Maitland McDonagh, TV Guide
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For 2,229 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
Average review score: 54
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 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.
    • 37 Metascore
    • 50 Maitland McDonagh
    P2
    No two ways about it: The screenplay is derivative. But the location adds a little novelty to the standard-issue running and screaming.
    • 37 Metascore
    • 20 Maitland McDonagh
    Formulaic hodge-podge that trades on a certain demographic's affection for the bogeymen of their formative years.
    • 37 Metascore
    • 30 Maitland McDonagh
    The sweet nostalgia of Travolta and Thurman's reprise of their "Pulp FIiction" dance-floor flirtation cuts through a lot of rubbish, including the Black Eyed Peas' smutty "Sexy."
    • 37 Metascore
    • 30 Maitland McDonagh
    Hogan returns with what feels like a feature-length vanity project.
    • 37 Metascore
    • 40 Maitland McDonagh
    Tatou IS adorable, but Michele is a such a brainless flibbertigibbet that it's hard to take her spiritual quest at all seriously, and if you don't feel in your heart that she's really TRYING to grow and mature as a spiritual person, then who cares about her idiotic antics?
    • 37 Metascore
    • 60 Maitland McDonagh
    Burnett and Lee's graceful, sympathetic documentary focuses on participants who embody Burning Man's ideals without being blind to the opportunists and party animals it inevitably attracts.
    • 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.
    • 37 Metascore
    • 60 Maitland McDonagh
    Hopkins and Rock are a surprisingly good mix; Hopkins actually underplays his role as a company man with a barely acknowledged conscience, while Rock's manic impulses aren't allowed to run riot.
    • 37 Metascore
    • 60 Maitland McDonagh
    Chilly, muted and refreshingly free of cheap shocks, this stylish psychological horror tale is greatly enhanced by subtle (acting) performances.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Maitland McDonagh
    The trouble with this satirical take US involvement in Iraq, penned by Mark Leyner, John Cusack and Jeremy Pikser, is that the real thing is equally absurd and only marginally less funny.
    • 37 Metascore
    • 70 Maitland McDonagh
    You come away from the film wishing her the best, but fearing the worst.
    • 37 Metascore
    • 50 Maitland McDonagh
    Though this frank documentary about extreme sexual practices comes with a cautionary message, it could perhaps use a stronger one.
    • 37 Metascore
    • 63 Maitland McDonagh
    Litvak's broad comedy has novelty on its side, and though the script never rises above sitcom-style one-liners and sight gags, strong performances invest both the jokes and the syrupy moments of forgiveness and reconciliation with no small measure of, yes, heart.
    • 37 Metascore
    • 25 Maitland McDonagh
    A crass, tedious sequel.
    • 37 Metascore
    • 25 Maitland McDonagh
    No matter how you parse it, the film is a bizarre muddle.
    • 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.
    • 37 Metascore
    • 75 Maitland McDonagh
    Surprisingly effective supernatural tale in which there's more to fear from the living than the dead.
    • 37 Metascore
    • 50 Maitland McDonagh
    The voice-over narration is obvious, but overall the message is integrated into an unusual story that's enhanced by Liberato's and Fulton's appealing performances as the youngsters who see through their elders' lies and help right a terrible wrong.
    • 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.
    • 37 Metascore
    • 60 Maitland McDonagh
    The sequence in which the crew acquires press credentials to the Republican National Convention by helping organizers desperate to book a rock band (they deliver Leitch's scruffy pals the Interpreters USSA) is priceless.
    • 37 Metascore
    • 40 Maitland McDonagh
    Slick and glib when it means to be profound yet ruefully witty; its rhythms are pure sitcom, complete with emotional rimshots.
    • 37 Metascore
    • 50 Maitland McDonagh
    MacDowell, Staunton and Chancellor are terrific, tearing into their juicy roles and reveling in first-time feature writer-director Jim McKay's sharp-tongued dialogue.
    • 37 Metascore
    • 60 Maitland McDonagh
    Bright, who reworked co-writer Stephen Johnston's screenplay, changed all the names except Bundy's so he could "make up stuff," but the irony is how close to the facts -- at least to the degree they're known -- he stays.
    • 37 Metascore
    • 20 Maitland McDonagh
    Cynical and contemptuous of its audience, this lazy sequel oozes an insufferable air of self-satisfaction.
    • 37 Metascore
    • 50 Maitland McDonagh
    It's hard to say whether the Wachowski brothers' live action take on the Japanese Speed Racer cartoons is more irritating because it looks like a Hot Wheels video game or because the brothers seem to think that there's a powerful family drama humming away beneath the flashing lights and spinning wheels.
    • 36 Metascore
    • 60 Maitland McDonagh
    Brassy and energetic, first-time director Mars Callahan's vividly photographed ode to the seductive allure of professional sharking succeeds in making the game seem genuinely kinetic and thrilling.
    • 36 Metascore
    • 60 Maitland McDonagh
    It's a compelling story, and very of its tumultuous time.
    • 36 Metascore
    • 30 Maitland McDonagh
    Even by the debased standards of preachy sports movies aimed at kids, this is pabulum.
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    Even by the standards of pop-moral parables passing for entertainment, this is bland stuff.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film delivers a few slick thrills before beaching itself on an ending that would be chilling if its depiction of unimaginable horror's lingering legacy weren't so muddled.
    • 36 Metascore
    • 40 Maitland McDonagh
    What a joyless, fussy contraption of a movie!
    • 36 Metascore
    • 40 Maitland McDonagh
    Mines familiar territory and does nothing especially new with it. On the plus side, Kishitani is a spectacular villain.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film works best when it's sticking to the guns and poses conventions of macho crime pictures. When it reaches for emotional resonance, the results range from unconvincing to ludicrous.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.
    • 36 Metascore
    • 25 Maitland McDonagh
    Even Mo'Nique's outsize presence isn't enough to make ancient gags about stuck-up popular girls or about voluptuous vultures clearing a whole buffet table in one fell swoop funny.
    • 36 Metascore
    • 40 Maitland McDonagh
    Serviceable enough, if you come to it with sufficiently modest expectations.
    • 36 Metascore
    • 60 Maitland McDonagh
    Fresh-faced leads Muniz and Bynes are charmers, Giamatti makes Wolf into a splendidly loathsome adversary, and the film is refreshingly free of bodily function jokes.
    • 36 Metascore
    • 60 Maitland McDonagh
    A spectacular natural disaster spiraling out of control, a crime gone wrong and a poor jerk caught in the middle: Yes, it's a standard action-picture recipe. But what a difference a cast makes.
    • 36 Metascore
    • 50 Maitland McDonagh
    The production design is phenomenal, reproducing the series' swinging '60s decor and techno-geek flourishes, from the launch pad under the swimming pool to Lady Penelope's pink roadster, which turns into a mini-plane.
    • 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.
    • 36 Metascore
    • 50 Maitland McDonagh
    Though consistently handsome, the film never quite achieves the shallow but hugely seductive intensity of its MTV-style opening credits sequence.
    • 36 Metascore
    • 40 Maitland McDonagh
    The film is never dull.
    • 36 Metascore
    • 63 Maitland McDonagh
    Director Stephen Purvis and writer Chris Haddock never rise above the material's inherent pulpiness, but they keep the twists coming until the very end.
    • 36 Metascore
    • 40 Maitland McDonagh
    This flashy and ultimately conservative morality tale relies on shockingly frank sex talk to cover the fact that the characters are shockingly poorly developed.
    • 36 Metascore
    • 60 Maitland McDonagh
    Features generally crisp dialogue, solid performances by a mix of newcomers and familiar character actors, and Provenzano's direction is strikingly accomplished.
    • 36 Metascore
    • 63 Maitland McDonagh
    The narrative is cluttered with backstory, and the endless digressions overwhelm the efforts of a generally strong cast.
    • 36 Metascore
    • 40 Maitland McDonagh
    Though his film is breathtakingly art-directed, Greenaway wallows in epater le bourgeois nastiness -- his inner naughty child could use a good paddling.
    • 36 Metascore
    • 30 Maitland McDonagh
    Soulless, sleekly executed product.
    • 36 Metascore
    • 40 Maitland McDonagh
    There's a surprising sweetness under its crude exterior.
    • 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.
    • 36 Metascore
    • 25 Maitland McDonagh
    The film is preposterous on so many counts that it's hard to enumerate them.
    • 36 Metascore
    • 50 Maitland McDonagh
    The breakout star is retired English bouncer Lenny McLean, 49, who memorably declares, "I f***ing hate violence."
    • 36 Metascore
    • 70 Maitland McDonagh
    Culkin's Alig has the face of a debauched cherub, but the former child star never quite captures the charisma everyone swears was an essential component in Alig's success. Green's St. James steals the picture out from under him (poetic justice of a sort), and the supporting cast is nothing short of amazing.
    • 36 Metascore
    • 50 Maitland McDonagh
    Screenwriter Chris ver Weil's directing debut is good-natured and never dull, but its virtues are small and easily overshadowed by its predictability. It's the kind of film that plays better on video than in theaters.
    • 36 Metascore
    • 50 Maitland McDonagh
    Though conceptually clever, the results look stagy and schematic and recall nothing more than a pale imitation of Terry Gilliam's "Brazil" (1985).
    • 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.
    • 36 Metascore
    • 40 Maitland McDonagh
    While the transgressive trappings (especially the frank sex scenes) ensure that the film is never dull, Rodrigues's beast-within metaphor is ultimately rather silly and overwrought, making the ambiguous ending seem goofy rather than provocative.
    • 36 Metascore
    • 50 Maitland McDonagh
    Painfully cliched. The music is throbbing and the leads are cute, but there's nothing here viewers haven't seen before.
    • 36 Metascore
    • 63 Maitland McDonagh
    The film's strident tone also serves to undermine its generally above-average performances.
    • 36 Metascore
    • 63 Maitland McDonagh
    Just when the film seems to be getting bogged down in "before I made it big" anecdotes -- around the time she and Andy Dick, who was once dismissed from a food-service gig, spend a day operating a mobile lunch stand -- Gurwitch wisely broadens her focus, interviewing ordinary victims of corporate "right-sizing," plant closings.
    • 36 Metascore
    • 25 Maitland McDonagh
    Lawrence runs through his usual repertory of mugging, seething and generally acting like a fool, only to be regularly upstaged by Arnold, Trey's pet piglet.
    • 36 Metascore
    • 50 Maitland McDonagh
    Despite earnest performances by Mueller-Stahl, Bierko, Mol and Vincent d'Onofrio (in the duel role of a programmer and a VR bartender), the movie feels like a bit of a rehash.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's all mean-spirited, foulmouthed sniping.
    • 36 Metascore
    • 25 Maitland McDonagh
    A textbook illustration of the American movie industry's ability to take an offbeat foreign film and systematically alter or soften every provocative and original thing about it.
    • 36 Metascore
    • 50 Maitland McDonagh
    Dawson actually delivers the film's most persuasive performance.
    • 35 Metascore
    • 20 Maitland McDonagh
    Even by the degraded standards of dim-witted summer blockbusters, this is sorry stuff.
    • 35 Metascore
    • 50 Maitland McDonagh
    Essentially an extended trailer for the 2008 Cartoon Network animated series.
    • 35 Metascore
    • 50 Maitland McDonagh
    The film LOOKS great, but at a brisk 88 minutes, there's no time to fill in back story, from the epic history of paladin persecution to the deeply personal mystery of David's mother, and the cliffhanger ending is so abrupt that the movie seems bizarrely truncated.
    • 35 Metascore
    • 40 Maitland McDonagh
    Though occasional flashes of the radiantly bi-cultural romp that might have been peek through, writer-director Deepa Mehta's hybrid is strangely clumsy, given that she's an experienced filmmaker familiar with both Hollywood and Bollywood conventions.
    • 35 Metascore
    • 50 Maitland McDonagh
    As live-action adaptations of cheap, unapologetically stupid cartoons go, this is top of the line: The cast is appealing, the sets brightly colored and fun to look at, the mystery as lame and goofy as any featured in the many inexplicably beloved Scooby-Doo cartoons.
    • 35 Metascore
    • 50 Maitland McDonagh
    It's seldom boring and always beautifully photographed, but it's also considerably less than satisfying, perhaps because its internal logic never comes into focus.
    • 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.
    • 35 Metascore
    • 50 Maitland McDonagh
    Westby's sympathy for the Scottys of the world is evident, but like them he doesn't always know how to put his best face forward.
    • 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?
    • 35 Metascore
    • 40 Maitland McDonagh
    The movie fails to make Alma a vivid presence -- She deserves better, and so do viewers.
    • 35 Metascore
    • 50 Maitland McDonagh
    A hokey monster mish-mash that plunders the richly textured histories of Dracula, the Wolfman and Frankenstein's monster.
    • 35 Metascore
    • 50 Maitland McDonagh
    This flashy fright flick doesn't break any new ground, but puts an attractive gloss on genre conventions.
    • 35 Metascore
    • 40 Maitland McDonagh
    Bad enough that the plot is shopworn, but the tough-gal talk is unintentionally hilarious, and the complicated narrative structure is annoying and pointless.
    • 35 Metascore
    • 60 Maitland McDonagh
    Tthough it comes wrapped in a stylish French mantle of feminist rage and sexual empowerment, the picture ultimately belongs squarely in the tradition of rape revenge pictures.
    • 35 Metascore
    • 50 Maitland McDonagh
    Freakies fans will swoon.
    • 35 Metascore
    • 40 Maitland McDonagh
    Sprawling, gooey and profoundly juvenile, this derivative thriller piles on the cheese: aliens, male bonding, psychoanalytic gobbledygook, childhood secrets, military black ops, gross-out special effects, explosions, bodily function humor and a retarded boy with special powers.
    • 35 Metascore
    • 50 Maitland McDonagh
    Fun if you like this kind of thing and don't expect too much of it.
    • 35 Metascore
    • 40 Maitland McDonagh
    Were it not for Kumar's luminous charisma, the film would be unwatchable.
    • tbd Metascore
    • 50 Maitland McDonagh
    The rhythms of Charlotte's mannered, artificial dialogue are better suited to stage than screen -- each segment started life as a one-act play and overall the film works better as a conversation starter than drama.
    • 35 Metascore
    • 40 Maitland McDonagh
    Adults -- even the die-hard dog lovers -- will just have to resign themselves to being bored silly whenever the cartoonish Cruella is absent from the screen.
    • 35 Metascore
    • 50 Maitland McDonagh
    This violent action is stylish but painfully formulaic, even by the undemanding standards of video-game narratives.
    • 35 Metascore
    • 60 Maitland McDonagh
    A sweet-natured and refreshingly uncartoonlike look at the trials of an unworldly Midwestern college boy negotiating his freshman year at NYU.
    • 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.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    The script is heavy on platitudes about friendship, but since there isn't a single fully fleshed character in sight, who cares?
    • 34 Metascore
    • 40 Maitland McDonagh
    The cast, including genre veteran Bruce Dern as a kindly lawyer, do their best with the material, but you can't make a crackling thriller out of soggy cliches.
    • 34 Metascore
    • 60 Maitland McDonagh
    Writer-director Henry LeRoy Finch's ripely overwrought exercise in Southern Gothic psychodrama, which happens to unfold in a picturesquely decaying house in Maine.
    • 34 Metascore
    • 40 Maitland McDonagh
    Falls victim to an overly tricky rethinking of the way familiar TV shows are transformed into movies.
    • 34 Metascore
    • 50 Maitland McDonagh
    No one and nothing can be taken at face value in Beach's twisty tale of secrets and lies, which buries its very interesting idea in a welter of ludicrous dialogue and skin-flick imagery.
    • 34 Metascore
    • 50 Maitland McDonagh
    The trouble isn't just that this haunted-house story, written by Mark Wheaton and directed by Hong Kong filmmakers Danny and Oxide Pang, is both formulaic and derivative. It's that it's completely free of atmosphere, the very thing that their 2002 "The Eye" had in such creepy abundance.
    • 34 Metascore
    • 63 Maitland McDonagh
    The film's performances are uniformly strong and remarkably coherent, given the conditions under which they were delivered. The actors shot for eight hours straight in a fully lit and set-decorated house, each individually miked and followed by his or her own personal camera operator.
    • 34 Metascore
    • 30 Maitland McDonagh
    Without Bullock, the film's frantic antics would be painful to watch; with her, they're just trivial.
    • 34 Metascore
    • 40 Maitland McDonagh
    A preposterous wilderness adventure (the kind that makes kids think sneaking into the zoo's bear pit is a cool idea) laid over a touchy-feelie story about good parenting.
    • 34 Metascore
    • 50 Maitland McDonagh
    Repetitive and uninspired, it panders to the lowest expectations of horror buffs and squanders the efforts of a competent cast.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    The main characters are defined by their problems, and the secondary characters (notably Brigette's parents) are so crudely drawn it's hard to imagine what Cates was thinking.
    • 34 Metascore
    • 40 Maitland McDonagh
    Herzfeld's sophomore movie is one long howl of rage over the relationship between criminals, journalists and thrill-hungry audiences.
    • 34 Metascore
    • 40 Maitland McDonagh
    Lurches queasily between ghastly broad gags and oddly engaging, character-driven laughs born of clashing cultures and expectations.
    • 34 Metascore
    • 60 Maitland McDonagh
    If not an entirely successful film, it's a bold and haunting one.
    • 34 Metascore
    • 38 Maitland McDonagh
    Like Doom itself, the movie is rich in backstory, but sparse in actual story.
    • 34 Metascore
    • 50 Maitland McDonagh
    Ultimately aimed at a Christian audience looking for genre entertainment with a certain sense of propriety (which partly translates into there being no murders), the film tries to serve two masters and doesn't quite deliver for either.
    • 34 Metascore
    • 40 Maitland McDonagh
    The few minutes of footage devoted to a performance by bona fide jazz artist "Little" Jimmy Scott, an eccentric cult favorite, is more genuinely evocative than anything else in the film
    • 34 Metascore
    • 40 Maitland McDonagh
    As the mismatched interrogators, Travolta and Nielson seem to be in two different and incompatible movies.
    • 34 Metascore
    • 40 Maitland McDonagh
    Contains several profanely amusing moments, but they don't add up to much.
    • 34 Metascore
    • 63 Maitland McDonagh
    This is not a film for neophytes: It proceeds from the assumption that the viewer is familiar with the events and people of Jesus' life, and is probably right in doing so: Its intended audience is seriously Christian.
    • 34 Metascore
    • 25 Maitland McDonagh
    A high-profile cast can't save this multi-narrative drama about gambling addiction from its wildly uneven tone, which veers from high melodrama to hard-boiled pastiche so overwrought that it's unintentionally funny.
    • 34 Metascore
    • 20 Maitland McDonagh
    The first fruit of wunderkinder Alicia Silverstone's First Kiss Productions, this muddled thriller-cum-romantic comedy of errors suggests that she might want to lay off the producing for a few years.
    • 34 Metascore
    • 50 Maitland McDonagh
    Todd McFarlane's Spawn plays better on the page, but the adolescents of all ages who buy Spawn comics will probably enjoy the movie. Others should consider themselves forewarned.
    • 34 Metascore
    • 50 Maitland McDonagh
    Unfortunately, the result is little more than a glossy parlor trick, a stripped-to-the-bone "Of Human Bondage" recast with two women.
    • 34 Metascore
    • 40 Maitland McDonagh
    This labored farce relies on an unpleasant collection of stereotypes for its comic effects, and Janger is a singularly unappealing leading man.
    • 34 Metascore
    • 50 Maitland McDonagh
    Oddly, the most appealing thing about the movie is that in an age of ever-escalating special effects, it's refreshingly low-tech, more like a '70s action movie than a modern-day one.
    • 34 Metascore
    • 50 Maitland McDonagh
    There's nothing under the goofball gags and gushing gore, and its welcome is worn out well before it's over.
    • 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.
    • 34 Metascore
    • 40 Maitland McDonagh
    The occasional amusing one-liner can't compensate for the broad caricatures and awkwardly structured story.
    • 34 Metascore
    • 40 Maitland McDonagh
    Pinup appeal alone does not a compelling movie make.
    • 34 Metascore
    • 50 Maitland McDonagh
    A goofball gore picture with aspirations to cult status.
    • 34 Metascore
    • 25 Maitland McDonagh
    It lacks the courage of its swinish convictions, and abruptly acquiesces to bland rom-com clichés three-quarters of the way to its appointed end.
    • 33 Metascore
    • 40 Maitland McDonagh
    Utterly predictable, noisy and stupid.
    • 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.
    • 33 Metascore
    • 50 Maitland McDonagh
    It's all about action and ogling -- Jolie's boobs, butt and thighs get so much screen time they deserve their own credits.
    • 33 Metascore
    • 50 Maitland McDonagh
    Smoothly enjoyable, undemanding entertainment and features a couple of knock-out giant croc attacks.
    • 33 Metascore
    • 63 Maitland McDonagh
    Despite the edifying square-up -- moral lessons about family, the legacy of violence and the tenacious power of love -- the appeal is freak-show all the way.
    • 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.
    • 33 Metascore
    • 40 Maitland McDonagh
    Lacks a sense of bone-chilling dread.
    • 33 Metascore
    • 50 Maitland McDonagh
    A far cry from such sneakily subversive werewolf-sex tales as "The Company of Wolves" (1984) or "Ginver Snaps" (2000), this pallid little picture is all "Lost Boys" (1987) posturing by way of the sublimely ridiculous "Covenant" (2006).
    • 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.
    • 33 Metascore
    • 30 Maitland McDonagh
    A romantic comedy that's trying its damnedest to be cute and endearing and might be more successful if it weren't built on a foundation of barely-concealed misogyny.
    • 33 Metascore
    • 30 Maitland McDonagh
    Dash and screenwriter Adam "Blue" Moreno abandon the stone-faced seriousness of the first film for a more playful approach, goofing on gangsta' poses and colorful hood-speak.
    • 33 Metascore
    • 40 Maitland McDonagh
    The film's tone is hard to pin down, especially with the actors dubbed flatly into English.
    • 33 Metascore
    • 40 Maitland McDonagh
    None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.
    • 33 Metascore
    • 50 Maitland McDonagh
    RV
    Once you get past the lengthy, graphic geyser-of-liquid-excrement gag, it's not as irredeemably vulgar as it might have been.
    • 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.
    • 33 Metascore
    • 50 Maitland McDonagh
    Adds little to the annals of werewolf lore. But it's briskly paced and features a couple of clever twists on genre conventions.
    • 33 Metascore
    • 30 Maitland McDonagh
    First-time feature director Andrew Douglas, whose advertising background is evident in every frame, brings lashings of style but no sense of real horror to the recycled script.
    • 33 Metascore
    • 60 Maitland McDonagh
    This psychological sci-fi thriller was originally made as a 40-minute segment of an unrealized portmanteau picture, then expanded into a freestanding feature. That's probably why it's padded with shots of Olham running down corridors.
    • 33 Metascore
    • 60 Maitland McDonagh
    Ridiculous, yes, but in an eminently watchable way. Most of the plot twists work surprisingly well, and the frequently naked leads work up some genuine chemistry.
    • 33 Metascore
    • 40 Maitland McDonagh
    Hauser and Miles go for broke, lobbing their every comic idea at the screen. Some work better than others, and overall tomfoolery like this is a matter of taste.
    • 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.
    • 33 Metascore
    • 50 Maitland McDonagh
    The first half of Lover's film is surprisingly affecting...But the film comes apart in its second half, when James' flight triggers a long series of flashbacks to the brothers' childhood.
    • 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.
    • 33 Metascore
    • 40 Maitland McDonagh
    Handsome and sometimes creepy, but formulaic in the extreme.
    • 33 Metascore
    • 30 Maitland McDonagh
    The only serendipitous touch is the casting of New York's "quality of life" watchdog, Rudolph Giuliani, as himself.
    • 33 Metascore
    • 63 Maitland McDonagh
    Frankly, it's dumb, but no dumber than "Transformers."
    • 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.
    • 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.
    • 33 Metascore
    • 50 Maitland McDonagh
    None of it really amounts to anything, even as a nostalgic snapshot of a time and place.
    • 33 Metascore
    • 60 Maitland McDonagh
    Though beautifully acted by Basinger (everyone else is relegated to a supporting role), there's a strange vagueness to much of this sumptuous, stunningly photographed melodrama.
    • 33 Metascore
    • 50 Maitland McDonagh
    54
    "Saturday Night Fever" with designer drugs and duds.
    • 33 Metascore
    • 40 Maitland McDonagh
    Without an assured character at its center, the movie quickly collapses in a heap of moldy clichés and contrived (and not especially funny) situations.
    • 33 Metascore
    • 60 Maitland McDonagh
    The sheer force of imagination that produced the film's unique mix of different styles, musical numbers and hipster doggerel is extraordinary.
    • 33 Metascore
    • 50 Maitland McDonagh
    The second attempt to bring a dark corner of the Marvel comic-book universe to the screen, this comic-book-based revenge story is undermined by its inconsistent tone.
    • 32 Metascore
    • 40 Maitland McDonagh
    Film is preposterous without being surreal; only at the Tailor's Ball -- which takes place shortly before the end -- does it strike that perfect balance between the bizarre and the curiously mundane.
    • 32 Metascore
    • 40 Maitland McDonagh
    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.
    • 32 Metascore
    • 50 Maitland McDonagh
    It's all pure, brainless fluff, but it's unpretentious and "Wannabe" is damnably catchy.
    • 32 Metascore
    • 50 Maitland McDonagh
    How engaging you find this loosely structured road movie will depend on how charming you find the over-aged slackers played by Josh Alexander, who also wrote the screenplay, and Robert Bogue.
    • 32 Metascore
    • 50 Maitland McDonagh
    The film's 85 minutes drag by painfully slowly, because there's no respite from Chapman's tedious, self-pitying reveries.
    • 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.
    • 32 Metascore
    • 20 Maitland McDonagh
    Not funny at all.
    • 32 Metascore
    • 40 Maitland McDonagh
    Though Dylan shuffles through the dramatic sequences like a dessicated mummy, the music sequences are strikingly vibrant -- he's never looked worse or sounded better.
    • 32 Metascore
    • 25 Maitland McDonagh
    The juvenile gags seem aimed at moviegoers who hate the whole idea of independent/art/foreign-language films and the stuck-up eggheads who like them -- so what's the point?
    • 32 Metascore
    • 38 Maitland McDonagh
    The whole film is plagued by a sense of false, desperate cheerfulness.
    • 32 Metascore
    • 40 Maitland McDonagh
    Ralston gets solid performances out of his cast, and the film has a surprisingly polished look. But in the end, there isn't much to it.
    • 32 Metascore
    • 75 Maitland McDonagh
    Raised in Mumbai, classically trained actor-turned-writer-director Khanna addresses the volatile issue of women's rights within Islamic households, and if his sensationalistic debut feature makes its point with a heavy hand, it's also starkly effective.
    • 32 Metascore
    • 40 Maitland McDonagh
    While handsomely mounted and generally well acted, the film is undermined by long stretches of awkward, obvious dialogue and by the vagueness of Lisa's revolt against the status quo.
    • 32 Metascore
    • 40 Maitland McDonagh
    Noisy and obnoxious, this flashy action picture is so hell-bent on seeming smart that it fairly forces you to think about how fundamentally stupid it is.
    • 32 Metascore
    • 50 Maitland McDonagh
    Despite excellent performances all around, the actors can't overcome the script's limitations.
    • 32 Metascore
    • 60 Maitland McDonagh
    The result is sheer, unadulterated nastiness with no apologies.
    • 32 Metascore
    • 38 Maitland McDonagh
    For a family-friendly holiday comedy, it's still coarse, formulaic and occasionally just plain weird.
    • 32 Metascore
    • 60 Maitland McDonagh
    Melodramatic look at alienated California high school students.
    • 32 Metascore
    • 50 Maitland McDonagh
    The Country Music Channel's first foray into feature filmmaking is sickly sweet and thoroughly predictable, and woefully underuses veterans Harper and Reynolds, but it features some stirring performances, including BeBe Winans and Willie Nelson dueting on "The Uncloudy Day."
    • 32 Metascore
    • 40 Maitland McDonagh
    The downside is that it all feels like a big in-joke, and you're not in on it.
    • 32 Metascore
    • 50 Maitland McDonagh
    There's no denying the freak-show appeal and you don't see frontal nudity like this on TV, but otherwise it's all as contrived and artificial as "Survivor."
    • 32 Metascore
    • 20 Maitland McDonagh
    If you can't spell "bogeyman," you shouldn't make movies about him.
    • 31 Metascore
    • 40 Maitland McDonagh
    Simultaneously nakedly formulaic and oddly clumsy, particularly in terms of character introduction.
    • 31 Metascore
    • 50 Maitland McDonagh
    Forget about social significance, depth of character and complex thematic underpinnings, and repeat after me: "It's only a werewolf movie."
    • 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.
    • 31 Metascore
    • 30 Maitland McDonagh
    When a performer as sharp as Cedric the Entertainer is reduced to funny fat-guy shtick, you know you're in the presence of grinding mediocrity.
    • 31 Metascore
    • 20 Maitland McDonagh
    The film vacillates between inanity and flat-out lameness, and the decision to recut from an R-rated version to a PG-13 sucked out whatever life might have been left.
    • 31 Metascore
    • 50 Maitland McDonagh
    Shock-rocker Rob Zombie's loving homage to flat-out nasty horror films of the 1970s will leave many post-"Scream" (1996) horror fans cold because of what it's not. It's not slick or glossy. It's not funny or self-referential.
    • 31 Metascore
    • 50 Maitland McDonagh
    Though the story eventually runs out of steam and it's never clear why the night-crawlers torment certain children and then come back to get them, fledgling screenwriter Brendan William Hood and director Robert Harmon -- whip up some effective suspense sequences.
    • 31 Metascore
    • 40 Maitland McDonagh
    Thoroughly preposterous on every level.
    • 31 Metascore
    • 40 Maitland McDonagh
    A painfully claustrophobic picture.
    • 31 Metascore
    • 50 Maitland McDonagh
    Ironically, the filmmakers seem to think the audience for this movie about super-smart people is super-dumb.
    • 31 Metascore
    • 20 Maitland McDonagh
    The hyperactive Hong Kong action stuff is getting old.
    • 31 Metascore
    • 38 Maitland McDonagh
    It's familiar stuff if you've sampled the vast body of work devoted to LA-dammerung.
    • 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
    • 70 Maitland McDonagh
    But what truly distinguishes the movie is Cage's performance, which is so off the wall that even if you don't like it you have to watch in awe.
    • 31 Metascore
    • 60 Maitland McDonagh
    In a world filled with crude movie sitcoms, Berg's bitter, worst-possible-case scenario really does stand alone.
    • 31 Metascore
    • 30 Maitland McDonagh
    This vapid, mean-spirited comedy is Lopez's show, and though she is utterly unconvincing as a paragon of down-to-earth virtues, the last laugh was hers from the outset.
    • 31 Metascore
    • 63 Maitland McDonagh
    Jackman and McGregor are a delight to watch.
    • 31 Metascore
    • 30 Maitland McDonagh
    Seriously undermined by its sour tone and an unusually charmless performance by star Chris O'Donnell.
    • 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.
    • 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.
    • 31 Metascore
    • 63 Maitland McDonagh
    Ryan Schifrin's first film is a pleasant surprise, an old-fashioned monster movie that relies more on genuine suspense than bare breasts and blood.
    • 30 Metascore
    • 50 Maitland McDonagh
    For the first hour director Arau and his co-writer and wife, actress Arizmendi, negotiate the story's tricky mix of comedy, social satire and science fiction with surprising aplomb.
    • 30 Metascore
    • 20 Maitland McDonagh
    Utterly amateurish.
    • 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.
    • 30 Metascore
    • 30 Maitland McDonagh
    Anemic chronicle of money grubbing New Yorkers and their serial loveless hook ups.
    • 30 Metascore
    • 20 Maitland McDonagh
    Bloated and incoherent.
    • 30 Metascore
    • 50 Maitland McDonagh
    Runs out of story a good half hour before it runs out of spooky images, but it comes to a quietly chilling conclusion far more haunting than any bloody mayhem.
    • 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.
    • 30 Metascore
    • 38 Maitland McDonagh
    So overwrought that it quickly crosses the line into unintentionally funny and never recovers.
    • 30 Metascore
    • 40 Maitland McDonagh
    Increasingly preposterous, thoroughly credibility-straining escapades.
    • 30 Metascore
    • 40 Maitland McDonagh
    A lightweight parody of the porn industry and daytime talk shows that has the look and feel of a middling direct-to-video feature.
    • 30 Metascore
    • 20 Maitland McDonagh
    Pokey, blood-spattered, cheap-scare-larded prequel.
    • 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.
    • 30 Metascore
    • 50 Maitland McDonagh
    While his film is less than satisfying, it's a refreshingly off-kilter experience.
    • 30 Metascore
    • 40 Maitland McDonagh
    The film's poky pacing is a liability -- the setup takes an awfully long time.
    • 30 Metascore
    • 30 Maitland McDonagh
    Though clearly well-intentioned, this cross-cultural soap opera is painfully formulaic and stilted.
    • 30 Metascore
    • 50 Maitland McDonagh
    Kutcher's performance isn't terrible, but the brilliant, bewildered, increasingly desperate Evan is the film's center, and grounding its flights of fantasy in rock-solid emotional reality is more than Kutcher can manage.
    • 30 Metascore
    • 50 Maitland McDonagh
    The soundtrack, which ranges from Johnny Cash to Serge Gainsbourg to the Wu-Tang Clan, is admirably eclectic but can't be said to pull things together.
    • 30 Metascore
    • 40 Maitland McDonagh
    This high-concept gangster picture tries unsuccessfully to duplicate Reservoir Dogs's(1992) hair-raising high-wire balance between dark comedy and violent crime thriller, undermining some entertaining performances and the script's small virtues in the process.
    • 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
    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.
    • 30 Metascore
    • 40 Maitland McDonagh
    Feather-light and proudly goofy, this Jackie Chan action comedy appears to be aimed squarely at under-12s.
    • 30 Metascore
    • 38 Maitland McDonagh
    Astonishingly inept drama.
    • 30 Metascore
    • 30 Maitland McDonagh
    Earnest but unenlightening drama.
    • 30 Metascore
    • 50 Maitland McDonagh
    This efficient but soulless funhouse ride eschews suspense in favor of frantic scrambling from disturbing specters, like the naked female ghost who lurks around bloody bathtubs.
    • 29 Metascore
    • 40 Maitland McDonagh
    Smacks of a certain kind of TV movie filled with pious uplift, even as it makes token concessions to contemporary lifestyles.
    • 29 Metascore
    • 25 Maitland McDonagh
    The script's vague, silly "explanation" for Linda's experiences -- nature abhors a spiritual vacuum, so weird stuff happens to the faithless -- is the icing on the irritation cake.
    • 29 Metascore
    • 40 Maitland McDonagh
    This old-fashioned Western about the glory years of the Texas Rangers, cast with fresh-faced, telegenic young actors whose performances range from adequate to awful, is undermined by a serious lack of true grit.
    • 29 Metascore
    • 30 Maitland McDonagh
    The film's subtexts are profoundly reactionary. Women are foolish and untrustworthy.
    • 29 Metascore
    • 50 Maitland McDonagh
    Heartfelt but overly familiar film.
    • 29 Metascore
    • 40 Maitland McDonagh
    Fiore captures various artists horsing around with groupies, smoking dope and hanging out backstage, and cuts the material together in the kinetic but meaningless manner of MTV promos.
    • 29 Metascore
    • 40 Maitland McDonagh
    There's way too much of the usual bonding, beatings, petty humiliation by guards, cat fights in the yard and trips to the hole.
    • 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.
    • 29 Metascore
    • 50 Maitland McDonagh
    As meticulously deranged as its paranoid protagonist.
    • 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.
    • 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.
    • 29 Metascore
    • 40 Maitland McDonagh
    Derivative, predictable and entirely forgettable, the sort of low-expectations genre picture that generally goes directly to video.
    • 29 Metascore
    • 30 Maitland McDonagh
    So shallow and brainless it's in perpetual danger of drying up and blowing away.
    • 29 Metascore
    • 40 Maitland McDonagh
    A reductive spook show in which a bunch of puny humans get chased around by scary monsters.
    • 29 Metascore
    • 50 Maitland McDonagh
    Ethan and Lenny's story is silly, good-natured and full of unlikely moves, just like the titular twister.
    • 29 Metascore
    • 75 Maitland McDonagh
    Neither Ketchum nor the filmmakers take an exploitative approach to the material; their focus is the way the youngsters' petty cruelty erupts into murderous sadism.
    • 29 Metascore
    • 40 Maitland McDonagh
    Costner's ponderous post-apocalyptic morality tale feels every minute of its nearly three hours.
    • 29 Metascore
    • 50 Maitland McDonagh
    Well-written and surprisingly well-acted by a relatively inexperienced cast
    • 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.
    • 28 Metascore
    • 50 Maitland McDonagh
    Director/co-writer/co-producer Jon Gunn's Christian agenda is evident without being intolerably sanctimonious, and he's a competent filmmaker who shows sign of having a little style.
    • 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.
    • 28 Metascore
    • 20 Maitland McDonagh
    This dreary science-fiction/historical-action hybrid is a misfire of staggering proportions.
    • 28 Metascore
    • 30 Maitland McDonagh
    If it weren't all so cluelessly sleazy it might be funny.
    • 28 Metascore
    • 40 Maitland McDonagh
    The script recycles clichés that go back to 1937'S "Dead End," the performances are one-note, and the whole thing has the flat, bright look of a TV cop show.
    • 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.
    • 28 Metascore
    • 30 Maitland McDonagh
    No better than the first.
    • 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.
    • 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.
    • 28 Metascore
    • 50 Maitland McDonagh
    In all, it's a peculiar mishmash, simultaneously bland and suggestive.
    • 28 Metascore
    • 40 Maitland McDonagh
    For horror fans in a forgiving mood, it's an adequate fear fix.
    • 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.
    • 27 Metascore
    • 30 Maitland McDonagh
    This whimsical weeper gets off to an awkward start and never finds its footing.
    • 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.
    • 27 Metascore
    • 20 Maitland McDonagh
    Repetitive, predictable comedy.
    • 27 Metascore
    • 40 Maitland McDonagh
    The film's mealy-mouthed messages about feminine empowerment will almost certainly fall on deaf ears, since even 11-year-olds know Spears's power resides largely in her taut torso.
    • 27 Metascore
    • 50 Maitland McDonagh
    The formulaic mechanical plot machinations benefit greatly from the presence of the vivacious Stiles, gravely beautiful Blair and personable Lee, who radiates fundamental decency without seeming like a sap.
    • 27 Metascore
    • 50 Maitland McDonagh
    That Carrey, who's a bit old for the part, always seems one facial muscle away from a smirk doesn't help matters.
    • 27 Metascore
    • 40 Maitland McDonagh
    Overall, though, the film drags at 91 minutes, filled with dead air that should be crackling with pulp energy.
    • 27 Metascore
    • 25 Maitland McDonagh
    Peter Fonda's cameo appearance is a cute fillip, but hardly worth the wait.
    • 27 Metascore
    • 40 Maitland McDonagh
    The bar scenes are the only reason to sit through this jello shot of a movie.
    • 27 Metascore
    • 50 Maitland McDonagh
    fans of this venerable Eurotrash form will welcome any evidence that it's still alive and writhing lasciviously.
    • 27 Metascore
    • 25 Maitland McDonagh
    So consistently, outrageously wrongheaded in every way it's hard to know where to start.
    • 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.
    • 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.
    • 27 Metascore
    • 30 Maitland McDonagh
    Queen Latifah is a natural-born charmer, but there's only so much she can do when paired with a costar so irritating it's hard not to squirm when he's on the screen, which is most of the time.
    • 27 Metascore
    • 40 Maitland McDonagh
    The novelty value of seeing 17th-century French swordsmen fight like Chinese martial artists doesn't compensate for the film's generally wooden performances and clichéd dialogue.
    • 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.
    • 27 Metascore
    • 40 Maitland McDonagh
    Though glossy and smoothly directed, this limp concoction has all the sparkle of flat champagne.
    • 27 Metascore
    • 40 Maitland McDonagh
    Slight, over-long.
    • 26 Metascore
    • 40 Maitland McDonagh
    Only Sol and Sara even approach being real characters; the supporting players, Black and Jewish alike, are shrill stereotypes.
    • 26 Metascore
    • 20 Maitland McDonagh
    In the hands of a more gleefully provocative filmmaker, this variation on the standard erotic-thriller stew of sleaze, tease and murder, this ludicrous farrago might have been tawdry fun.
    • 26 Metascore
    • 25 Maitland McDonagh
    So awash in tired ethnic clichés that the story drowns.
    • 26 Metascore
    • 40 Maitland McDonagh
    In the end it's the same old blood pudding.
    • 26 Metascore
    • 38 Maitland McDonagh
    For all the sex and slicing, the most shocking thing about it is how dreary it is.
    • 26 Metascore
    • 50 Maitland McDonagh
    Stylish and twisty, but not clever enough to support its more outrageous plot machinations.
    • 26 Metascore
    • 25 Maitland McDonagh
    One of the most dismal excuses for family entertainment ever perpetrated by a major studio, this crude, lazy variation on Disney's "Sky High" (2005) revolves around the education of four "special" youngsters at the hands of a washed-up superhero.
    • 26 Metascore
    • 40 Maitland McDonagh
    Slight, smart-alecky romantic comedy.
    • 26 Metascore
    • 50 Maitland McDonagh
    Director Joe Chapelle knows how to stage a spooky scene, and Going and McGowan supply a refreshing alternative to the shrieking bimbos so familiar to horror fans.
    • 26 Metascore
    • 50 Maitland McDonagh
    One youngster -- even a youngster as talented as Rossum -- can't transform a mess of clichés into a little gem.
    • 26 Metascore
    • 60 Maitland McDonagh
    Very entertaining, if thoroughly silly.
    • 26 Metascore
    • 63 Maitland McDonagh
    Though rooted in broad stereotypes and sassy platitudes, the film's feisty cast and generally sunny outlook make for warm and reassuring comfort viewing, the equivalent of a straight-from-the-box dish of mac and cheese.
    • 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.
    • 25 Metascore
    • 40 Maitland McDonagh
    As for first-time feature director Mark Piznarski, he should be cited for excessive use of slow motion, sun-dappled trees and golden light; one more cliche violation and his license to direct would be forfeit.
    • 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.
    • 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.
    • 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."
    • 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.
    • 25 Metascore
    • 20 Maitland McDonagh
    Is there anything so painful as a comedy whose every gag falls flat and then lies there, flopping like a dying flounder?
    • 25 Metascore
    • 50 Maitland McDonagh
    While movies like "The Long Riders" (1980) and "The Great Northfield, Minnesota Raid" (1972) aim to be serious considerations of the outlaws' lives and legends, this picture just wants to have fun.
    • 25 Metascore
    • 50 Maitland McDonagh
    All's well that ends well, and rest assured, the consciousness-raising lessons are cloaked in gross-out gags.
    • 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.
    • 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.
    • 25 Metascore
    • 25 Maitland McDonagh
    Shot as "Backwater" and test-screened as "The Reaper," this film contains a couple of bracingly mean sequences, but it cleaves so closely to the slasher-movie formula that it can't muster up any suspense at all.