For 1,697 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 7.3 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Twelve Monkeys
Lowest review score: 0 A Sound of Thunder
Score distribution:
1,697 movie reviews
    • 46 Metascore
    • 67 Marc Savlov
    The film’s major drawback is the broad strokes with which the henpecked trio of males is presented -- they’re not quite caricatures, but their individual quirks feel as though they were cribbed from other, better films.
    • 69 Metascore
    • 67 Marc Savlov
    For all its stylistic flourishes and interlocking storylines, Inglourious Basterds is, at its bullet-riddled core, a bloody good war movie, twisting and twisted and full of wordy shrapnel but no less kickass for it.
    • 61 Metascore
    • 67 Marc Savlov
    And while the blond, youthful, and entirely sane-seeming Lomborg was initially pilloried for his calm, rational views by the global environmental movement, his ideas and solutions arrive as a refreshing tonic in the face of global warming's more vocal fearmongers.
    • 61 Metascore
    • 67 Marc Savlov
    It's a knowing, dare I say sweet, little film that takes pains to let the characters speak for themselves, never rallying behind an implicit religious message, which may be the best message of all.
    • 60 Metascore
    • 67 Marc Savlov
    Gleefully silly fun, with a few core concepts on the nature of time, space, and la-la-la-love thrown in for good measure. And who can resist a puffin, anyway?
    • 54 Metascore
    • 67 Marc Savlov
    Arquette wander in and out of frame, but like everyone else in this film, they're eclipsed by Coogan's gloriously unhinged performance, which has the lunatic, semi-meta tone of a parody within a parody.
    • 43 Metascore
    • 67 Marc Savlov
    Meet Joe Black flows nicely, and the whole of the film is bathed in some of the most sumptuous cinematography (courtesy of "Like Water for Chocolate's" Emmanuel Lubezki) of the year.
    • 64 Metascore
    • 67 Marc Savlov
    Sometimes a little too pat, a little too cute.
    • 70 Metascore
    • 67 Marc Savlov
    At over two hours, The Winter Soldier could have easily been trimmed by a good 20 minutes, but if it’s spectacular imagery and duplicitous goings-on that you crave, the film will not disappoint.
    • 60 Metascore
    • 67 Marc Savlov
    It's mad, bad nonsense of the summer, popcorn variety, disposable but oh-so-much fun to endure, a roller coaster on a wobbly cinematic track.
    • 47 Metascore
    • 67 Marc Savlov
    Emmerich’s sense of irony has rarely been so pointed, and The Day After Tomorrow, for all its obvious cataclysmic set-pieces and stock characterizations, is nothing if not timely.
    • 62 Metascore
    • 67 Marc Savlov
    The Negotiator falls short of greatness by a country mile; it's too chatty for its own good sometimes. But it's still a solid shoot-'em-up.
    • 78 Metascore
    • 67 Marc Savlov
    Unconventional and idiosyncratic love story.
    • 67 Metascore
    • 67 Marc Savlov
    If you're searching for pure, unadulterated fisticuffs joy, you could do far worse than Ip Man 2.
    • 31 Metascore
    • 67 Marc Savlov
    Your Highness is awfully vulgar fun when it works, which is much of the time (although it could've benefited from a few judicious cuts here and there).
    • 76 Metascore
    • 67 Marc Savlov
    Submarine pulls off the difficult trick of being bittersweet without being saccharine and does so with a quietly riotous aplomb.
    • 56 Metascore
    • 67 Marc Savlov
    One of the more intelligent comedies out there this summer -- it's not Brooks' best.
    • 58 Metascore
    • 67 Marc Savlov
    Shrek, DreamWorks' big green cash machine, has finally run dry, perhaps not of box office power, but most assuredly of the caustic, fractured fairy tale-isms and the wry, snarky wit that made the first film, and to a lesser degree, the first sequel, so winning.
    • 70 Metascore
    • 67 Marc Savlov
    Junger has a deft touch with light comedy such as this; he manages to keep the film's convoluted plot spinning without resorting to too much gimmickry or descending to the level of so many teen comedies.
    • 49 Metascore
    • 67 Marc Savlov
    There's absolutely no shortage of stunning eye candy in this spiffy, sexy, and frequently thrilling sequel to Disney's 1982 game-changer Tron. There is, however, a certain lack of connectivity between the digitally enhanced characters onscreen and the user – excuse me, "audience" – in the flesh.
    • 60 Metascore
    • 67 Marc Savlov
    Zealously nasty fun which, surprisingly, ends on something of a note of upbeat grace and familial redemption, Middle Men is more entertaining than 99% of 37% of the Internet.
    • 81 Metascore
    • 67 Marc Savlov
    Rumley has assembled a fine cast; there's not a false step in the film, and while obviously this isn't a film for everyone, these are characters that we come to know, respect, and fall hard for, doomed or not.
    • 61 Metascore
    • 67 Marc Savlov
    Plays like the Brothers Grimm meets "Cloverfield" with a hint of Monty Python-esque ridiculousness. For a small indie film from Norway, Trollhunter rocks it gargantuan style and then some.
    • 52 Metascore
    • 67 Marc Savlov
    Nobody's going to give this one an Oscar, sure, but as far as the venerable teen sex comedy goes, this one actually makes it to third base.
    • 57 Metascore
    • 67 Marc Savlov
    Thanks to Haggis and the cast, who are convincing, often bitingly so, in their willingness to dive into the dark and unknowable depths of the modern American romantic relationship, The Last Kiss mirrors reality with remarkable faithfulness.
    • 67 Metascore
    • 67 Marc Savlov
    Marvelous not in its evocation of horror but in the way it slowly chips away at the mundanities of day-to-day urban living.
    • 54 Metascore
    • 67 Marc Savlov
    All in all, Imagine That is an amiable detour from its star's usual scatological skronk. Kids will empathize, parents will breathe a sigh of relief.
    • 48 Metascore
    • 67 Marc Savlov
    DiCillo has always had the laconic, funkified, vaguely surreal air of a Woody Allen on cough medicine (or a Jim Jarmusch on Jolt, for that matter), but The Real Blonde is just so much ado about nada.
    • 31 Metascore
    • 67 Marc Savlov
    Green and Henson make an inspired comic team, Sawa has the befuddled stoner thing down pat, and Alba is, in a word, yummy.
    • 57 Metascore
    • 67 Marc Savlov
    The plot is negligible, but that's fine since it's really only a way to get from one set-piece to another.
    • 61 Metascore
    • 67 Marc Savlov
    Never less than good but it's also never quite great.
    • 67 Metascore
    • 67 Marc Savlov
    We bear witness, via Brügger's film, to the slow-motion train wreck that high-echelon, African graft becomes.
    • 65 Metascore
    • 67 Marc Savlov
    Ali
    Mann's film is beautiful to watch. Cinematogrpaher Emmanuel Lubezki employs a washed-out, harshly lit style that makes everything look vaguely menacing and hyper-real, which is complemented by Lisa Gerrard and Pieter Bourke's Africanized score.
    • 58 Metascore
    • 67 Marc Savlov
    This is a garish, rocket-fueled slice of popcorn mayhem, and the perfect antidote to this summer's limp action lineup.
    • 71 Metascore
    • 67 Marc Savlov
    A film within a film encapsulated by a clever and very accurate anti-materialistic Buddhist morality lesson, Travellers and Magicians feels a bit like Chaucer's Canterbury Tales as retold by Siddhartha.
    • 57 Metascore
    • 67 Marc Savlov
    I could go on and on about Zombie’s style-over-substance direction, but why bother? The Lords of Salem is so clearly a project that Zombie has had stewing in his blood-and-black-lace heart for, I assume, ever, that the fact that it’s not a masterpiece seems almost moot. It’s a head trip, to be sure, but it’s Zombie’s electric, haunted head, so my advice is just sit back and goggle.
    • 78 Metascore
    • 67 Marc Savlov
    In a film like this, timing is everything, and everyone from the stunt coordinators to the crew-at-large seems to have gotten it right the first time.
    • 64 Metascore
    • 67 Marc Savlov
    The film's greatest strength lies in its ability to view itself as a modern moral fable of sorts.
    • 80 Metascore
    • 67 Marc Savlov
    You get the impression that Herzog believes wholeheartedly the planet will be better off without us. Nosferatu that we have proven ourselves to be, he may be right.
    • 37 Metascore
    • 67 Marc Savlov
    Far more coherent than its immediate predecessor, Spy Kids: All the Time in the World in 4D benefits greatly from its two likable young leads and some of the series' wittiest, pun-filled writing.
    • 77 Metascore
    • 67 Marc Savlov
    It's Wilson's film all the way. He's brings an unexpected frisson of surfer-esque chutzpah to the role of Roy, a bad guy with good intentions, a cowboy who, dammit, just wants to be loved.
    • 59 Metascore
    • 67 Marc Savlov
    Despite a marketing campaign that appears bound and determined to make its subject look as grindingly dull as possible, Roll Bounce triumphs on almost all counts.
    • 67 Metascore
    • 67 Marc Savlov
    A great, bizarre, and ultimately very, very unique film.
    • 71 Metascore
    • 67 Marc Savlov
    The war might be over, but fear and hope remain locked in a rapturous stranglehold amidst the rubble.
    • 36 Metascore
    • 67 Marc Savlov
    Bizarre, trenchant, and unexpectedly hilarious, this is one regular guy's foray into the lonely world of love. Were that all budding relationships came out this well.
    • 68 Metascore
    • 67 Marc Savlov
    Winning and emotionally punchy film.
    • 60 Metascore
    • 67 Marc Savlov
    Doesn't tell you anything about human nature you probably haven't already suspected, but then again it's good to be reminded of these dark things from time to time. Especially these days.
    • 56 Metascore
    • 67 Marc Savlov
    Easily the smartest, snarkiest, and most honest depiction of that tweenage wasteland known as the "middle school years" that this former wimpy freak and geek has come across since having survived the daily derision afforded those of us who chose to spend our lunch periods perusing J.R.R. Tolkien, playing Dungeons & Dragons, or just hiding out in the boys' room.
    • 70 Metascore
    • 67 Marc Savlov
    Part character study, part redemptive drama, and all cheesy heart, it's Boston-baked melodrama, a little too gooey at times, but still pretty delicious.
    • 62 Metascore
    • 67 Marc Savlov
    This is Burton’s most mainstream film to date, which isn’t to say it’s not an eccentrically entertaining ride. It is, but minus the kooky occult élan you expect from the man who made "Edward Scissorhands." It’s a Lifetime movie, as directed by, well, you know who.
    • 60 Metascore
    • 67 Marc Savlov
    Set in 1987, this inspirational Disney sports film (that’s a niche, but a growing one) hits all the schmaltzy, sappy notes you’d expect, but never falls to its knees under the burden.
    • 72 Metascore
    • 67 Marc Savlov
    While the film ably thrusts longtime fans of Mignola’s highly stylized artwork and newcomers alike into the world of that ol' debbil Hellboy, the film suffers from both scattershot character development and a serious case of H.P. Lovecraft overdose.
    • 74 Metascore
    • 67 Marc Savlov
    Utterly charming.
    • 58 Metascore
    • 67 Marc Savlov
    As a portrait of both man and society in exquisitely poised decline, it's harrowing, hilarious, and horrific in equal measure.
    • 55 Metascore
    • 67 Marc Savlov
    Wahlberg brings an intense, often internalized performance to a wickedly written role, and while he’s no James Caan, he’s certainly able to infuse this mesmerizing character study with enough rancid brio to make this self-flagellating hustler believably doomstruck.
    • 66 Metascore
    • 67 Marc Savlov
    Like a dream, this film is wispy and ethereal; like a nightmare, it lodges in your hindbrain and gnaws away with gleeful abandon.
    • 42 Metascore
    • 67 Marc Savlov
    It is the perfectly cast Beckinsale who lifts Underworld out and away from the film’s many moments of silly gravitas and steers it into a truly interesting take on the whole vampires 'n' werewolves genre.
    • 60 Metascore
    • 67 Marc Savlov
    Solid, workmanlike stuff, and enough to keep the legions of X-philes sated until next September. And since I realize some of you are dying to know, no, Mulder's butt remains, as always, fully clothed.
    • 88 Metascore
    • 67 Marc Savlov
    As far as the chase genre goes, there have been worse films (better ones, too).
    • 54 Metascore
    • 67 Marc Savlov
    All told, it’s two-plus hours of trinkets and baubles and clever repartée beneath a perfect summer sun and beside the whitewashed walls of Fez, not inconsequential but as ephemeral as the sky above.
    • 48 Metascore
    • 67 Marc Savlov
    So gleefully abandons any semblance of sanity that it's virtually impossible not to enjoy the sheer breadth of nonsensical fun taking place on screen.
    • 59 Metascore
    • 67 Marc Savlov
    A charming, winsome slice of Seventies pop kitsch reconceived as a kind of Knight-errant quest for that holiest of all grails, dear old mom.
    • 62 Metascore
    • 67 Marc Savlov
    As usual with anime features, just because it's animated doesn't mean it's for kids; heads roll and blood spurts, so know that going in, mom and dad. For the older crowd, though, it's gory and gorgeous bliss.
    • 59 Metascore
    • 67 Marc Savlov
    Parcels out information like a triage medic doling out morphine; every tiny bit is carefully considered and then rationed out as though he were terrified he might exhaust his supply before the closing credits.
    • 69 Metascore
    • 67 Marc Savlov
    It's far from perfect -- as many jokes fall flat as succeed -- but like Undercover Brother himself, it's smarter than most, and twice as solid.
    • 67 Metascore
    • 67 Marc Savlov
    Segel, scripting himself, injects regular bursts of comic genius into the proceedings.
    • 62 Metascore
    • 67 Marc Savlov
    What Warriors of the Rainbow may have going for it most of all is Chin Ting-Chang's dreamy cinematography, which presents the native Seediq amid the sultry jungle greenery that brings to mind the absurdly lovely flora of James Cameron's Pandora.
    • 70 Metascore
    • 67 Marc Savlov
    Recounting the history of nukes, mankind's seeming inability to render them obsolete, and the many nightmare scenarios that are cropping up with almost daily frequency in this grim new age of terror-on-demand,Countdown to Zero is less a documentary in the traditional sense than a scathing piece of advocacy journalism.
    • 48 Metascore
    • 67 Marc Savlov
    This is an impressively realized (and, yes, occasionally, unavoidably humorous) valentine to Hollywood's sci-fi glory days – all heart, no snark, and one big eye.
    • 46 Metascore
    • 67 Marc Savlov
    You know you're watching some sort of bizarre classic when King of Trash John Waters gets half his face burned off by sulfuric acid in the first act.
    • 66 Metascore
    • 67 Marc Savlov
    Farrow and Walken are terrifically semicomatose as Abe's mom and dad, and Murphy – as a co-worker who takes what appears to be pity on the eternally adolescent Abe – is equally memorable. Yet Dark Horse feels like a lesser Solondz film, despite its cavalcade of misanthropy.
    • 61 Metascore
    • 67 Marc Savlov
    Fans of the considerably more pedestrian "Julie & Julia" will likely have to attach drool buckets to their chins in order to avoid hours of tedious mopping up, so lusciously bizarre are the comestibles on display here.
    • 65 Metascore
    • 67 Marc Savlov
    Isn't a comedy, but it's not entirely a tragedy, either, and it straddles this razor's edge with a deeply nuanced aplomb.
    • 66 Metascore
    • 67 Marc Savlov
    Go see it, get the adrenaline rush, and then go home and forget about it. It's noisy and fun, but that's all it is.
    • 58 Metascore
    • 67 Marc Savlov
    This is a war film with precious little war, which was also the crux of Swofford's book.
    • 69 Metascore
    • 67 Marc Savlov
    Still, this is recent and public history, and Fair Game, which both fascinates and infuriates, comes across as little more than a footnote in an ever-lengthening list (thanks, Wikileaks!) of the Bush White House's sordid, potentially treasonous actions leading up to and beyond the invasion of Iraq.
    • 61 Metascore
    • 67 Marc Savlov
    Phillippe does a dark, searing turn with a character that could have easily been little more than Taps-era hubris, and Gordon-Levitt, as one of King's more fragmented former charges, is riveting and convincingly small-town Texas.
    • 53 Metascore
    • 67 Marc Savlov
    Much has been made of the film's ending, vis-à-vis whether or not it's a pro- or anti-organized religion commentary of some sort. The Hughes Brothers, for two, say they just wanted to make a kickass piece of contemporary entertainment, and I, for one, believe them.
    • 65 Metascore
    • 67 Marc Savlov
    While Linklater's version has its own unique pacing, mounting up more like a series of innings than a series of acts (even if you think you know how it ends, that bottom-of-the-ninth screwball still beans you silly), it lacks the screwball-to-the-noggin punch of the original.
    • 71 Metascore
    • 67 Marc Savlov
    The Descent may not be everything you've heard, but man, it's also a lot of things you haven't.
    • 47 Metascore
    • 67 Marc Savlov
    There's a manipulative streak to the proceedings, and you'd have to be stone cold dead not to grasp the inevitable outcome long before the third act, but it's a professionally handled sort of emotional manipulation common to its genre, dating back to "Blithe Spirit" and, somewhat less memorably, "The Ghost and Mrs. Muir."
    • 75 Metascore
    • 67 Marc Savlov
    This is classic Hollywood, at its best and worst, sticky rich and scabrous. It may not be the truth, per se, but it sure sounds good.
    • 38 Metascore
    • 67 Marc Savlov
    It's good -- no, great -- to see Williams as a mean rat bastard.
    • 58 Metascore
    • 67 Marc Savlov
    Remains an above-average and affecting descent into both heretofore unknown Soviet naval history and the always popular submarine-in-peril genre.
    • 66 Metascore
    • 67 Marc Savlov
    A poke in the eye of genre convention with a flensing blade and a disarmingly charming razor-blade grin.
    • 56 Metascore
    • 67 Marc Savlov
    Nowhere near the Hollywood disaster that was foretold, Waterworld is a near-model summer fantasy: two hours and 21 minutes of loud, expansive fun.
    • 68 Metascore
    • 67 Marc Savlov
    What is notable, though, is the amount of compassion invested in the film by Cameron and co-screenwriter William Wisher. There's a fairly well-drawn moral message in T2 that was more or less absent in the first film.
    • 51 Metascore
    • 67 Marc Savlov
    The barrage of information in Rebels is at times wearying; indeed many of the speakers look somewhat battle-weary, but there's clearly still a holy fire burning deep within their now-hooded eyes.
    • Austin Chronicle
    • 66 Metascore
    • 67 Marc Savlov
    Splice is a twisted little genetic updating that's not half as electrifying as Shelley's novel twist on the whole man/God/creation situation (and the perils thereof).
    • 42 Metascore
    • 67 Marc Savlov
    It's nasty, brutal stuff, but it's also unlike anything else out there.
    • 38 Metascore
    • 67 Marc Savlov
    It’s most definitely not for the squeamish nor the easily offended -- the death scenes in Final Destination 2, of which there are many, are immensely bloody and imaginative affairs, full of exploding limbs, squashed bodies, and graphic, gory ultra-violence.
    • 70 Metascore
    • 67 Marc Savlov
    While never dull, The Cup is a leisurely, quiet film, rife with staid, sometimes ponderous moments reflecting the seriousness of their situation in exile.
    • 71 Metascore
    • 67 Marc Savlov
    A family film in the best sense.
    • 65 Metascore
    • 67 Marc Savlov
    Funny weird and funny ha-ha go hand in hand in this small Icelandic town, apparently: It's a nice place to visit, but you wouldn't want to live there.
    • 48 Metascore
    • 67 Marc Savlov
    Like everything else Parker puts his mind to -- is equally outlandish, part skewed morality play, part sophomoric slapstick, and wholly ridiculous.
    • 53 Metascore
    • 67 Marc Savlov
    Director Benny Chan has fashioned a visually sumptuous period wushu film with a strikingly contemplative and pacifist bent.
    • 75 Metascore
    • 67 Marc Savlov
    Irony and unwavering idealism are bound up in this lengthy but instantly engaging and informative documentary.
    • 52 Metascore
    • 67 Marc Savlov
    There's no other woman acting today that even remotely resembles Parker Posey. For that matter, there's never been anyone quite like her that I can think of. She has the dynamite improvisational instincts of a born grifter who wandered too far from one con and ended up in another – acting – and her tricky-risky game of onscreen three-card monte is, again and again, a jewel in indie filmmaking's oft-tattered crown.
    • 38 Metascore
    • 67 Marc Savlov
    The pleasure of The Chronicles of Riddick comes mostly from the fascinating and outlandishly detailed production design, which sprawls across the screen in nearly every shot, with the Necromonger’s gigantic starships looking similar to those strange stone heads on Easter Island.
    • 57 Metascore
    • 67 Marc Savlov
    It's a sympathomimetic monoamine that stimulates the central nervous system! Hooray epinephrine! And that's all I'm going to say about Crank.
    • 69 Metascore
    • 67 Marc Savlov
    American Hardcore encapsulates a largely forgotten (by the mainstream, that is) moment in maximum rock & roll history.
    • 71 Metascore
    • 67 Marc Savlov
    Padilha's film offers no easy answers, but the title is a tip off as to where at least his sympathies lie.
    • 47 Metascore
    • 67 Marc Savlov
    Manages to capture the essence of one of the world's most surprising success stories.
    • 62 Metascore
    • 67 Marc Savlov
    A violent, sober cautionary tale, strictly middle-of-the-road when it comes to its much-ballyhooed politics and grimly obvious in its telling.
    • 67 Metascore
    • 67 Marc Savlov
    Once in a Lifetime's only major failing is the fact that the iconic Pelé is seen only in period footage.
    • 60 Metascore
    • 67 Marc Savlov
    As pure a summer popcorn overdose as you're likely to find, M:i-2 is breezy, breathless, brainless fun, falling just short of Woo's own "Face/Off" but head and shoulders above anything else out there just now.
    • 59 Metascore
    • 67 Marc Savlov
    Intriguing and stylish.
    • 70 Metascore
    • 67 Marc Savlov
    It's a one-note gag, but a superior gag performed with a minimum of cheese and a surplus of laugh-out-loud moments.
    • 70 Metascore
    • 67 Marc Savlov
    Millennium Actress has more layers to it than the proverbial onion, but Kon’s sure hand keeps things moving right along and into the next historical period.
    • 68 Metascore
    • 67 Marc Savlov
    "It's difficult for people to believe our story," says one kid, succinctly, eloquently, "but if we don't tell you, you won't know."
    • 80 Metascore
    • 67 Marc Savlov
    The voice acting, from new Batman Bale to the almost unrecognizable Bacall is fine – even Crystal reigns in his usual Borscht Belt bravado – if a little plain.
    • 67 Metascore
    • 67 Marc Savlov
    A suspenseful breath of fresh air following on the heels of one of the dumbest Hollywood summers in recent memory.
    • 51 Metascore
    • 67 Marc Savlov
    MBV 3D is full-on, old-school, Fangoria-approved, gorehound heaven – a supersaturated arterial goregasm with zero socially redeeming values for anyone other than first-year med students.
    • 71 Metascore
    • 67 Marc Savlov
    It's contemporary French cinema without a dollop of Besson and Jeunet's beloved CGI theatrics, and all the better for it.
    • 61 Metascore
    • 67 Marc Savlov
    It's a love story, though, and all the more poignant for being one that actually survived under such tempestuous circumstances.
    • 59 Metascore
    • 67 Marc Savlov
    The film provides a whole new way of looking at the same old dead things. Eat up.
    • 60 Metascore
    • 67 Marc Savlov
    RED
    There's no denying the kick you get from seeing Borgnine (forever lovelorn Marty to me, when he's not tooling around my head as Cabbie, from John Carpenter's Escape From New York) and company kick ass, take names, and go batshit crazy one last time.
    • 47 Metascore
    • 67 Marc Savlov
    It's a film so filled with sex and violence that many critics have derided it as nothing short of hardcore porn.
    • 63 Metascore
    • 67 Marc Savlov
    While it's a well-constructed doc, full of relevant information and geared toward those people who still might be fence-sitters on the subject, there's something missing from The 11th Hour's lengthy procession of talking heads: a sense of maddened outrage.
    • 67 Metascore
    • 67 Marc Savlov
    North Face is a gripping, at times downright epic, account of men vs. mountain vs. other men (and, what the hell, one woman).
    • 63 Metascore
    • 67 Marc Savlov
    It turns out globalization has its good points after all, and they're sporting Chucks, Kangols, and post-Gomi DIY gear. Spin again.
    • 62 Metascore
    • 67 Marc Savlov
    Adamson's pulled a more morally nuanced rabbit (or badger, actually) out of his directorial hat this time out, and the result is a far more engrossing film than its predecessor.
    • 76 Metascore
    • 67 Marc Savlov
    This debut feature from Australian director Duncan is still a wonderful sociopolitical experiment, dripping with sarcasm and bizarre, oddball humor, which make it all the more potent.
    • 66 Metascore
    • 67 Marc Savlov
    Towers head and hairpiece above much of what passes for urban comedy these days.
    • 61 Metascore
    • 67 Marc Savlov
    As a narrative film, it's confounding and oblique – but still gorgeous to behold.
    • 61 Metascore
    • 67 Marc Savlov
    Zoolander's consistent, blissful stupidity is a comic, mental Xanax, soothing in its gormless sense of inspired wack.
    • 58 Metascore
    • 67 Marc Savlov
    Director Apted has somehow managed to take one of the most contrived plots I've ever seen and make it seem, if not original, then at least way above average.
    • 63 Metascore
    • 67 Marc Savlov
    The whole of it plays like a dark and dreary tone poem, only marginally interested in explaining the ticking, bloody clockwork of the inner beast and only occasionally touching on his fractured humanity.
    • 63 Metascore
    • 67 Marc Savlov
    Weaver essays the new hotmama Ripley with wry, good humor -- you can tell she's having a ball playing this unstoppable die-cast she-wolf.
    • 69 Metascore
    • 67 Marc Savlov
    Superior in every way to 1995's "Die Hard With a Vengeance," Live Free or Die Hard's goofy generation-gap gambit pays off decently and proves, again, that nattily dressed terrorists are no match for Willis, the once and future Patron Saint of Bang.
    • 65 Metascore
    • 67 Marc Savlov
    Respiro scores high -– if strange -– marks, but I think it’s more in love with the quirky nature of life on a small island, which, unsurprisingly, echoes life in any small town, be it here or on some faraway Sicilian isle.
    • 58 Metascore
    • 67 Marc Savlov
    Obenhaus' documentary on extreme, "big mountain" skiing feels, despite its jaw-dropping camerawork and patently fearless subjects, like a relic from 1998.
    • 78 Metascore
    • 67 Marc Savlov
    Human Resources, which gets my vote for most sarcastic title of the year, isn't a stand up and cheer kind of film.
    • 62 Metascore
    • 67 Marc Savlov
    If you're a parent, you could do a heck of a lot worse than taking the spawn off to catch Rugrats in Paris and if you're a kid, well, you probably already knew that anyway.
    • 63 Metascore
    • 67 Marc Savlov
    A pleasantly vicarious slice of summertime falderol, innocuous in its presentation and often genuinely fun.
    • 53 Metascore
    • 67 Marc Savlov
    Weaver and Hirsch's flawless performances elevate the film above and beyond the ranks of "Ordinary People" pastiches, and in the end it stands on its own merits.
    • 54 Metascore
    • 67 Marc Savlov
    Diary of a Wimpy Kid: Dog Days is probably the most inoffensive kid's film you're likely to see this summer. And that's a good thing.
    • 57 Metascore
    • 67 Marc Savlov
    Trite? Sure. Obvious? And then some. But a lesson to be taken to heart nonetheless.
    • 72 Metascore
    • 67 Marc Savlov
    At 134 minutes, Crazy Horse could have used some judicious editing, but that relatively minor quibble aside, it provides a revealing and intimate look (as if there could be any other kind) at an institution both familiar and utterly alien.
    • 49 Metascore
    • 67 Marc Savlov
    Has those proverbial big laffs in spades.
    • tbd Metascore
    • 67 Marc Savlov
    This up-from-the-fields slice of Tejano pride is a punchy, melodramatic piece of tried-and-true Americana that mixes cultures (and film genres) with an eye toward knocking down borders both cultural and contemporary.
    • 21 Metascore
    • 67 Marc Savlov
    While much of the film is taken over by enormously entertaining dogfight sequences … much of it also rests on the narrative drive, which seems clipped part and parcel from one of those old “Why We Fight” documentaries that Frank Capra doled out to keep our G.I.s in fighting mode.
    • 64 Metascore
    • 67 Marc Savlov
    Columbus' film version is fine, and it's bound to make kids happy while simultaneously generating untold box office, but if you haven't yet picked up a copy, don't let the film override the novel; set aside a weekend, dive in, and then head off to the cineplex to take in this well-done companion piece.
    • 48 Metascore
    • 67 Marc Savlov
    Tonally one of the strangest films of the year thus far, Project X is at heart a John Hughes-esque celebration of that fleeting teenage moment prior to actual adulthood when throwing a badass backyard party could instantaneously elevate your social status, and cement bonds of friendship that would last a lifetime, and get you laid all in one go.
    • 52 Metascore
    • 67 Marc Savlov
    Aja's version, while a killer ride in its own right, never manages the nagging subtexts Craven so handily injected into the proceedings. It's a topnotch nightmare, but this time you wake up.
    • 47 Metascore
    • 67 Marc Savlov
    It’s an impressive closing to the cycle, and, frankly, one that arrives not a moment too soon.
    • 57 Metascore
    • 67 Marc Savlov
    Henderson's warm and toasty little gem of a film, slight though it may be, reminds you that the Greatest Generation, full of vim, vigor, and – most important – an indefatigable sense of purpose, grew up on both sides of the Big Pond.
    • 43 Metascore
    • 67 Marc Savlov
    Kingpin is no classic, but I've got to admit that after sitting though a number of the film's less-than-inspiring previews over the last few weeks, I wasn't exactly expecting the second coming of Laurel and Hardy.
    • 58 Metascore
    • 67 Marc Savlov
    Pure, unadulterated teen exploitation filmmaking at its best -- a heady, rocketing blast of fast cars, loud hip-hop, and a script so cheesy it might as well have “Made in Wisconsin” stamped on it.
    • 43 Metascore
    • 67 Marc Savlov
    A remarkably solid, streamlined, action-comedy in the ugly-duckling-to-gorgeous-swan genre that elicits more laughs and genuinely affecting moments than you might expect from its tepid ad campaign.
    • 59 Metascore
    • 67 Marc Savlov
    More funhouse spook show than actual horror movie but, like the black magic roller coaster ride it's predicated on, it has a startling amount of jolts, frissons, and downright freak-outs to qualify as the best teen date movie of the month if not the year. Boo. Scary.
    • 72 Metascore
    • 67 Marc Savlov
    Tomei looks far too fresh-scrubbed to be anywhere near a bloody, messy hell like this, but the rest of the cast is grimly realistic, particularly Harrelson, who manages to bring some goofball credibility to what is essentially a very small role.
    • 46 Metascore
    • 67 Marc Savlov
    A fine, familial elixir to remedy despair and soften hardened hearts, Around the Bend is likely just the first of many feathers in Roberts shiny new directorial cap.
    • 54 Metascore
    • 67 Marc Savlov
    Battle for Terra boasts impressively executed battle sequences that, frankly, are light-years beyond anything found in the recent Star Wars animated add-ons.
    • 61 Metascore
    • 67 Marc Savlov
    The film has a Leone eye (courtesy of cinematographer Juan Ruiz Anchía) coupled with a drowsy, doomy pace which, emboldened by the salt-licked Bolivian settings and the finely calibrated acting from all, makes for a phantasmagoric trip down a strangely different memory lane.
    • 69 Metascore
    • 67 Marc Savlov
    Feels for all the world like a Meg Ryan/Billy Crystal heist comedy transposed to the Far East.
    • 65 Metascore
    • 67 Marc Savlov
    The Matador is anything but predictable, and therein lies its sublime and fascinating charm.
    • 65 Metascore
    • 67 Marc Savlov
    Its sappy, melodramatic overtones – Bonnie Tyler not included – can be overlooked, as this is as much a political statement as it is a love story.
    • 64 Metascore
    • 67 Marc Savlov
    A light but emotionally heady confection from France.
    • 45 Metascore
    • 67 Marc Savlov
    "Interview With the Vampire" it's not, but marginally thrilling nonetheless, and besides, any film that features a house party in which the ceiling-mounted fire extinguishers expel freshets of crimson goo in place of H2O gets my vote.
    • 84 Metascore
    • 67 Marc Savlov
    It’s far and away the most original symphony of terror since F.W. Murnau raised hackles and Schrecks with his 1922 Nosferatu.
    • 43 Metascore
    • 67 Marc Savlov
    By no means an embarrassment to the fledgling DreamWorks, The Peacemaker is instead a grand, noisy step in the right direction.
    • 49 Metascore
    • 67 Marc Savlov
    Ultimately a fluffy bit of caper-noir, the success of Where the Money Is rests heavily with Old Blue Eyes.
    • 53 Metascore
    • 67 Marc Savlov
    Sweet and wise and often laugh-out-loud funny (just like Grogan's book), Marley & Me isn't just for dog people; it's just not for Cruella De Vil.
    • 64 Metascore
    • 67 Marc Savlov
    Neither bloodthirsty enough to trigger the gag reflex of anyone but the most anemic viewer nor clever enough to yield much in the way of particularly engrossing insights.
    • 64 Metascore
    • 67 Marc Savlov
    Erich von Stroheim might have made the definitive film about human swinishness way back in 1924 – sorry, Gordon Gekko – but Cheap Thrills cuts deeper, darker, and straight to the bone.
    • 68 Metascore
    • 67 Marc Savlov
    A vast improvement over the previous two outings, but still and all, it's no "Star Wars."
    • 76 Metascore
    • 67 Marc Savlov
    With its brief running time and revelatory story, this neat, fascinating documentary ought to be required viewing for art history students everywhere.
    • 56 Metascore
    • 67 Marc Savlov
    Van Bebber's film is tough, difficult, sporadically brilliant cinema, to be sure, and I doubt he'd have had it any other way. And as strange as it may sound, neither should the audience.
    • 66 Metascore
    • 67 Marc Savlov
    The abyss between the boy and the man he may become is cold, black, and unforgiving. Adapted from Jan Terlouw's 1972 novel, this is an often emotionally harrowing depiction of a young idealist running smack into the brutal reality of occupied life.
    • 56 Metascore
    • 67 Marc Savlov
    Touchback may accurately be called cornball hokum by some, but it's nevertheless a well-made film filled with heart and soul (and Snake Plissken).
    • 57 Metascore
    • 67 Marc Savlov
    Consistently entertaining.
    • 56 Metascore
    • 67 Marc Savlov
    Ultimately, Cabin Fever isn't going to win any awards for originality - it's too busy twisting the conventions of the genre back in on themselves for that - but it does provide a jarring battery of scares (often depressing ones at that) that make it severed-head-and-shoulders above the spate of recent shockers.
    • 57 Metascore
    • 67 Marc Savlov
    Is it just me or is Mick Jagger turning into John Hurt?
    • 76 Metascore
    • 67 Marc Savlov
    It’s [Depp's] first genuine “adult” role (not counting the tedious Nick of Time), and it allows him the freedom and emotional range to move, speak, and deal with issues more as an actor and less as a brat-packer.
    • 76 Metascore
    • 67 Marc Savlov
    Unlikely to be either the tea party or Occupy America's first pick for best film of the year, Margin Call is nevertheless a surprisingly adroit effort to A) explain the birth pains of our current financial woes, and B) show what it might have been like, in these first few hours within the confines of an early investment trading firm casualty.
    • 82 Metascore
    • 67 Marc Savlov
    Becomes something of a rainswept Korean koan on both the nobility and futility of persistence in the face of obviously insurmountable odds.
    • 58 Metascore
    • 67 Marc Savlov
    Snyder’s film isn't likely to be considered a classic 20 years down the road like Romero's film is, but it's a winningly extreme episode in the ongoing adventures of Zombie and Harriet. (And stick around while the end credits roll: The film isn't over 'til it's over.)
    • 69 Metascore
    • 67 Marc Savlov
    While it initially feels like a known quantity (although mentioning the "M"-word – mumblecore – is both pointless and distracting), Beeswax proves to be much more than simply another extreme close-up of late-twentysomething naifs trying to gather enough energy to flail about, emotionally or otherwise.
    • 45 Metascore
    • 67 Marc Savlov
    It's a Herculean task to steal the thunder from a Johnny Depp performance, but Richard Griffiths (best known these days as Harry Potter's tubby Muggle uncle, Vernon Dursley) does exactly that.
    • 51 Metascore
    • 67 Marc Savlov
    Burns has done such a thorough job of perfectly re-creating the moment that even the non-events (family dinners, procrastinated college-enrollment applications, the banal yet life-or-death routines of being a teen on the cusp) are lovingly rendered.
    • 49 Metascore
    • 67 Marc Savlov
    It's a welcome and nicely goofy bit of sci-fi froth with the occasional hint of genuine comic smarts.
    • 45 Metascore
    • 67 Marc Savlov
    Girl in Progress is an old story about a young girl told in a smart way, and that's something you don't see every day, no matter how many times you think you've seen it before.
    • 58 Metascore
    • 50 Marc Savlov
    An excellently cast biopic about yet another self-destructive genius who burnt out but will never fade away – at least not in France, or wherever cigarettes, alcohol, and sex are still allowed.
    • 58 Metascore
    • 50 Marc Savlov
    Ultimately, it's undone by the overfamiliar nature of Doon and Lina's quest, the outcome of which, while breathlessly paced, is never really in question.
    • 53 Metascore
    • 50 Marc Savlov
    It's a 24-hour-party-people travelogue, entertaining enough to grab your eyes... but less memorable than it may at first appear.
    • 68 Metascore
    • 50 Marc Savlov
    Breathtakingly gorgeous but ultimately thematically unsatisfying.
    • 64 Metascore
    • 50 Marc Savlov
    It's a loud, obnoxious, and pleasant-enough entertainment, but hardly the soaring tale of one man's struggle that it was so clearly envisioned to be.
    • 62 Metascore
    • 50 Marc Savlov
    Arguably better than the last five Eddie Murphy films taken together, The Nutty Professor still seems to be playing down to its audience much of the time, though you'd never know it to hear the gales of laughter erupting at the screening I attended.
    • 52 Metascore
    • 50 Marc Savlov
    Suffice to realize that Reeves’ opening salvo is an ambitious and heady mix of the glorious (if overtold) past, the tense present, and the imperfectly perfect realm of Chen’s fighter, his conscience, and blow upon blow upon blow. The concoction works, despite – or maybe because of – its unjaded, fantastical familiarity
    • 75 Metascore
    • 50 Marc Savlov
    Fernandez is excellent as the maladjusted daughter, but the film's heart and soul is embodied in Galina's noble, understated performance.
    • 42 Metascore
    • 50 Marc Savlov
    Pass the popcorn, dude; this shit rocks.
    • 48 Metascore
    • 50 Marc Savlov
    Certainly it's not for everyone, but fans of Euro-sleaze will groove on Argento's obvious charms and the film's dystopian thrill ride, while the rest will probably doze off dreaming Fassbinder dreams.
    • 62 Metascore
    • 50 Marc Savlov
    5x2
    Ozon's take on this marriage in particular is notable – apart from Freiss and Bruni-Tedeschi's bracing performances – for his unwillingness to let things spiral out of complete control.
    • 49 Metascore
    • 50 Marc Savlov
    You get the feeling the filmmakers didn't want to make anyone think too hard about what's going on here behind the scenes of the main storyline, and that's more than a little insulting.
    • 51 Metascore
    • 50 Marc Savlov
    It's hit-or-miss comedy of the very broadest sort, but those who groove on deciphering obscure film-geek in-jokes will find their work more than cut out for them.
    • 48 Metascore
    • 50 Marc Savlov
    Consistently entertaining, athletically brutal, and, more often than not, well-acted.
    • 71 Metascore
    • 50 Marc Savlov
    Like the inky void of space, there's really not much here, but what there is, is certainly entertaining.
    • 65 Metascore
    • 50 Marc Savlov
    Flawed at its core but stunning nonetheless.
    • 59 Metascore
    • 50 Marc Savlov
    Truth is, once again, stranger and far more interesting than fiction, but Stewart, whose youthful idealism makes for passionate but uneven filmmaking, should scuttle further oceanic pedantry and focus his lens on Watson's "good pirate" efforts to sabotage the "bad pirates" and save the sea.
    • 62 Metascore
    • 50 Marc Savlov
    As a vehicle for Moore's acting abilities (and Mortensen's, for that matter), G.I. Jane is terrific. But as the end-of-summer blockbuster it's doubtless intended to be, it's pretty much a washout.
    • 52 Metascore
    • 50 Marc Savlov
    Lynch, who penned the screenplay with novelist Barry Gifford (Wild at Heart), seems to be attempting to capture not just a sense of place and time (it never works -- Lost Highway is wholly, irrevocably, out of place and without any linear time or time line to speak of), but also a sense of madness.
    • 41 Metascore
    • 50 Marc Savlov
    Forster should be commended for attempting something as daunting as the overreaching Stay, which despite all of its muddled logic and porous reality – or perhaps because of it – forces you to think, a genuine rarity these days.
    • 45 Metascore
    • 50 Marc Savlov
    Jorgen Persson's camerawork is spectacular, illuminating the cobalt blue of the frozen wastes with an almost regal air. As a travelogue, August's film works wonders; as a narrative, it's just not all there.
    • 34 Metascore
    • 50 Marc Savlov
    Despite the movie’s lack of anything resembling a narrative center, Testosterone isn't an entire waste of film stock – Sutcliffe, Sabato Jr., and especially the great Braga all act up a storm.
    • 33 Metascore
    • 50 Marc Savlov
    54
    It's a noble effort, but aficionados and the mildly interested are recommended to seek out VH-1's excellent Studio 54 documentary in lieu of this shallow morality play.
    • 63 Metascore
    • 50 Marc Savlov
    As a period mystery, however, it's as muddy and swirling as the actual record of that fateful, deadly weekend cruise.
    • 75 Metascore
    • 50 Marc Savlov
    Dahl, who really does know what he's doing when it comes to investing a scene with both heebies and jeebies, is a notch or two above most.
    • 66 Metascore
    • 50 Marc Savlov
    Looks like a million bucks (or rather, a million bucks gone to compost), but at its dark heart it's a tedious, bewildering affair, lovely to look at but with all the substance of a dissipating dream.
    • 53 Metascore
    • 50 Marc Savlov
    Gratuitous in every sense of the word, this second remake of 1978's Joe Dante-directed/Roger Corman-produced "Jaws" knockoff is ridiculous summertime drive-in fun.
    • 74 Metascore
    • 50 Marc Savlov
    For a film focusing on such a rich emotional tapestry, Kundun is strangely lacking in its emotional core.
    • 59 Metascore
    • 50 Marc Savlov
    The film is one of the more adult offerings out there in a spring movie season peppered with martial arts and superheroes. It may be just what you're looking for.
    • 63 Metascore
    • 50 Marc Savlov
    The catch is, once you get past the stunning special effects and the mind-numbing stuntwork, there's not all that much there.
    • 65 Metascore
    • 50 Marc Savlov
    Who, exactly, is stalking whom, and for what reason? I'm still not entirely sure, but Resnais' funky, frothy bonbon of a film is nevertheless a breathtaking sight to see.
    • 62 Metascore
    • 50 Marc Savlov
    All this and not a glimmer of General Franco makes for a surreal – and sporadically inspired – comedy of Spanish mores back when naughty was nice.
    • 40 Metascore
    • 50 Marc Savlov
    Above all, there's Nolte, who hovers over the whole production like some sapient force of nature.
    • 62 Metascore
    • 50 Marc Savlov
    Severance is a British horror-comedy that, from the get-go, has two distracting strikes against it.
    • 46 Metascore
    • 50 Marc Savlov
    Silly, predictable, and, dare I say it, oddly endearing, Hackers is the first film I've seen in a long while that annoyed me so much I actually enjoyed it.
    • 52 Metascore
    • 50 Marc Savlov
    Infinitely more entertaining than anything the WWE has done recently, this sophomore outing from "Napoleon Dynamite" director Hess is full of cheesy goodness, but it's Velveeta.
    • 58 Metascore
    • 50 Marc Savlov
    A go-for-the-lowest-common-denominator grab bag of raunchy sex gags and freakish outbursts. The cool thing is that it works.
    • 70 Metascore
    • 50 Marc Savlov
    Once the rodeo's over, where do the sweethearts go? Beesley, thankfully, doesn't end the film with the end of the rodeo, but there's a potentially more interesting follow-up doc ghosting right behind this one.
    • 53 Metascore
    • 50 Marc Savlov
    An occasionally charming mix of campy fun and dodgy computer-generated effects.
    • 46 Metascore
    • 50 Marc Savlov
    It seems downright unfair to harp on the remake’s differences from the original when both films are having such a ball.
    • 66 Metascore
    • 50 Marc Savlov
    Truth itself is little more than a word in The Prestige, a film that both celebrates the wonder of being fooled and the foolishness of wanting just that.
    • 63 Metascore
    • 50 Marc Savlov
    Invincible is like a thick, sweaty slab of NFL comfort food.
    • 88 Metascore
    • 50 Marc Savlov
    If you (or your kids) loved Toy Story, you'll like Toy Story 2 as well. Just don't expect any big surprises.
    • 55 Metascore
    • 50 Marc Savlov
    To call The Crazies the most original horror film in a long while only serves to point out just how lousy mainstream, studio-released horror has become. It's a solid thriller, sure, but there's precious little in it that hasn't been seen countless times before, and in the end it plays it safe … by not playing it safe.
    • 36 Metascore
    • 50 Marc Savlov
    Director Carr, who helmed the similarly predictable "Daddy Day Care," keeps things moving, both on and off the court, with the sort of light, sweet humor you're not likely to find in too many other summer movies.
    • 43 Metascore
    • 50 Marc Savlov
    Bombastic it may be, but it’s rarely boring, as was the first Tomb Raider. Keep your expectations in line with the source material and you may be pleasantly surprised.
    • 64 Metascore
    • 50 Marc Savlov
    Both interesting and insufferable.
    • 52 Metascore
    • 50 Marc Savlov
    It's the opposite of "The Opposite of Sex," a meditation on multiple truths, and the lies that sometimes lie in between.
    • 54 Metascore
    • 50 Marc Savlov
    Wilson and Beckinsale, as the couple on the rocks, do their damnedest to go along for the creepfest, but nothing in Vacancy manages to come anywhere close to the quiet and steadily mounting dread of the real thing, much less the purview of Norman Bates or his beloved mother.
    • 74 Metascore
    • 50 Marc Savlov
    Ultimately the composition comes off as both overplayed and underdone.
    • 61 Metascore
    • 50 Marc Savlov
    It's not a bad movie by any stretch of the imagination, just one that grabs your attention and then lets it go, time and time again.
    • 60 Metascore
    • 50 Marc Savlov
    Manages to get by on wry smarts, barbed asides, and plenty of Barrymore's comic grace.
    • 56 Metascore
    • 50 Marc Savlov
    The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.
    • 63 Metascore
    • 50 Marc Savlov
    The comedic success of this pair of dramatic archetypes, the radiant flibbertigibbet and the gray, lumpen elder spinster, in a lightweight bit of piffle such as this is a testament to both Adams' and McDormand's smarts. It's tough to play dumb when you're not and even more difficult to dial down your own innate brilliance.
    • 65 Metascore
    • 50 Marc Savlov
    Ultimately, though, We Were Soldiers fails to bring as much to the table as it at first seems it might.
    • 48 Metascore
    • 50 Marc Savlov
    Pop psychology has never been as visceral as it is in Saw III.
    • 65 Metascore
    • 50 Marc Savlov
    It's a promising epic that ends with what feels like a lie. In short, it's a glorious mess well worth seeing, but light-years away from what fans were expecting.
    • 64 Metascore
    • 50 Marc Savlov
    Fans of the irritatingly limp and relatively toothless Twilight series may actually find their tormented inner selves fondled to exquisite, precoital perfection with this slick and gleeful adaptation of the classic Eighties vampire-next-door flick.
    • 74 Metascore
    • 50 Marc Savlov
    By the time the film's abrupt conclusion arrives, you realize you've been watching a love story and not, as some might hope, "The Lord of the Rings: The Asian Edition."
    • 64 Metascore
    • 50 Marc Savlov
    Tykwer ends the film on a bizarre note that caught me off guard, a too-literal bit of salvation that is more bothersome than revelatory.
    • 68 Metascore
    • 50 Marc Savlov
    A cracking good adventure film well worthy of classic Saturday-afternoon matinee status. It's also, in myriad ways, a more youthful version of Spielberg's "Raiders of the Lost Ark."...What you don't have, however, is a great movie.
    • 49 Metascore
    • 50 Marc Savlov
    It’s not a disaster by any stretch, but purists will ache to show newcomers the horrific genius of "Ju-on" over The Grudge as soon as they exit the theatre.
    • 61 Metascore
    • 50 Marc Savlov
    It also has wild plot holes and requires an almost inhuman suspension of disbelief, but it's still a fun ride up to a point.
    • 71 Metascore
    • 50 Marc Savlov
    Beyond the Gates bears witness to the worst of the worst, but these days, and far more importantly, so does YouTube.
    • 66 Metascore
    • 50 Marc Savlov
    There's nothing terribly bad about Bend It Like Beckham -- in fact it's a fine Friday-night-out film -- it's just that it strikes me as being an awful little piffle cloaked in the garb of something so much more.
    • 52 Metascore
    • 50 Marc Savlov
    Miner strives to imbue the film with the requisite autumnal haze of the original but then gives up midway through and instead resorts to the standard stalk 'n' slash formulas.
    • 40 Metascore
    • 50 Marc Savlov
    For some reason Derailed never fully engages our sympathies. I think that's because it's difficult to swallow Owen as anything other than eminently resourceful.
    • 37 Metascore
    • 50 Marc Savlov
    Hoge's film raises more questions than it answers – that's his point, I think, to get us thinking – and Gosling, who previously played the conflicted Jewish Nazi skinhead in "The Believer," inhabits the role of Leland so fully it's as if the character had killed him as well.
    • 50 Metascore
    • 50 Marc Savlov
    Director Noyce has a sure hand with the action sequences and keeps The Saint from bogging down too often in the mires of action film exposition (once again, think Mission: Impossible).
    • 62 Metascore
    • 50 Marc Savlov
    Suffers mightily from sequelitis. Forced to explain what’s going on and what’s going to be going on in the next and final installment (due out in November), the Wachowskis have laced the film with a series of crushingly dull and often incomprehensible scenes of exposition and yakky gabfests.
    • 48 Metascore
    • 50 Marc Savlov
    The final 30 odd minutes of this revisionist Holmes explodathon are downright thrilling, and it should go without saying but we'll restate it for the record: Downey Jr. inhabits the role of Sherlock Holmes to a near-molecular level.
    • 55 Metascore
    • 50 Marc Savlov
    It's stoner comedy of the most absurd kind, part fryboy mental drizzle, part wink-wink audience baiting, and wholly, utterly funny.
    • 51 Metascore
    • 50 Marc Savlov
    High Heels becomes mired in its own best intentions - primary colors and all.
    • 57 Metascore
    • 50 Marc Savlov
    The straight dope for speed junkies and fans of the art of flinging one’s well-padded frame through the contortions enabled only by disastrously catapulting oneself off a slippery asphalt track at speeds even Dale Earnhardt would have dismissed as lunacy.
    • 56 Metascore
    • 50 Marc Savlov
    Carrey has yet to find the perfect vehicle for himself, but The Mask, while hardly as fantastic as it should have been, is a step in the right direction.
    • 60 Metascore
    • 50 Marc Savlov
    Unnerving and occasionally witty, were it not for its weak third act, Nolan's film might fall just short of genius. As it is, though, it's unique nonetheless.
    • 53 Metascore
    • 50 Marc Savlov
    Despite the grating, workmanlike direction of Chris Columbus (he's no Robert Wise, and Rent is nobody's idea of "West Side Story"), this boisterous adaptation is both a vivacious, wiseacre musical and an inarguable morality lesson: Love is all you need. Oh, and rent, of course.
    • 49 Metascore
    • 50 Marc Savlov
    It’s ingratiating in that nice doggie way, but the dogs, who have had their lips enhanced via CGI to aid in the illusion of speech, don’t have much more on their minds than where the next stick is going to sail in from.
    • 59 Metascore
    • 50 Marc Savlov
    By the end of this film/experiment/prank – which, to be blunt, is pretty unsatisfying – the viewer is left to ponder what it's all about, and what its purpose may have been, which, knowing Lynch and Herzog, might well be what it was about, and what its purpose was.
    • 84 Metascore
    • 50 Marc Savlov
    It's all a little too polished, a little too smug to be ranked up there as one of the great journalism films.
    • 66 Metascore
    • 50 Marc Savlov
    Ultimately, however, The Way Back fails to connect on the all-important visceral, emotional level.
    • 44 Metascore
    • 50 Marc Savlov
    The film tries so very hard to be The Movie of Summer '93 that it almost makes you sick for what could have been, what should have been, and, in the end, what it is: soulless sound and fury -- action in a vacuum.
    • 30 Metascore
    • 50 Marc Savlov
    The most expensive South Korean film ever made is also one of the most realistic (read: gory) depictions of the horrors of war, specifically World War II, global cinema has ever produced.
    • 47 Metascore
    • 50 Marc Savlov
    It's an obvious effort through and through, but that doesn't seem to dampen its ridiculous charm one bit.
    • 55 Metascore
    • 50 Marc Savlov
    For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.
    • 62 Metascore
    • 50 Marc Savlov
    U-571's plot moves like a rocket, never pausing for breath, and this works to a point, but certain events ... are glossed over in favor of more (exceptionally well-done) shots of exploding depth charges and topside battles.
    • 42 Metascore
    • 50 Marc Savlov
    It's interesting, though, to think of double-billing Woods' Crow with Pacino's Prince of Darkness from Devil's Advocate: Scenery-chewing never looked so good.
    • 66 Metascore
    • 50 Marc Savlov
    Not likely to win any hearts or minds this holiday season, La Bûche finally scores points by virtue of its inoffensiveness: Relax, pour a cuppa nog, and watch somebody else muck up the holidays for once.
    • 26 Metascore
    • 50 Marc Savlov
    A middling film through and through, despite the occasional shocks it tries to earnestly to achieve.
    • 38 Metascore
    • 50 Marc Savlov
    While it’s far from bad, it also falls far short of the icy frissons produced by the original.
    • 53 Metascore
    • 50 Marc Savlov
    It's a totally serviceable reboot for young people who are just discovering the joys of manga, but I can't help but miss the raw animation and even rawer emotional aesthetics of Tezuka's original televised animé series.
    • 58 Metascore
    • 50 Marc Savlov
    It is, in essence, the video game transferred part and parcel to the screen, and very well at that.
    • 83 Metascore
    • 50 Marc Savlov
    A bore... The film leaves you with the feeling, once again, of having enjoyed a lovely meal fit for royalty only to discover, too late, that the fruit was made of wax and the roast was little more than a Styrofoam mock-up.
    • 53 Metascore
    • 50 Marc Savlov
    So silly, so garishly over-the-top, and so bracingly eager to please, that it's hard not to fall under its gleefully gooney spell.
    • 71 Metascore
    • 50 Marc Savlov
    Feels like an overlong "SCTV" skit. Many prime gags are recycled throughout the film, and, honestly, there's only so much Eugene Levy schtick one can take (though he does get the best Yiddish lines in the film).
    • 71 Metascore
    • 50 Marc Savlov
    Predicated on the slimmest of notions, this debut by Jones is so cuddly-cute in its desire to be pleasing that it's all but transparent.
    • 63 Metascore
    • 50 Marc Savlov
    Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.
    • 60 Metascore
    • 50 Marc Savlov
    Not an easy film to love and politically incorrect to the hilt, it nevertheless leaves its mark on you – and it’s rarely, if ever, dull.
    • 47 Metascore
    • 50 Marc Savlov
    It doesn't always succeed, and sometimes it has the egocentric obviousness of a particularly clever, grad-student thesis film, but at least Harrison is game enough to mess with your head in the first place.
    • 22 Metascore
    • 50 Marc Savlov
    This film is an evocative, effective entry into the holiday blood-spray subgenre in its own right. And if it doesn't make your skin crawl ... you probably ate too much Christmas dinner.
    • 60 Metascore
    • 50 Marc Savlov
    9
    This expanded version only suffers, albeit in grim visual splendor, from the extrapolation.
    • 54 Metascore
    • 50 Marc Savlov
    When the film changes gears from light coming-of-age comedy to ex-post-facto war parable midway through, it loses its focus and suddenly becomes a much darker beast.
    • 44 Metascore
    • 50 Marc Savlov
    It's not rocket science making nonstop action feel semi-fresh, and The Losers’ script by Peter Berg and James Vanderbilt manages to render each individual, um, a loser in the broadest and most memorable strokes. It's not a masterpiece, either, but it'll do until Hannibal, Murdock, and the rest the A-gamers start blowing things up come June.
    • 54 Metascore
    • 50 Marc Savlov
    A preposterously silly bit of work, chock-full-o' nuts and rife with the kind of plot holes you could drive a submersible ROV through.
    • 40 Metascore
    • 50 Marc Savlov
    It's gritty, nasty, predictably meat-and-potatoes suspense, but genuinely gonzo fun nonetheless.
    • 51 Metascore
    • 50 Marc Savlov
    The entire film is curiously soulless, with major characters making their entrances and exits (some of which are unexpectedly final) as if they were breezing in from some other screening next door.
    • 63 Metascore
    • 50 Marc Savlov
    Like its protagonist, Cordero's film is a nimble thing, darting from hot-button topic to prison-cell metaphysics in the blink of a blind eye, but it never quite achieves the level of journalistic condemnation it so clearly seeks.
    • 41 Metascore
    • 50 Marc Savlov
    It's not "Billy Madison," quite, but The Waterboy is still pure Sandler. If you like that sort of thing.
    • 38 Metascore
    • 50 Marc Savlov
    Like its protagonist, the movie tries to rise above convention, flails about a bit, and slides back into self-parody.
    • 40 Metascore
    • 50 Marc Savlov
    Hudgens' dimples threaten at times to overtake the narrative, but in the end, they're no match for Olsen's creepy-ass smirk, which, frankly, appears ready-made for Tim Burton's next outing.
    • 71 Metascore
    • 50 Marc Savlov
    Not in itself a bad thing -- the "Star Trek" films have long come under friendly fire for being too heavy on the philosophizing and not enough so on the deep-space car chases -- but oddly, the film feels soulless and hollow, despite best intentions to the contrary.
    • 45 Metascore
    • 50 Marc Savlov
    If you've seen the 2006 Nick Nolte vehicle "Peaceful Warrior," then you've pretty much already seen this. Capturing the essence of surfing – or any sport, for that matter – is more often than not a fool's errand. A more fitting tribute to Moriarty's legacy? Go buy a board and hit the deep blue yourself.
    • 50 Metascore
    • 50 Marc Savlov
    It's an admirable, if clunky, attempt, and though it never quite jels in the way that, say, "Waiting to Exhale" did, it's good to know someone's making the effort to portray black urban males as something other than criminals or crime-fighters.
    • 47 Metascore
    • 50 Marc Savlov
    It’s The Alamo, all right, but will anyone want to remember it?
    • 76 Metascore
    • 50 Marc Savlov
    You have to wonder – not too hard, though – what this gore-soaked auteur's bedtime dreams are like.
    • 48 Metascore
    • 50 Marc Savlov
    Neither a revelation nor a total wash, EDtv is instead solid comic filmmaking. I just can't help but think it could have been so much more.
    • 70 Metascore
    • 50 Marc Savlov
    The animation itself is superb, and the filmmakers long ago mastered the dreamy, stream-of-consciousness narrative tropes that work so well with stop-motion, but even with all that going for it, A Town Called Panic feels more like some exotic animated curiosity than a film to return to again and again.

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