Leary and Sumpter.
    • 64 Metascore
    • 60 Maitland McDonagh
    Imagine the John Waters remake of an Agatha Christie mystery directed by Douglas Sirk, and you'll get some idea of the tone of this retro musical melodrama, which features a cast whose combined wattage could eclipse a small solar system.
    • 64 Metascore
    • 60 Maitland McDonagh
    Yes, the story is pure formula, though given less twinkle and lip gloss than Hollywood would have brought to bear on it; the film is so remake-friendly you can cast it in your head.
    • 64 Metascore
    • 63 Maitland McDonagh
    Slick, stylish and super-violent, but also oddly dull.
    • 64 Metascore
    • 63 Maitland McDonagh
    An oddly lifeless affair, though Gretchen Mol's sunny performance almost hauls it out of its doldrums.
    • 64 Metascore
    • 40 Maitland McDonagh
    The film is meticulously crafted but frustratingly meaningless.
    • 64 Metascore
    • 60 Maitland McDonagh
    The harder you try to follow the narrative the more frustrating the film becomes, but its sleekly menacing images work their way into your brain like slivers of dry ice.
    • 64 Metascore
    • 60 Maitland McDonagh
    The unspoken question that underlies their struggles is whether a facility run by sheer force of personality can survive when that personality is gone; the film ends on a cautiously hopeful note.
    • 64 Metascore
    • 60 Maitland McDonagh
    No aliens. No firefights in space. No robots. Just an eerily attractive, sleekly costumed cast in a stylish, cooly intelligent throwback to the Twilight Zone era of deeply serious science fiction.
    • 64 Metascore
    • 70 Maitland McDonagh
    Rough around the edges but rock-solid in its sense of place and its depiction of real people overreaching their apparent limitations.
    • 64 Metascore
    • 75 Maitland McDonagh
    Thompson's stories are familiar, but she weaves them together with such assurance and good humor that they're equally soothing and thoroughly enjoyable.
    • 64 Metascore
    • 50 Maitland McDonagh
    It's an overblown campfire tale that doesn't know when to stop.
    • 64 Metascore
    • 50 Maitland McDonagh
    Given his way with witty banter, Stoppard's obvious, even leaden, dialogue is especially disappointing; director Michael Apted's handling of the story's frequent flashbacks is equally infelicitous.
    • 64 Metascore
    • 40 Maitland McDonagh
    Buried deep inside this ponderous, repetitive psychological thriller is a fantastic half-hour "Twilight Zone" episode.
    • 64 Metascore
    • 60 Maitland McDonagh
    The melancholy joke - if you can call it that - is that the pall of global mediocrity has erased national differences and turned women like Tamiko and Amanda into ghosts drifting through their own lives.
    • 64 Metascore
    • 75 Maitland McDonagh
    Nothing much happens on the surface, but worlds of hope, hurt and determination lie right behind the characters' eyes, waiting to be discovered.
    • 64 Metascore
    • 70 Maitland McDonagh
    A beautifully acted slice of intersecting lives defined and driven by the business of beauty.
    • 64 Metascore
    • 50 Maitland McDonagh
    The puzzle pieces are all there. But when you put them all together, the result is a bit of a gyp — neat but utterly forgettable.
    • 64 Metascore
    • 60 Maitland McDonagh
    For anyone unfamiliar with pentacostal practices in general and theatrical phenomenon of Hell Houses in particular, it's an eye-opener.
    • 64 Metascore
    • 70 Maitland McDonagh
    Brawny, he-man spectacle combined with a surprisingly solid story and buttressed by excellent performances.
    • 64 Metascore
    • 70 Maitland McDonagh
    The film's uniformly excellent performances are a delight, and fans of Irish actor Farrell (whose pitch-perfect American accent has served him well in Hollywood) can hear both his natural inflections and his singing voice.
    • 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.
    • 64 Metascore
    • 50 Maitland McDonagh
    The result is undeniably offensive and occasionally very funny, but the gags fall flat as often as they hit their mark.
    • 64 Metascore
    • 75 Maitland McDonagh
    Director John Dahl keeps a firm hand on Christopher Markus and Stephen McFeely's razor-sharp hit-man-in-rehab comedy, which mines the same dark vein as "Gross Pointe Blank"(1997) and "Matador"(2005), and the payoff is both slily funny and startlingly fresh.
    • 64 Metascore
    • 50 Maitland McDonagh
    An efficient but shallow fright show.
    • 64 Metascore
    • 60 Maitland McDonagh
    Their subtle, complex performances could put far more experienced and better-known actors to shame.
    • 64 Metascore
    • 75 Maitland McDonagh
    A cut above the noisy, pop-culture joke-larded norm, and it's much more than a "Happy Feet" knockoff.
    • 64 Metascore
    • 50 Maitland McDonagh
    The film's dark heart is Valentinov's mephistophelean scheming: He sets about sabotaging his former protégé's game for no apparent reason except sheer malice.
    • 64 Metascore
    • 60 Maitland McDonagh
    The technology for twinning a single young actress is considerably more seamless than it was in 1961, and Lohan is a perky charmer.
    • 64 Metascore
    • 50 Maitland McDonagh
    Casting a film set in Latin America with Spanish-and Italian-speaking performers acting in English misfires; the actors' diverse accents clash, some are clearly more fluent than others and the sense of relief when anyone speaks a rare line in Spanish is palpable.
    • 64 Metascore
    • 60 Maitland McDonagh
    AKA
    Subtle performances and the "you are there" immediacy conferred by digital video give Roy's film the feel of a series of stolen moments.
    • 64 Metascore
    • 80 Maitland McDonagh
    Offbeat documentary filmmakers Fenton Bailey and Randy Barbato dissect the history and legend of perhaps the best known and most profitable pornographic movies ever made.
    • 64 Metascore
    • 25 Maitland McDonagh
    Toback quickly reveals himself as an insufferable, opinionated blowhard who pontificates shamelessly about the art of the cinema while indulging his own obsessions on film.
    • 64 Metascore
    • 70 Maitland McDonagh
    It may be long, but it's not boring -- how could it be when jack o' lanterns float lazily overhead in the dining hall, and the venerable Maggie Smith turns into a cat?
    • 64 Metascore
    • 75 Maitland McDonagh
    Although the film revolves around a child, it's not a children's movie: A cruel and bitter undertone runs through the fanciful adventures, and Walker's depression is no mere plot contrivance to be cured by Alexandria's childish enthusiasm.
    • 64 Metascore
    • 25 Maitland McDonagh
    Played for Maverick-like comedy, the film might have coasted on Harris and Mortensen's dialogue. But played straight it's both dull and preposterous.
    • 64 Metascore
    • 60 Maitland McDonagh
    Holmes's story isn't pretty, but it's fascinating, in no small part because the people Paley interviews offer a glimpse into a brief time when making porn was an act of rebellion that attracted a diverse and eccentric group of filmmakers and performers.
    • tbd Metascore
    • 60 Maitland McDonagh
    This potent drama might be dismissed as therapy in the guise of filmmaking if it weren't so clear-eyed. At its core are three remarkable performances.
    • 64 Metascore
    • 60 Maitland McDonagh
    Lacks the novel's drier-than-dry bite, but compensates with a strong ensemble cast and a series of glamorous party sequences in which the decor has at least as much depth as the guests.
    • 64 Metascore
    • 60 Maitland McDonagh
    A virtuoso experiment in animation that combines traditional anime aesthetics style with a variety of Western animation styles.
    • 64 Metascore
    • 75 Maitland McDonagh
    Mitevska telescopes centuries of conflict between nations into an intimate story of siblings whose hopes for the future are being slowly poisoned by the sins of the past.
    • 64 Metascore
    • 63 Maitland McDonagh
    Edward Zwick brings unimpeachable good intentions to his film about the bloody underbelly of the international diamond trade, but when social conscience jockeys for attention with movie-star glamour, glamour always wins. The result is a rip-snorting adventure set against the backdrop of African misery.
    • 64 Metascore
    • 63 Maitland McDonagh
    Formulaic though it is, the story hits the right emotional buttons and promises that hope and dogged work trump despair.
    • 64 Metascore
    • 60 Maitland McDonagh
    Simultaneously groundbreaking and remarkably faithful to the classic play.
    • 64 Metascore
    • 50 Maitland McDonagh
    Overall, it's a curiously lifeless affair.
    • 64 Metascore
    • 60 Maitland McDonagh
    Most of the extreme Trek fans it features are obsessed in a big way, and if they were your children you'd probably be thinking therapy.
    • 64 Metascore
    • 60 Maitland McDonagh
    The giddy, "anything could happen" sense that made "Pulp Fiction" and "Reservoir Dogs" so viscerally exciting is missing here. But Tarantino's first picture in nearly three years is a faithful adaptation of Elmore Leonard's "Rum Punch," and its melancholy edge is a wistful delight.
    • 64 Metascore
    • 40 Maitland McDonagh
    It's merely glum when it should be bracingly grim.
    • 64 Metascore
    • 75 Maitland McDonagh
    A darkly comic trifle that follows in the footsteps of such films as Catherine Breillat's "Romance" (2000), "The Brown Bunny" (2003) and Michael Winterbottom's "9 Songs" (2004) by incorporating hard-core sex into a nonpornographic narrative.
    • 63 Metascore
    • 75 Maitland McDonagh
    A throwback to an age when action movies had room between shoot-outs and car chases for dialogue - real dialogue, not rim-shot-ready one-liners - and character development.
    • 63 Metascore
    • 50 Maitland McDonagh
    If ever a movie cried out to be French, it's this one, and not just because it's a remake of Claude Chabrol's notoriously icy La Femme Infidele (1968).
    • 63 Metascore
    • 70 Maitland McDonagh
    The framing story is pointless and almost insulting, even though it's part of former New York Times columnist Anna Quindlen's novel.
    • 63 Metascore
    • 75 Maitland McDonagh
    Taut, cynical thriller.
    • 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.
    • 63 Metascore
    • 40 Maitland McDonagh
    Dave Collard's preposterous script relies heavily on fortuitous coincidence... and thoroughly stupid behavior.
    • 63 Metascore
    • 50 Maitland McDonagh
    Undeniably handsome..., but no cliché is left unturned, right down to the spray of toy soldiers falling from the hand of a dead child. Everything old isn't new again.
    • 63 Metascore
    • 63 Maitland McDonagh
    When Cox is performing, the movie is firing on all cylinders.
    • 63 Metascore
    • 75 Maitland McDonagh
    The crews are perfectly cast for maximum drama.
    • 63 Metascore
    • 50 Maitland McDonagh
    Ultimately, despite striving mightily to give everyone a fair shake, the film kindled the ire of conservative Christians and Muslims anyway.
    • 63 Metascore
    • 60 Maitland McDonagh
    What distinguishes Cordero's film is his use of location.
    • 63 Metascore
    • 60 Maitland McDonagh
    Driven equally by big questions and the abiding desire for small pleasures, like a decent cup of tea, it's an eccentric, mind-bending head trip that greets every catastrophe with an endearingly goofy smile that embodies Hitchhiker's Guide's Zen mantra: Don't Panic!
    • 63 Metascore
    • 50 Maitland McDonagh
    Renner's performance as Dahmer is unimpeachable, fascinating without being charismatic, and Kayaru's Rodney is a marvel of complicated characterization under difficult circumstances.
    • 63 Metascore
    • 60 Maitland McDonagh
    Ratnam, known for integrating controversial cultural and political themes into popular melodramas, bundles a multitude of coming-of-age traumas into the kind of juicy, overwrought narrative that was once a Hollywood staple.
    • 63 Metascore
    • 63 Maitland McDonagh
    LOL
    Scruffy, loosely structured and piercingly perceptive about the ways in which technology that supposedly brings people together actually keeps them apart.
    • 63 Metascore
    • 50 Maitland McDonagh
    It is ultimately a simplistic film that will play better to youngsters who wish their grandpas were this cool and to parents who are nostalgic for the kind of exceptional childhood they neither had nor can provide for their own children.
    • 63 Metascore
    • 63 Maitland McDonagh
    Formulaic but well-acted variation on the theme of pursuing your dreams through dance.
    • 63 Metascore
    • 63 Maitland McDonagh
    The sequel is something of a disappointment, embroiling its refreshingly level-headed heroines in a series of clichéd romantic dilemmas.
    • 63 Metascore
    • 60 Maitland McDonagh
    Consistently earnest and well-intentioned but only occasionally moving, despite the efforts of a generally top-notch cast.
    • 63 Metascore
    • 60 Maitland McDonagh
    It's informative as far as it goes, but the film's raison d'etre is the simple sight of large wildlife up close and personal, and it's mesmerizing.
    • 63 Metascore
    • 60 Maitland McDonagh
    Bojanov's sad subjects could as easily be in Detroit or Glasgow or Marseilles. What keeps his film from being a relentless wallow in wasted lives is its surprising conclusion.
    • 63 Metascore
    • 75 Maitland McDonagh
    A deep and astonishingly authentic streak of melancholy runs through this fifth sequel to the 1976 sleeper that made both struggling actor Sylvester Stallone and hard-luck slugger Rocky Balboa international stars.
    • 63 Metascore
    • 40 Maitland McDonagh
    Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.
    • 63 Metascore
    • 50 Maitland McDonagh
    Unfortunately, the trajectory of Mueller and co-screenwriter Kevin Kennedy's repetitive screenplay echoes "Taxi Driver" so closely as to invite unfavorable comparison with Martin Scorsese's benchmark chronicle of alienation.
    • 63 Metascore
    • 50 Maitland McDonagh
    The story is slight and would probably be better suited to a short subject, but first-time feature filmmaker Pierre-Paul Renders gives it a striking formal twist: It's told entirely in the first person.
    • 63 Metascore
    • 50 Maitland McDonagh
    The plot is more of the same old running and screaming, but Weaver is worth the price of admission all by herself, which is just as well in light of the less-than-fleshed out characters by whom she's surrounded.
    • 63 Metascore
    • 60 Maitland McDonagh
    If his ambitious first feature isn't entirely successful, it nevertheless poses genuinely provocative questions and opens a window into the way the 9/11 disaster looks from outside the U.S.
    • 63 Metascore
    • 50 Maitland McDonagh
    This southern-fried mess of poetic crime-movie cliches is redeemed by standout performances.
    • 63 Metascore
    • 60 Maitland McDonagh
    Overall, the film feels a little stiff, perhaps because screenwriter Steven Peros adapted his own stage play. But the performances are a delight, especially Dunst's effervescent turn as Marion Davies.
    • 63 Metascore
    • 60 Maitland McDonagh
    The film's dispassionate examination of the shifts in Susan and Daniel's relationship as they drift from irritation to barely suppressed panic is at least as nerve wracking.
    • 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.
    • 63 Metascore
    • 63 Maitland McDonagh
    This scrappy, ultra-low budget comedy, made in 19 days for $70,000 by North Carolina School of the Arts graduates Jody Hill, Danny McBride and Ben Best, comes with its own Cinderella tale: It debuted at the 2006 Sundance Film Festival but failed to find distribution until comedian Will Ferrell and his business partner, Adam McKay, championed it.
    • 63 Metascore
    • 70 Maitland McDonagh
    Old-fashioned fun that goes down as smoothly as a vintage cocktail.
    • 63 Metascore
    • 60 Maitland McDonagh
    Smith's beautifully observed story of two young women learning how cruel and calculating the world -- and they -- can be is beautifully realized, and Garai stands out among a fine ensemble cast.
    • 63 Metascore
    • 50 Maitland McDonagh
    Though too long by a good half hour, Lee's latest film packs a genuine emotional punch, largely because its polemical agenda doesn't entirely eclipse the drama.
    • 63 Metascore
    • 88 Maitland McDonagh
    Miike's goofy, gallant, action-packed fantasy deserves to become a classic family film.
    • 63 Metascore
    • 63 Maitland McDonagh
    It's hard to tell whether Hyams' subjects are exceptionally nice guys or whether there's an excess of decency on the PBR circuit, but if even one were more conspicuously flawed, the film might be more compelling.
    • 63 Metascore
    • 63 Maitland McDonagh
    There are no laughs to be had here, though, unless you count nervous titters and frat-boy sniggers at the very thought of, you know.
    • 63 Metascore
    • 75 Maitland McDonagh
    It has a creepy power all its own.
    • 63 Metascore
    • 75 Maitland McDonagh
    The brothers' dark, all-star farce about sex, lies and surveillance is pretty damned funny.
    • 63 Metascore
    • 63 Maitland McDonagh
    The film's depiction of life among the salt of the earth is blandly cartoonish; and the "Super Sounds of the '70s" soundtrack meticulously matches songs to action, as though the filmmakers didn't trust viewers to figure out what these one-note characters were feeling.
    • 63 Metascore
    • 50 Maitland McDonagh
    First-time filmmaker Ben Younger makes not a single false move when delineating the merciless, high-testosterone world of boiler-room brokerages.
    • 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
    • 75 Maitland McDonagh
    Spare, elegant and tailor-made for intense discussions over dark coffee, Boe's film is a slily bold and delightfully inventive variation on an age-old theme.
    • 63 Metascore
    • 63 Maitland McDonagh
    Ultimately, Bubble is less important as a film than as an experiment in simultaneous cross-platform film distribution.
    • 63 Metascore
    • 75 Maitland McDonagh
    ATL
    The story is familiar, but terrific performances and a vivid sense of place elevate it above the average teen-oriented picture.
    • 62 Metascore
    • 50 Maitland McDonagh
    Although notorious in South Africa, Stander is little known elsewhere and Canadian director Bronwen Hughes' unsatisfying account of his life and crimes is unlikely to earn him a spot on the outlaw celebrity A-list.
    • 62 Metascore
    • 40 Maitland McDonagh
    The performances are uneven and the loosely structured story never actually goes anywhere.
    • 62 Metascore
    • 50 Maitland McDonagh
    This film is no exception to the rule that philosophical debate seldom spawns compelling cinema.
    • 62 Metascore
    • 75 Maitland McDonagh
    Brutally gorgeous and seething with incendiary images.
    • 62 Metascore
    • 50 Maitland McDonagh
    The obvious product of a corporate search for the next great fantasy franchise, this adaptation of the first in a series of popular children's books by the writer-illustrator team of Holly Black and Tony DiTerlizzi is a lump of leaden whimsy.
    • 62 Metascore
    • 60 Maitland McDonagh
    Poignant documentary.
    • 62 Metascore
    • 75 Maitland McDonagh
    If Caspian has a fault, it's that viewers familiar with neither the books nor the first film may have trouble picking up the strands of the story in the early scenes… but in all honesty, how many Lewis neophytes will choose Caspian as their point of entry?
    • 62 Metascore
    • 63 Maitland McDonagh
    Does so many things right that it's a shame to see it sink into horror-movie cliches.
    • 62 Metascore
    • 75 Maitland McDonagh
    Groundlings alumnus Prendergast's dark comedy, drawn from on his own family experiences, is firmly rooted in messy, selfish, often-unappealing human behavior rather than self-referential irony and juvenile goofiness.
    • 62 Metascore
    • 88 Maitland McDonagh
    The film's tone is set by a bravura opening sequence that follows a single bullet from a factory conveyer belt to its resting place in a child's skull, and by Cage's flawlessly sardonic voice-over.
    • 62 Metascore
    • 75 Maitland McDonagh
    Horror buffs in search of a fresh take on the usual grue should embrace it wholeheartedly.
    • 62 Metascore
    • 40 Maitland McDonagh
    A long, dark night o' slacker despair, courtesy of Richard Linklater and self-important blowhard Eric Bogosian.
    • 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.
    • 62 Metascore
    • 70 Maitland McDonagh
    Thoroughly dotty and surprisingly endearing.
    • 62 Metascore
    • 60 Maitland McDonagh
    Say what you will about (Smith's) sense of humor, genuine faith is rare enough in popular culture to make any sighting worthy of note.
    • 62 Metascore
    • 60 Maitland McDonagh
    A funny, perceptive and seductively engaging movie.
    • 62 Metascore
    • 60 Maitland McDonagh
    The film's a trifle, but a beautifully crafted one.
    • 62 Metascore
    • 70 Maitland McDonagh
    This deliriously unsettling film evokes H.P. Lovecraft's exquisitely creepy stories of encroaching madness -- not so much in story terms but in its perversely spooky ambience -- with a subtle dose of David Lynch's dark sense of humor.
    • 62 Metascore
    • 60 Maitland McDonagh
    Newcomer Grace seems born to the part of an unformed young woman whose character cries out to be shaped, but it's Ivey's unobtrusive skill that shapes their onscreen relationship into something thoroughly convincing.
    • 62 Metascore
    • 70 Maitland McDonagh
    Blanchett's quietly radiant performance anchors even the most outrageous plot developments, and she's well-supported on all sides.
    • 62 Metascore
    • 75 Maitland McDonagh
    Sleek, stylish and ephemeral as a fireworks display, Ocean's Thirteen is the definition of light, but not totally brainless, entertainment.
    • 62 Metascore
    • 75 Maitland McDonagh
    A huge hit in France, Michel Hazanavicius' straight-faced spy spoof unleashes a French operative of incomparable incompetence on the volatile Middle East of 1955.
    • 62 Metascore
    • 50 Maitland McDonagh
    Casting Caine as Austin's father is a stroke of pure genius.
    • 62 Metascore
    • 75 Maitland McDonagh
    An impressive parade of scientists, meteorologists and grassroots activists assert that humanity is capable of adapting to a changing climate, building sustainable communities without sacrificing modern-day comforts and even reversing some of the damage already done.
    • 62 Metascore
    • 75 Maitland McDonagh
    Dellal and their cast consistently hit the right notes, and the result is an uplifting tale that you don't have to be embarrassed to enjoy.
    • 62 Metascore
    • 63 Maitland McDonagh
    Television director David Von Ancken's metaphorical revenge Western wears its influences on its sleeve, but adds nothing to the genre that hasn't already been explored in the quietly demythologizing films of Anthony Mann and Budd Boetticher, the baroque, operatic Italian Westerns of Sergio Leone and his less-familiar peers, and even in Sam Fuller's deranged, post-Civil War psychodrama "Run of the Arrow"(1956).
    • 62 Metascore
    • 75 Maitland McDonagh
    Despite the low budget, the film is handsomely designed and well acted.
    • 62 Metascore
    • 75 Maitland McDonagh
    Sardonic and steeped in the tumultuous history of the former Yugoslavia, this absurdist comedy of contemporary mores can be appreciated even without intimate knowledge of its specific cultural context.
    • 62 Metascore
    • 75 Maitland McDonagh
    Fisher's dialogue draws heavily on the original film's intertitles and script directions and the addition of sound is a plus for moviegoers uncomfortable with the artificial embarrassment of silence.
    • 62 Metascore
    • 63 Maitland McDonagh
    Ti West's affectionate homage to no-frills fright flicks keeps it simple and succeeds on its own stripped-down terms.
    • 62 Metascore
    • 50 Maitland McDonagh
    It's a must-see for horror buffs and anime fans; and while it lacks the haunting thematic underpinnings of "Blood The Last Vampire," -- it's a more satisfying movie-going experience.
    • 62 Metascore
    • 50 Maitland McDonagh
    Well acted (notably by newcomer Brown), warm hearted and utterly predictable, this film is aimed squarely at everyone who loved "Good Will Hunting."
    • 62 Metascore
    • 50 Maitland McDonagh
    This film got made because Seinfeld is famous, but it's still hard not to wish the filmmakers had devoted a couple of years to following Adams instead. The guy's such a throbbing bundle of arrogance, raw nerves and self-destructive insecurity that you can see the flame-out coming.
    • 62 Metascore
    • 60 Maitland McDonagh
    A disturbing examination of what appears to be the definition of a "bad" police shooting.
    • 62 Metascore
    • 70 Maitland McDonagh
    This taut crime thriller is a welcome antidote to brainless action extravaganzas in which the mayhem is the message, and rests on two shrewd, perfectly modulated performances.
    • 62 Metascore
    • 70 Maitland McDonagh
    Carrey's relentless showboating is almost its undoing.
    • 62 Metascore
    • 60 Maitland McDonagh
    More comic book-like and less intriguing than the original, the film's punch-drunk cyber-mysticism still has a darkly seductive allure that sets it apart from juvenile, Star Wars-style space opera.
    • 62 Metascore
    • 75 Maitland McDonagh
    This intimate coming-of-age story benefits from excellent performances, notably Gregory Smith's.
    • 62 Metascore
    • 60 Maitland McDonagh
    It's straightforwardly entertaining and a genuine nail-biter.
    • 62 Metascore
    • 30 Maitland McDonagh
    This limp, forgettable fluff is as preachy and heavy-handed as the "Goofus and Gallant" cartoons that a generation of children far less media-savvy than today's recognized as ham-fisted lessons in good behavior masquerading as funny strips.
    • 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.
    • tbd Metascore
    • 50 Maitland McDonagh
    Overall, this puff piece is shapeless, repetitive and feels much longer than it is.
    • 62 Metascore
    • 38 Maitland McDonagh
    A stale rehash of Woody Allen-style "he's a neurotic Jew, she's a flaky shiksa" gags.
    • 62 Metascore
    • 70 Maitland McDonagh
    Generous, slyly tough-minded documentary.
    • 62 Metascore
    • 40 Maitland McDonagh
    Watching this string of sketches about small town wackos is like channel surfing a heavy sitcom zone.
    • 62 Metascore
    • 70 Maitland McDonagh
    A tragicomic Holocaust fable that's by turns silly, triumphant and achingly sad.
    • 62 Metascore
    • 40 Maitland McDonagh
    A gloomy, preposterous psychological thriller.
    • 62 Metascore
    • 50 Maitland McDonagh
    Robles and Hidalgo ring enough changes on a stock situation that you're never sure where it's going.
    • 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
    • 63 Maitland McDonagh
    Zahedi has been compared to Woody Allen, and he shares Allen's neurotic sense of entitlement and navel-gazing fascination with his own sexual peccadilloes. Whether you find either man funny or infuriating depends in large part on whether you identify more with their narcissistic quests for self-knowledge or the collateral damage left in their wakes.
    • 62 Metascore
    • 50 Maitland McDonagh
    Its talky, sluggish script is so bereft of thrills -- intellectual or otherwise -- that even the film's one masterfully staged sequence... falls flat.
    • 62 Metascore
    • 50 Maitland McDonagh
    Goofy, raunchy and very Japanese, Miike's film will probably play best to fanboys who love "Power Rangers" and "Ultraman" -- and there are plenty of them to go around.
    • 62 Metascore
    • 75 Maitland McDonagh
    Briskly directed by "Sex and the City" veteran David Frankel, the movie is far better than the source.
    • 61 Metascore
    • 50 Maitland McDonagh
    Trapped uncomfortably between its higher aspirations and the demands of genre, this picture never quite gets its bearings, but it's still a solid ride.
    • 61 Metascore
    • 75 Maitland McDonagh
    Mendez directs with remarkable assurance, using B&W footage to suggest the monochromatic clarity Santiago craves, as well as color to depict the riotous reality that threatens to overwhelm him.
    • 61 Metascore
    • 75 Maitland McDonagh
    But in the end it all comes to naught: Tantalyzing though the leads are, the paintings remain elusive.
    • 61 Metascore
    • 75 Maitland McDonagh
    Roth's screenplay, steeped in the peculiar rituals, lock-jawed repression and smug sense of superiority of the WASP ruling class that both shaped America's intelligence community and made it vulnerable, is less interested in derring-do than back-room deals and the day-to-day drudgery of spying, driven by the notion that espionage is a cynical high-stakes game played with people's lives and the ante is human decency and connectedness.
    • 61 Metascore
    • 75 Maitland McDonagh
    Jeremy Gosch's documentary about the origins of professional surfing shines a light on four wave riders – three Australians and a South African – who helped transform a counter-culture life style into a billion-dollar industry.
    • 61 Metascore
    • 50 Maitland McDonagh
    The images of gods and ordinary Tibetans that Bush captures are more eloquent that his turgid narration, and overall the film works better as a travelogue than an introduction to Tibetan Buddhist beliefs or history.
    • 61 Metascore
    • 75 Maitland McDonagh
    For a movie rooted in reality, Italian filmmaker Saverio Costanzo's taut psychological drama is in desperate danger of drowning in metaphor.
    • 61 Metascore
    • 50 Maitland McDonagh
    A thoroughly respectable affair: Your high school English teacher would approve, and parts are terrifically enjoyable.
    • 61 Metascore
    • 50 Maitland McDonagh
    The film's characters, computer-animated over motion-caputure footage of flesh-and-blood performers, are as blank-eyed and rubbery-looking as moving mannequins -- the stuff of nightmares, not dreams.
    • 61 Metascore
    • 63 Maitland McDonagh
    Written in the aftermath of a bitter divorce, Mamet's paranoid rant -- an explosion of middle-aged, white-collar, white-men's rage at losing ground to everyone, from women, hustlers, African Americans and homosexuals to the younger generation nipping at their heels -- is as bilious as ever, but time has overtaken and defanged it.
    • 61 Metascore
    • 63 Maitland McDonagh
    Restrained and decorous to a fault.
    • 61 Metascore
    • 50 Maitland McDonagh
    Exactly the kind of sporadically clever, button-pushing fright-fest that keeps genre fans hanging on until something more fulfilling comes along.
    • tbd Metascore
    • 60 Maitland McDonagh
    Merits watching if only because it's a bracing corrective to the deeply entrenched image of Europe's Jews plodding, sheep-like, to their deaths in Nazi concentration camps.
    • 61 Metascore
    • 60 Maitland McDonagh
    This is solid entertainment, and the time Caviezel and Pearce spent training for their sword fights pays off handsomely.
    • 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.
    • 61 Metascore
    • 60 Maitland McDonagh
    The result, a dissection of the complicated dynamics of sexual and economic exploitation, is pitiless and occasionally inspired.
    • 61 Metascore
    • 63 Maitland McDonagh
    For all its impeccable indie credibility, writer-director Zoe Cassavetes' bittersweet romance is little more than a hipster chick flick in which the same old smart women make the usual foolish choices.
    • 61 Metascore
    • 60 Maitland McDonagh
    Modest, on-the-money performances, which look effortless because they're so meticulously thought out, make the hours fly by.
    • 61 Metascore
    • 60 Maitland McDonagh
    The soundtrack, which relies heavily on melancholy Sinatra standards like "The Good Life," "This Town" and "Summer Wind," casts perfectly modulated warning shadows over the film's light, bright look.
    • 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.
    • 61 Metascore
    • 60 Maitland McDonagh
    It's a cut above the throng of mindless, purported thrillers in which explosions and gun battles replace even rudimentary story telling.
    • 61 Metascore
    • 75 Maitland McDonagh
    First and foremost a celebration of Cuban dance and music.
    • 61 Metascore
    • 50 Maitland McDonagh
    Handsomely photographed and acted...defiantly old-fashioned testament to the power of love.
    • 61 Metascore
    • 50 Maitland McDonagh
    Though occasionally enlivened by fanciful sequences suggesting the surreal power of Kahlo's vivid inner life, it's often mired in the mechanical accretion of incidents that blights most biographical films.
    • 61 Metascore
    • 75 Maitland McDonagh
    This good-natured genre piece gets the job done while sneaking in a couple of pointed observations about contemporary Latino immigrant life.
    • 61 Metascore
    • 40 Maitland McDonagh
    Turturro's sweaty, lumpen Cain is a profoundly disagreeable guide down the rabbit hole of hallucinatory paranoia.
    • 61 Metascore
    • 60 Maitland McDonagh
    Its appeal lies in the powerhouse performances delivered by Dench and Smith.
    • 61 Metascore
    • 60 Maitland McDonagh
    This otherwise sober film's high ick factor is clearly designed to convince restless students that entomology is extremely cool.
    • 61 Metascore
    • 50 Maitland McDonagh
    Overall, how funny you find it will probably depend on whether or not the mere sight of Stiller sucking in his cheeks, widening his eyes and striking preposterous poses makes you laugh uproariously.
    • 61 Metascore
    • 60 Maitland McDonagh
    Sad, leisurely road picture.
    • 61 Metascore
    • 60 Maitland McDonagh
    The story is less a sustained narrative than a series of scenes. But personal dynamics are the main event, and McDormand's powerhouse performance alone compensates for many minor deficiencies.
    • 61 Metascore
    • 60 Maitland McDonagh
    Slight but affecting.
    • 61 Metascore
    • 60 Maitland McDonagh
    The remake is infinitely more entertaining if you haven't seen "Nine Queens" -- the details are different, but the surprises are the same and something of the first film's underlying darkness has been lost in translation.
    • 61 Metascore
    • 63 Maitland McDonagh
    Though the raw material is juicy stuff, the details and the larger picture never come together and the cast is uneven.
    • 61 Metascore
    • 75 Maitland McDonagh
    Shot in neorealist black-and-white, it opens like a gritty slice of social drama, then takes a sharp turn into bleak, existential horror.
    • 61 Metascore
    • 75 Maitland McDonagh
    The result is fearlessly divisive and will no doubt play according to viewers' preexisting perceptions.
    • 61 Metascore
    • 75 Maitland McDonagh
    Neither trite nor pandering, and that's what makes the film better than most of its peers.
    • 61 Metascore
    • 63 Maitland McDonagh
    This didactic drama is set safely in the past and says nothing about the culture of conformity at all costs that hasn't been said before.
    • 61 Metascore
    • 60 Maitland McDonagh
    Brisk, engaging story.
    • 61 Metascore
    • 50 Maitland McDonagh
    Animator Bill Plympton's seventh feature is a must-see for fans of his often witty, always scabrous, hand-drawn work.
    • 61 Metascore
    • 50 Maitland McDonagh
    Cocaine Angel may be a fine counterpoint to glammy cocaine-scare films like "Less Than Zero" (1987) and "Blow" (2001), but it comes on so strong it risks being dismissed along with the "this is your brain on drugs" school of dope-scare PSAs.
    • 61 Metascore
    • 50 Maitland McDonagh
    A throwback to the slickly entertaining melodramas of Hollywood's golden age.
    • 61 Metascore
    • 50 Maitland McDonagh
    Feels hokey, generic and dated.
    • 61 Metascore
    • 60 Maitland McDonagh
    Viewers are left to draw their own conclusions, which inevitably will be colored by individual reactions to unabashed frontal nudity.
    • 61 Metascore
    • 50 Maitland McDonagh
    8-year-olds of all ages, prepare to storm the multiplex!
    • 61 Metascore
    • 50 Maitland McDonagh
    The story wears thin long before it's over, but Machado draws strong performances from his leads and makes excellent use of its rundown locations.
    • 61 Metascore
    • 63 Maitland McDonagh
    While Kudlacek lets some of the elder statesmen ramble, their recollections are a vivid, firsthand window into a bygone era of American art.
    • 61 Metascore
    • 63 Maitland McDonagh
    Sweet-natured, episodic comedy-drama.
    • 61 Metascore
    • 60 Maitland McDonagh
    Anderson is a master of detail, from the film's ubiquitous fish motif to the elaborate carnival set piece that unfolds inside the claustrophobic confines of a spook-house ride called "Route 666."
    • 60 Metascore
    • 75 Maitland McDonagh
    Until the disappointingly conventional ending, in which dad and the head baddie go it mano a mano on the streets, this dark drama -- based on a 1956 Glenn Ford picture of the same name -- negotiates its narrative twists and turns with professional aplomb, even daring to make the hero an arrogant schmuck.
    • 60 Metascore
    • 60 Maitland McDonagh
    This DIY oddity is both quirkily funny and strangely poignant, and does justice to the same themes that underlie the far more lavishly produced "A.I.: Artificial Intelligence."
    • 60 Metascore
    • 50 Maitland McDonagh
    This supremely silly supernatural potboiler is slickly entertaining for just under two hours and absolutely hilarious for 10 minutes near the end.
    • 60 Metascore
    • 50 Maitland McDonagh
    The film's woozy, digital-video gorgeousness is undeniable, and the glittering shots from atop the Brooklyn Bridge could make a tough guy weep.
    • 60 Metascore
    • 63 Maitland McDonagh
    While Burnam and Garrison imbue their characters with authentic-feeling frustration and anger, they never succeed in making them especially interesting; it's hard to care in any serious way what becomes of either.
    • 60 Metascore
    • 75 Maitland McDonagh
    Jim Brown and Gary Burns hang a powerful antisuburban diatribe in the form of statistics, expert opinions and pictures worth a thousand words on the experiences of the Moss family.
    • tbd Metascore
    • 63 Maitland McDonagh
    Clearly a labor of love and a call to action, but it's undermined by the sheer volume of topics it tackles in addition to the main subject.
    • 60 Metascore
    • 75 Maitland McDonagh
    There's no time wasted and no showy effects to detract from the situation -- just sheer tension.
    • 60 Metascore
    • 60 Maitland McDonagh
    There's no downside to a reminder that not every beefy, God-talking sheriff is a bigoted cracker, and Kraus' short, no-frills documentary is a model of fly-on-the-wall filmmaking.
    • 60 Metascore
    • 60 Maitland McDonagh
    It's actually sharper, less reverential and generally better than "Misson: Impossible."
    • 60 Metascore
    • 75 Maitland McDonagh
    The film's greatest asset is its performances.
    • 60 Metascore
    • 70 Maitland McDonagh
    Roundly condemned (though not banned) by Church officials in Mexico, the film became a smash hit -- probably in part because the public wrangling gave it an enormous publicity boost.
    • 60 Metascore
    • 60 Maitland McDonagh
    The thin line between self-esteem and hubris is explored in this cautionary tale.
    • 60 Metascore
    • 70 Maitland McDonagh
    Spare and coolly evocative, it's a chilling accomplishment.
    • 60 Metascore
    • 60 Maitland McDonagh
    This anti-thriller radiates dread rather than suspense; it delivers creeping apprehension rather than adrenaline-pumping kicks, and the uniformly strong and finely calibrated performances more than compensate for the absence of technical razzle-dazzle.
    • 60 Metascore
    • 60 Maitland McDonagh
    Though ultimately the film is all smoke and mirrors, the sensibility it reflects is rich and exciting.
    • 60 Metascore
    • 60 Maitland McDonagh
    An amateur in the best sense of the word, Dobson is an engaging ambassador for a life of the mind lived firmly in the real world.
    • 60 Metascore
    • 70 Maitland McDonagh
    A very entertaining, hugely neurotic romantic comedy.
    • 60 Metascore
    • 60 Maitland McDonagh
    The film's saddest contention is that five decades later American public schools remain economically segregated by economics, which too often produces classrooms whose complexions have changed little since the pre-Brown era.
    • 60 Metascore
    • 75 Maitland McDonagh
    If there's a gay cliche who doesn't flounce through this feel-good German comedy, he must have been out of town when the casting call went out, but its fundamental good nature is tough to resist.
    • 60 Metascore
    • 63 Maitland McDonagh
    Director/cowriter Adrian Garcia Bogliano's self-conscious throwback to the kind of gritty black-and-white gore films that used to play drive-in theaters and urban grind houses is a short, sharp shocker that gets surprising mileage out of the oldest formula in the book of the dead.
    • 60 Metascore
    • 63 Maitland McDonagh
    Packs five films' worth of drama, crises and revelations into one, and often lapses into sitcom triteness.
    • 60 Metascore
    • 88 Maitland McDonagh
    It's wonderfully satisfying: Collette, MacLaine and Diaz are exceptional, and the mix of humor and heartbreak is perfectly calibrated.
    • 60 Metascore
    • 75 Maitland McDonagh
    Steeped in what may be the ultimate postmodern irony: Talen's impromptu, defiant piece of performance art with political undertones has actually taken on a spiritual dimension.
    • 60 Metascore
    • 50 Maitland McDonagh
    That it feels so predictable is, ironically, a tribute to the universality of the experience it explores.
    • 60 Metascore
    • 60 Maitland McDonagh
    The movie's captivating details are all in the performances, from Foreman's barking-mad Taylor to Thewlis's smoothly sinister Freddie and Bettany/McDowell's hard-eyed gangster, an amoral bottom-feeder with an expedient streak of sadism.
    • 60 Metascore
    • 50 Maitland McDonagh
    David Mamet's political thriller about the disappearance of the president's daughter is an unsatisfying slipknot of a film -- it looks tight and elaborate, but give it a tug and it goes flat.
    • 60 Metascore
    • 50 Maitland McDonagh
    That's not to say it isn't entertaining, only that the scenes which rely entirely on the fragile interplay between Jessica and Ryan suggest a more compelling movie that got lost in the welter of high-speed highway recklessness.
    • 60 Metascore
    • 60 Maitland McDonagh
    If you're in a triumph of the human spirit frame of mind, this is your cup of dark, sweet tea.
    • 60 Metascore
    • 75 Maitland McDonagh
    Sweet, goofy story.
    • 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."
    • 60 Metascore
    • 60 Maitland McDonagh
    Without the top-notch cast it would be indistinguishable from hundreds of pedestrian serial-killer pictures that clog video store shelves.
    • 60 Metascore
    • 60 Maitland McDonagh
    So crammed with plot twists that it's hard to follow, simultaneously ludicrous, sappy and casually dismissive of all the things Hollywood holds dear.
    • 60 Metascore
    • 60 Maitland McDonagh
    First-time feature filmmaker Oliver Hirschbiegel maintains a riveting sense of simmering brutality.
    • 60 Metascore
    • 50 Maitland McDonagh
    The crime story here is lazily constructed, mostly an excuse for the give-and-take between Tucker and Chan, which is shrill and raucous without being especially clever.
    • 60 Metascore
    • 63 Maitland McDonagh
    While Travolta and Gandolfini have the beefy, closed-off look of post-WWII era cops, they never FEEL: They look like actors playing dress up. Leto overcomes his delicate good looks to embody Fernandez's feral, faintly exotic charm, but Hayek is a standard-issue femme fatale, damaged on the inside but flawless on the surface.
    • 59 Metascore
    • 70 Maitland McDonagh
    Like the original "Fantasia's" eight segments, the results are a mixed bag.
    • 59 Metascore
    • 60 Maitland McDonagh
    Overall, the book is a far more rewarding experience than the movie.
    • 59 Metascore
    • 60 Maitland McDonagh
    It aspires to a documentary realism and keeps the focus on the characters at all times. Though the results can't really be called enjoyable, the intensity that bleeds off the screen is undeniably effective.
    • 59 Metascore
    • 60 Maitland McDonagh
    Yes, it's sappy. It's also silly, utterly unironic, a sketch stretched out to feature length, and, if you're in the right mood, pretty darned cute.
    • 59 Metascore
    • 60 Maitland McDonagh
    For a mountain of muscle [The Rock]'s a surprisingly charming screen presence. And his low-key appeal helps nudge Peter Berg's derivative but good-natured light action picture in the direction of breezy entertainment, rather than painfully noisy macho posturing.
    • 59 Metascore
    • 50 Maitland McDonagh
    First and foremost a showcase for the latest developments in motion-capture and 3-D technology.
    • 59 Metascore
    • 75 Maitland McDonagh
    Raimi and company deftly balance spectacle and character-based drama, occasionally tweaking the comic-book mythology but always respecting creator Stan Lee's idea that costumed crime-fighter Peter Parker's life as Spider-Man isn't all derring-do and public accolades.
    • 59 Metascore
    • 60 Maitland McDonagh
    Davis' tough, man-of-the-people narration is often annoying, but his words can't diminish the power of his story.
    • 59 Metascore
    • 50 Maitland McDonagh
    Characters are undermined by the inexpressive animation that mars the majority of animated films: Their haunted inner lives are clearly meant to take center stage, but their faces are blank and two-dimensional.
    • 59 Metascore
    • 70 Maitland McDonagh
    Catches you with a creepy sucker punch.
    • 59 Metascore
    • 50 Maitland McDonagh
    More music and less melodrama would serve audiences better.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Maitland McDonagh
    The manipulative climax works, even as you feel like the jerk in tear-jerking.
    • 59 Metascore
    • 50 Maitland McDonagh
    By the time it reaches its fiery finale, the film feels less mythic than self-consciously portentous.
    • 59 Metascore
    • 60 Maitland McDonagh
    Adventurous viewers will find this unusual genre hybrid an intriguing experience, and Donnie Yen's fight choreography is breathtaking.
    • 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.
    • 59 Metascore
    • 63 Maitland McDonagh
    Overall, it's like watching a home movie of a charming relative.
    • 59 Metascore
    • 75 Maitland McDonagh
    An utterly preposterous but entertaining sci-fi action brain-bender.
    • 59 Metascore
    • 75 Maitland McDonagh
    Cocaine cash financed Miami's renaissance, but the film never downplays the human cost at which that urban renewal was purchased.
    • 59 Metascore
    • 50 Maitland McDonagh
    Film feels like a parody of Mamet mannerisms, and the trouble lies with the play, which Mamet first penned some 25 years for an Actors Equity showcase.
    • 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.
    • 59 Metascore
    • 40 Maitland McDonagh
    Would be too long even if it were twice as funny. And that about sums up the movie.
    • 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.
    • 59 Metascore
    • 75 Maitland McDonagh
    Sharply acted and cheerfully coarse.
    • 59 Metascore
    • 50 Maitland McDonagh
    Features some strikingly intimate footage of Noonan's extended family, but lets Noonan himself drives the show and his colorful tales of villainy that cry out for more context than MacIntyre provides.
    • 59 Metascore
    • 80 Maitland McDonagh
    The aliens, meanwhile, are a fabulously nasty lot of slimy, tentacled, malevolent telepaths, but all their superior technology is no match for our red, white and blue ingenuity. Take that, space bullies!
    • 59 Metascore
    • 75 Maitland McDonagh
    Frothy, sentimental and thoroughly good-natured, Malcolm D. Lee's tale of coming-of-age at the roller disco doesn't have an original bone in its body, but it's as energetic, eager to please and endearing as a sloppy, wriggling puppy.
    • 59 Metascore
    • 60 Maitland McDonagh
    The cast — a felicitous blend of character actors and up-and-comers — work together like a street-smart machine, and Hoffman's scummy turn as porn-peddler and all-around creep King is a reminder of just how sleazily funny he can be.
    • 59 Metascore
    • 60 Maitland McDonagh
    It's funny stuff, though most of the pimps seem like such buffoons it's hard to imagine how they actually make a living.
    • 59 Metascore
    • 50 Maitland McDonagh
    Dithery, nattering and a bit long for such a conspicuously airy trifle.
    • 59 Metascore
    • 60 Maitland McDonagh
    A candy-colored, superficially fizzy revenge fantasy with a startlingly corrosive undercurrent of bitterness and frustration.
    • 59 Metascore
    • 88 Maitland McDonagh
    It's a high-energy blast.
    • 59 Metascore
    • 60 Maitland McDonagh
    Combined with the Mamet-lite dialogue, a medley of all-too-deliberate pauses, smug literary allusions and calculatedly careless repetitions of the word "thingie" that obscure the meaning hidden in supposedly meaningless prattle, the result is a chic, vitriolic polemic that's as irritating as it means to be provocative.
    • 59 Metascore
    • 60 Maitland McDonagh
    Dense collage of digitally altered images often looks shockingly like some super-hip media agency's show reel.
    • 59 Metascore
    • 60 Maitland McDonagh
    Ice Cube is so genial and laid back it's hard to believe he's the same snarling thug who ass-kicks his way through action pictures, let alone the seethingly angry rapper who emerged from NWA in the early 1990s.
    • 59 Metascore
    • 60 Maitland McDonagh
    Although Sonny is computer generated, Tudyk supplied his voice and body language -- provides the story's emotional core, an irony Asimov would surely have appreciated.
    • 59 Metascore
    • 60 Maitland McDonagh
    Terrio keeps the multiple stories flowing smoothly, and the setting goes a long way to justify the web of fortuitous interconnections -- New York is the ultimate two-degrees-of-separation town.
    • 59 Metascore
    • 63 Maitland McDonagh
    For parents who were unable to secure tickets for the young fans in their households, it's nothing short of a godsend.
    • 59 Metascore
    • 40 Maitland McDonagh
    Bond spends an awful lot of time being rescued from peril by supporting characters.
    • 59 Metascore
    • 60 Maitland McDonagh
    Imagine "Hansel and Gretel" by way of "The Texas Chainsaw Massacre."
    • 59 Metascore
    • 50 Maitland McDonagh
    What charm the movie has is almost entirely due to Grant and Barrymore -- the master of smarmily irresistible self-deprecation meets the sweetly vulnerable queen of awkward self-sabotage. While they have no romantic chemistry, they're certainly appealing.
    • 59 Metascore
    • 50 Maitland McDonagh
    Overall, this is the kind of thing that gives literary adaptations their bad name.
    • 59 Metascore
    • 63 Maitland McDonagh
    The screenplay is blessedly free of mediocre songs and light on flashy pop-culture in-jokes.
    • 58 Metascore
    • 75 Maitland McDonagh
    Horse lovers and racing enthusiasts are this likable film's obvious audience, but you don't have to care about the Derby to get caught up in the stories of the people and the horses behind the two minutes of glory.
    • 58 Metascore
    • 75 Maitland McDonagh
    Although this first chapter in a three-part tale is inevitably overburdened with back story, it ends on one hell of a cliff-hanger.
    • 58 Metascore
    • 63 Maitland McDonagh
    The product of this ingenuity is a slight spin on an obscure motion-picture artifact, but it's surprisingly artfully done.
    • 58 Metascore
    • 63 Maitland McDonagh
    The minutiae of Carter's book tour isn't always enthralling, but his personality drives the film: pious, stubborn, devoted to his wife, curious, professional, warm and yet slightly removed from the fray, conciliatory, meticulous, self-effacing, funny, decent, intellectually rigorous and firmly committed to his positions.
    • 58 Metascore
    • 50 Maitland McDonagh
    Makes you wish consumer automobiles were built to NASCAR safety standards.
    • 58 Metascore
    • 63 Maitland McDonagh
    A snapshot rather than a sustained look at Meat Loaf's tumultuous life and career, Klein's film is a revealing glimpse at the late career of a performer who looked a safe bet to die before he got old, then surprised everyone by hanging on long enough to find fans who weren't born when he started out.
    • 58 Metascore
    • 50 Maitland McDonagh
    Nearly strangles in its own stylishness but benefits from smoldering performances.
    • 58 Metascore
    • 63 Maitland McDonagh
    The movie has a monster problem -- the more you see of them, the less scary they are -- most of the characters are standard-issue types, and Harden seriously overdoes the pious psycho bit.
    • 58 Metascore
    • 63 Maitland McDonagh
    But for all the sound, fury and spectacle, the film feels vaguely hollow and unsatisfying.
    • 58 Metascore
    • 40 Maitland McDonagh
    You can't help but wish the set up were shorter and the dilemma longer.
    • 58 Metascore
    • 60 Maitland McDonagh
    The story is predictable, but Reeder's performance is painfully convincing and the East Village locations so uniformly grimy that they all but weep despair.

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