For 1,676 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 7.4 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Ran (re-release)
Lowest review score: 0 Van Wilder 2: The Rise of Taj
Score distribution:
1,676 movie reviews
    • 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.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    As directed by Taymor, it's a competent and nicely designed biopic that for all of the director's attempts to link surrealist film imagery with Hayek's depiction of Kahlo somehow manages to be generally lackluster.
    • 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.
    • 50 Metascore
    • 67 Marc Savlov
    Simply put, Burton's film lacks the social and political gravitas of the original, a film that was wholly of its time.
    • 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.
    • 38 Metascore
    • 67 Marc Savlov
    It’s a message movie, as are all kids films these days, but these environmentally-aware messages are sweet and unforced, and well worth hearing.
    • 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.
    • 67 Metascore
    • 67 Marc Savlov
    It remains head and shoulders above what little competition there is by virtue of its stellar casting, editing, and above all, Frankenheimer's fluid, explosive direction.
    • 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.
    • 49 Metascore
    • 67 Marc Savlov
    One of the most inventive romantic comedies to come around in some while.
    • 68 Metascore
    • 67 Marc Savlov
    Winning and emotionally punchy 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.
    • 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.
    • 59 Metascore
    • 67 Marc Savlov
    Intriguing and stylish.
    • 69 Metascore
    • 67 Marc Savlov
    Feels for all the world like a Meg Ryan/Billy Crystal heist comedy transposed to the Far East.
    • 52 Metascore
    • 67 Marc Savlov
    Despite an inordinately complicated third-act resolution, it's head-and-shoulders above most so-called suspense films.
    • 61 Metascore
    • 67 Marc Savlov
    Peterson's film is a huge, loud beast of a film, filled with gunfire, explosions, and not a few tears. It's all grounded, however, in Ford's gritted-teeth performance as President Marshall.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 67 Marc Savlov
    The fun of Wild Things -- and there's a lot of it -- is in its never-ending game of cross and double cross.
    • 78 Metascore
    • 67 Marc Savlov
    Unconventional and idiosyncratic love story.
    • 66 Metascore
    • 67 Marc Savlov
    Detailed but, ultimately, one-sided.
    • 67 Metascore
    • 67 Marc Savlov
    An intelligent, viscerally kinetic throw-down, a jolt of pure adrenalized Spike that holds more than a few touches of genius in its overripe storyline.
    • 61 Metascore
    • 67 Marc Savlov
    Zoolander's consistent, blissful stupidity is a comic, mental Xanax, soothing in its gormless sense of inspired wack.
    • 64 Metascore
    • 67 Marc Savlov
    A powerful little gem: a little bit of "The Outsiders" (the film's tone is remarkably similar to Coppola's film, minus the airy redemption and golden sunrises), a lot of "The 400 Blows," and a slice of "Radio Flyer" all wrapped up in a dirty black bow.
    • 46 Metascore
    • 67 Marc Savlov
    In the end, Forces of Nature is a creampuff of a film, it being a scrappy romantic comedy of the purest stripe, what's so wrong with that? Not a thing.
    • 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.
    • 62 Metascore
    • 67 Marc Savlov
    Shyamalan's premise is a lulu, to be sure, but if you can manage that precious, tentative suspension of disbelief, you'll find Unbreakable a rewarding meditation on the nature of heroes, both comic book and otherwise.
    • 51 Metascore
    • 67 Marc Savlov
    Jolie's explosive performance surpasses all expectations and renders the film a veritable must-see.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 49 Metascore
    • 67 Marc Savlov
    If "The Others" is this year's paean to “quiet” horror, then Jeepers Creepers is its down 'n' dirty, punk rock, rip-your-throat-out-and-feed-it-to-you bastard child.
    • 64 Metascore
    • 67 Marc Savlov
    The film's greatest strength lies in its ability to view itself as a modern moral fable of sorts.
    • 38 Metascore
    • 67 Marc Savlov
    It's good -- no, great -- to see Williams as a mean rat bastard.
    • 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.
    • 53 Metascore
    • 67 Marc Savlov
    A warm, comfortable, thoroughly inoffensive kidfilm.
    • 72 Metascore
    • 67 Marc Savlov
    Go
    Relentless and mercurial, this new outing by "Swingers" director Liman takes off somewhere around Mach 3 and never lets up, leaving you with either a pounding headache or a wicked grin, or perhaps both.
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    A pleasantly vicarious slice of summertime falderol, innocuous in its presentation and often genuinely fun.
    • 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.
    • 58 Metascore
    • 67 Marc Savlov
    Greenwald's doc is pure partisan warfare of the liberal stripe, to be sure, but that doesn't make it any less disturbing.
    • 67 Metascore
    • 67 Marc Savlov
    Thomas’ comic flair is undeniable, as is Stern’s comic acting ability; all other arguments aside, Private Parts is a consistently uproarious affair, riddled with brilliant comic set-pieces, including Stern’s many, many run-ins with various program directors and NBC brass.
    • 66 Metascore
    • 67 Marc Savlov
    Towers head and hairpiece above much of what passes for urban comedy these days.
    • 42 Metascore
    • 67 Marc Savlov
    It's nasty, brutal stuff, but it's also unlike anything else out 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 67 Marc Savlov
    The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.
    • 77 Metascore
    • 67 Marc Savlov
    Unlike any other film released this past year, be it from the aspect of its storylines, of which there are many, or its emotional clarity, which is, quite frankly, brutal.
    • 51 Metascore
    • 67 Marc Savlov
    It's a kinder, gentler "Tales From the Crypt" that, in the end, is neither kind nor gentle.
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    It's one of the better sequels to come out in years, and although it doesn't pack the emotional wallop of the first film, it's still head and shoulders (and punctured eyeballs) above most of what's out there.
    • 49 Metascore
    • 67 Marc Savlov
    Has those proverbial big laffs in spades.
    • 52 Metascore
    • 67 Marc Savlov
    The character of Valentin is immediately recognizable to anyone who's gone to more than 20 films in their lives -- charming, cuddly, hellbent on making his world tolerable -- but to his credit both Noya and Agresti don't overplay their hand.
    • 47 Metascore
    • 67 Marc Savlov
    It’s an impressive closing to the cycle, and, frankly, one that arrives not a moment too soon.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 67 Marc Savlov
    I continually found myself longing for the sheer intensity of the director's past glories, like Jaws, or even Duel. Spielberg seems to be trying so very hard for that elusive “Gosh, Wow, Sense of Wonder!” that it all looks strained in spots.
    • 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.
    • 44 Metascore
    • 67 Marc Savlov
    At its heart the film wants nothing more than to make you giggle, and at that it succeeds admirably.
    • 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.
    • 71 Metascore
    • 67 Marc Savlov
    For all its stentorian performances, though, Shadow of the Vampire is a bit much, from the detailed period sets to the final, bloody scene.
    • 57 Metascore
    • 67 Marc Savlov
    Consistently entertaining.
    • 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.
    • 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.
    • 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.
    • 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.)
    • 38 Metascore
    • 67 Marc Savlov
    Sick, twisted, and very funny, Parker and Stone have arrived. Again.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 67 Marc Savlov
    Unsurprisingly, your enjoyment of Shrek 2 will likely be predicated on your enjoyment of Shrek 1.
    • 47 Metascore
    • 67 Marc Savlov
    It's not the most flattering depiction of Jews I've seen. Still, The Passion of the Christ is something of a masterpiece, terrible to behold, unfit for children, certainly, but very much the work of a director in the throes of his own distinct passion.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 67 Marc Savlov
    "Dr. Goodlove," or "How I Learned to Stop Worrying and Love the Proletariat" might have been a better title for this ingratiatingly loopy origin story about prerevolutionary icon Ernesto "Che" Guevara.
    • 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.
    • 73 Metascore
    • 67 Marc Savlov
    Achingly gorgeous in almost all respects, the film soars in its period depiction of turn-of-the-century London (and later in Venice, as well), from costuming to cinematography on down.
    • 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.
    • 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.
    • 59 Metascore
    • 67 Marc Savlov
    It is, however, a very satisfying film, and surely the first in a long franchise (it does, after all, bear the subtitle The Vampire Chronicles).
    • 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.
    • 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.
    • 70 Metascore
    • 67 Marc Savlov
    Cronos is a thoughtful, intelligent film, and as a horror movie (which is, I think, its main mission in life) it's genuinely disquieting.
    • 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
    Home Alone is the apex, the pinnacle, the culmination of every bad bit Hughes has ever written or directed. It overflows with primitive, disastrously unfunny sight gags and neo-hateful familial humor.
    • 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).
    • 65 Metascore
    • 67 Marc Savlov
    It's nail-biting good fun, sporting some très haute couture nails.
    • tbd Metascore
    • 67 Marc Savlov
    While the dour pacing and tone rank right up there with watching water freeze in terms of gutpunching suspense, by the time the final, grisly revelation is at hand you're hard-pressed not to sweat.
    • 67 Metascore
    • 67 Marc Savlov
    A great, bizarre, and ultimately very, very unique film.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    As a narrative film, it's confounding and oblique – but still gorgeous to behold.
    • 71 Metascore
    • 67 Marc Savlov
    The war might be over, but fear and hope remain locked in a rapturous stranglehold amidst the rubble.
    • 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.
    • 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.
    • 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.
    • 31 Metascore
    • 67 Marc Savlov
    A solid, intermittently excellent, and extremely exsanguinatory take on what Stephen King famously referred to as the "Spam in a cabin" genre.
    • 51 Metascore
    • 67 Marc Savlov
    Summer was made for this kind of film, and Predators is almost exactly what you need to fix this otherwise busted summer cinema season.
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    Call it the aesthetic of un-Happiness.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 71 Metascore
    • 67 Marc Savlov
    Much of Rare Exports is seen through the eyes of its preteen protagonist, which explains some of the story's minor omissions (who, exactly, hired this nefarious multinational mining outfit and why exactly?).
    • 62 Metascore
    • 67 Marc Savlov
    If Red Hill isn't quite a classic, it surely is a work of genuine passion for a genre that's unmistakable, and unkillable.
    • 46 Metascore
    • 67 Marc Savlov
    Howard surprises with this decidedly honest comedy-melodrama.
    • 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).
    • 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.
    • 73 Metascore
    • 67 Marc Savlov
    Left me with the feeling I've seen much of this before. It's not that I'd like something better, it's just that I'd like something new.
    • 59 Metascore
    • 67 Marc Savlov
    It is, in effect, a movie-house meta mirror, warped and weird, strange but true (except when it isn't). It's whatever you want it to be, which doesn't necessarily make it a great movie (although it contains moments of greatness), but it IS – by virtue of its premise alone – boldly unique.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 67 Marc Savlov
    It is an utterly unique and highly ambitious project that isn't afraid to veer wildly from witty, risqué comedy to heavy emotional melodrama, often in the same sequence.
    • 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.
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    The core family relationships ring pleasingly true, and the rebellious Merida is, alongside Katniss Everdeen, an intelligent, capable, and empathetic proto-riot grrrl with stupifyingly kickass hair and even better aim.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 67 Marc Savlov
    A light but emotionally heady confection from France.
    • 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.
    • 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.
    • 53 Metascore
    • 67 Marc Savlov
    Director Benny Chan has fashioned a visually sumptuous period wushu film with a strikingly contemplative and pacifist bent.
    • 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.
    • 59 Metascore
    • 67 Marc Savlov
    The film provides a whole new way of looking at the same old dead things. Eat up.
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    Dafoe, as expected, is magnificent in the taciturn role, but the film tends to falter when he's not out stalking, combining as it does elements of family drama, environmental outrage, and outright suspense.
    • 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.
    • 48 Metascore
    • 67 Marc Savlov
    Quite likely the most original dance film you'll see this year, The FP is awash in silliness that probably took ages to script, but the film's goofy heart and soul (yes, it has one) is what sticks with you in the end and makes this crazed film into a potential cult-movie masterpiece.
    • 72 Metascore
    • 67 Marc Savlov
    I found myself falling for it, hard. It's Trevorrow's feature debut and we'd like to see more, please.
    • 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
    Take from the film's racial commingling what you want. Much of this may be old hat, even corny, and potentially offensive, but I haven't laughed out loud this often at a movie in ages.
    • 68 Metascore
    • 67 Marc Savlov
    End of Watch is more than the sum of its parts, though; it ends on a downbeat note, but that's something I've come to expect from Ayer.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 67 Marc Savlov
    We bear witness, via Brügger's film, to the slow-motion train wreck that high-echelon, African graft becomes.
    • 61 Metascore
    • 67 Marc Savlov
    As with the original Anchorman, the gags fly fast and free; not all of them work, but a romantic subplot between linguistically challenged Brick and GNN secretary Chani (Wiig) is an inspired comedic dorkgasm.
    • 48 Metascore
    • 67 Marc Savlov
    Fassbender, though, gets the kudos (again) as the man who has everything but loses it all – thanks partly to a slyly cast Bruno Ganz (Wings of Desire) and, more important, to the character’s moral compass that points wherever he feels it should, until, of course, it points due south of heaven.
    • 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.
    • 60 Metascore
    • 67 Marc Savlov
    Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time.
    • 49 Metascore
    • 67 Marc Savlov
    While "The Chronicles of Riddick" was an overstuffed melange of CGI and unnecessary subplots, Riddick is a far more streamlined affair, and all the better for it.
    • 58 Metascore
    • 67 Marc Savlov
    As a surrealistic depiction of the mental disintegration of Jim (Abramsohn), a seemingly ordinary family guy, while visiting “the happiest place on Earth,” it’s a prank and a spit in the eye of Disney’s relentless cheerfulness. But director Randy Moore’s pièce de résistance goes far beyond flipping the bird to the mouse that roars.
    • 66 Metascore
    • 67 Marc Savlov
    There’s tension as the two hole up in Santa Fe to work on the book, but the bottom-line feeling is of two old friends, now two old men, who have found their place in each other’s complicated lives.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    That it all ends on a somewhat flat, false note is less a failure of the filmmakers than it is a testament to a certain amount of overzealousness in the screenplay – which, of course, echoes the nail-gnawing tension unfolding onscreen. Bravo!
    • 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.
    • 71 Metascore
    • 67 Marc Savlov
    Brandon Lee's swan song is a kinetic, pounding, adrenalized feast for the senses, if not the psyche. Bursting with startling images, eclectic staging, and gorgeous neo-gothic set design.
    • 82 Metascore
    • 50 Marc Savlov
    The only thing here that feels truly, utterly alive is Ledger's maniacal, muttery Joker. The last laugh is his and his alone. It's enough to make you cry.
    • 63 Metascore
    • 50 Marc Savlov
    A Perfect Getaway is, in its own delightfully silly and manipulative way, one of the most effective paranoid thrillers of the new millennium. That doesn't make it a great movie by a long shot.
    • 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.
    • 56 Metascore
    • 50 Marc Savlov
    Watchmen is worth seeing, fan or no, for Haley's squirmy presence alone, and all the other characters are also well-served.
    • 50 Metascore
    • 50 Marc Savlov
    It's hardly a classic of the genre, but then again, like Armour hot dogs: it's Comfort Food for Men.
    • 60 Metascore
    • 50 Marc Savlov
    9
    This expanded version only suffers, albeit in grim visual splendor, from the extrapolation.
    • 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.
    • 42 Metascore
    • 50 Marc Savlov
    Bottom line: This Orphan is an atmospheric and occasionally vicious little git and an above-average entry into the "cuddly hellspawn" genre, overlong at two-plus hours, but nowhere near as excruciatingly overdone as others of its ilk (Devil Times Five, I'm talking to you).
    • 64 Metascore
    • 50 Marc Savlov
    While the film never quite reaches the emotional peaks it so obviously seeks to scale, Zwick's film is still potent enough to save you three months salary.
    • 73 Metascore
    • 50 Marc Savlov
    Taken as a whole, Thirst meanders too far from the crossroads of life and death; it gets outright dull in spots, although they are few and far between.
    • 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.
    • 37 Metascore
    • 50 Marc Savlov
    It's a messy, overlong film, but it's impossible to take seriously and therefore more than a little entertaining.
    • 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.
    • 48 Metascore
    • 50 Marc Savlov
    Consistently entertaining, athletically brutal, and, more often than not, well-acted.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Marc Savlov
    Do we like John Wilmot, the second Earl of Rochester? As played by Depp, this 17th-century nobleman-cum-travesty is a carriage crash of epic proportions, and so it's difficult not to crane your neck around to get a better view of the proceedings.
    • 60 Metascore
    • 50 Marc Savlov
    Moves with the stately speed of most Merchant/Ivory productions, which is to say too damn slow, but the film is snatched from the jaws of tedium by Doyle's resplendently lush camerawork and Fiennes and Richardson's spot-on performances.
    • 55 Metascore
    • 50 Marc Savlov
    Hostel certainly delivers in the gore department, and Roth, who knows and loves his favorite genre at least as well as the gang over at the Alamo Drafthouse, peppers the proceedings with various witty in-jokes.
    • 41 Metascore
    • 50 Marc Savlov
    A horror film (or, more accurately, a shocker film) that takes such exuberant, gleeful delight in the unspeakably gory dispatch of assorted teenagers that it may well be the most fun you'll have at the movies all week.
    • 62 Metascore
    • 50 Marc Savlov
    There are droll comic flourishes in this very brave film, to be sure, but all you really want to do after watching CSA is hang down your head and cry.
    • 43 Metascore
    • 50 Marc Savlov
    There are precious few surprises here, but parents will find director Robbins' breezy remake a painless affair and, judging by the yowls of laughter from the peanut gallery at the screening I attended, the kids will be barking all the way home.
    • 71 Metascore
    • 50 Marc Savlov
    For a film that's ostensibly about modern American society's love affair with addictive behavior – sex, drugs, rock & roll – its bark is much worse than its bite.
    • 55 Metascore
    • 50 Marc Savlov
    It's Banderas' film all the way, of course: he's one of those genuinely gifted, glowing actors who can nevertheless hold your attention through sheer onscreen charisma.
    • 30 Metascore
    • 50 Marc Savlov
    Silent Hill's main attraction, for genre fans, certainly, lies not in its plot nor in its characters (you could place anyone in this particular township and whatever might happen, you could be sure it'd be unnerving), but in its relentlessly nightmarish imagery.
    • 58 Metascore
    • 50 Marc Savlov
    It takes creepy, spooky, and altogether ooky to a hideous new level.
    • 58 Metascore
    • 50 Marc Savlov
    There's much to enjoy here – Ratner's pacing is fluid and fast and the film rushes along its busy, cluttered way with something approaching melodramatic snarkiness – but it's also terribly busy and cluttered.
    • 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.
    • 63 Metascore
    • 50 Marc Savlov
    Invincible is like a thick, sweaty slab of NFL comfort food.
    • 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.
    • 48 Metascore
    • 50 Marc Savlov
    Pop psychology has never been as visceral as it is in Saw III.
    • 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.
    • 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.
    • 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.
    • 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
    Despite the hardships depicted, Golden Door is a sweet film at heart, playing witness to the birth pangs of modern America with both due respect and the occasional comic grace note, but not, oddly, one single shot of the Statue of Liberty.
    • 50 Metascore
    • 50 Marc Savlov
    No Reservations succeeds as well as it does (kinda sorta) by virtue of Zeta-Jones' performance.
    • 66 Metascore
    • 50 Marc Savlov
    Stardust has lost a good amount of its magic in the transformation from page to screen. It's the cinematic equivalent of getting a punch in the mind's eye by a bunch of faeries wearing the coolest Doc Martens this side of Florin.
    • 56 Metascore
    • 50 Marc Savlov
    Pleasant but pedestrian.
    • 36 Metascore
    • 50 Marc Savlov
    Torture, you may recall, used to be an unparsable, unpardonable sin. Now it's porn.
    • 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.
    • 57 Metascore
    • 50 Marc Savlov
    Turnabout is fair play, to be sure, but ultimately virtually everyone in Teeth ends up using sex as a weapon, edged or otherwise, to the detriment of all concerned. Just say "Ow."
    • 74 Metascore
    • 50 Marc Savlov
    Ultimately the composition comes off as both overplayed and underdone.
    • 35 Metascore
    • 50 Marc Savlov
    The whole production does reek a bit of origin story filminess, but even so, it's light sabers beyond Christensen's sad, revengeful fate in "Episode III" and does offer a nice view of the top of the Sphinx's head no less than three times.
    • 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.
    • 51 Metascore
    • 50 Marc Savlov
    Marshall, like his characters, does not mess around: Good people do bad things to not-entirely bad people while the Man (in this case No. 10 Downing St.) seeks ways to screw everyone.
    • 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."
    • 36 Metascore
    • 50 Marc Savlov
    Who doesn't love an animated, anthropomorphized-chimpanzee-starring, sci-fi romantic comedy?
    • 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.
    • 63 Metascore
    • 50 Marc Savlov
    Eastwood's grim handling of even grimmer subject matter could have used some paring down toward its histrionic ending, but Changeling is still one of the director's most assured and engaging historical horror shows.
    • 32 Metascore
    • 50 Marc Savlov
    It's not often you come across a film as unique as this, and while my taste for liver, lights, and sweetbreads isn't what it once was, this is still a fine post-Halloween aperitif, with guts to spare.
    • 51 Metascore
    • 50 Marc Savlov
    Transporter 3 is so far over the top that it more than once spills into outright cartoonishness.
    • 52 Metascore
    • 50 Marc Savlov
    Fans of the original films will dig Richards and Eisenmann's cameo appearances.
    • 50 Metascore
    • 50 Marc Savlov
    Hasn't got a lot more to say than it did last time about the necessity of accepting the nontraditional family in extraordinary times, but what it does have going for it are its well-delineated characters.
    • 54 Metascore
    • 50 Marc Savlov
    It's a neat, sweet experiment in meta-documentary filmmaking overall, but like Yi's own heart, it sabotages itself in the process and becomes another casualty of too-close scrutiny.
    • 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.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Marc Savlov
    All's fair in love and war, I know, but really now.
    • 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.
    • 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.
    • 25 Metascore
    • 50 Marc Savlov
    If only someone had taken away that disastrous third act we'd have one of the better mainstream films dealing with the impossible societal demands put upon gay parenting yet made. No such luck, though.
    • 59 Metascore
    • 50 Marc Savlov
    It's a gorgeous albeit depressing mess, as distancing and despairing as a realpolitik wipeout.
    • 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.
    • 49 Metascore
    • 50 Marc Savlov
    Offers too small a dose of the blood-and-sand adventure you expect from this sort of big-budget Hollywood remake. As it is, it borders on The English Patient's on again-off again heroics, minus Anthony Minghella's patient skill in eliciting romantic suspense.
    • 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.
    • 68 Metascore
    • 50 Marc Savlov
    Breathtakingly gorgeous but ultimately thematically unsatisfying.
    • 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.
    • 79 Metascore
    • 50 Marc Savlov
    Some people might find Chunhyang a chore to sit through, including me. Despite all of its accumulated period gorgeousness, or perhaps because of it, the film moves at a snail's pace, telegraphing plot twists miles before we actually arrive at them.
    • 33 Metascore
    • 50 Marc Savlov
    It's not nearly as mediocre a two hours as the trailers would have you think.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Marc Savlov
    It's a glorious mess, though, with genuine bits of comic genius strewn amidst the rubble, not unlike a plane crash in its own way.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Marc Savlov
    An occasionally charming mix of campy fun and dodgy computer-generated effects.
    • 56 Metascore
    • 50 Marc Savlov
    In the end, Meadows' film lacks the bite it needs to make us care about this oddball trio, endearing though they are.
    • 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.
    • 54 Metascore
    • 50 Marc Savlov
    Jim Jarmusch's elegiac, hilarious performance as a man about to smoke his final cigarette is brilliant.
    • 42 Metascore
    • 50 Marc Savlov
    Dogg has the makings of a genuinely great actor. When he's on screen the film crackles, and even when he's not it's a trippy, funhouse ride.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Marc Savlov
    Both a headache and a marvel, often eliciting simultaneous groans of despair and sheer wonder at the director's nervy chutzpah.
    • 54 Metascore
    • 50 Marc Savlov
    Full of nuanced performances (Streep in particular) and wonderfully enveloping music.
    • 62 Metascore
    • 50 Marc Savlov
    Much of the film is frankly ludicrous, but that does little to dispel its overall power and passion.
    • 32 Metascore
    • 50 Marc Savlov
    This Godzilla is lacking both the awesome spirit of the original and the sublime silliness of the more recent Toho outings.
    • 71 Metascore
    • 50 Marc Savlov
    Like the inky void of space, there's really not much here, but what there is, is certainly entertaining.
    • 53 Metascore
    • 50 Marc Savlov
    The good news, then, is that The Siege is hardly the ticking time bomb of racial slurs some would have you imagine, and the bad news is that it doesn't matter because it's all too damn pedantically serious to take seriously.
    • 63 Metascore
    • 50 Marc Savlov
    Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.
    • 26 Metascore
    • 50 Marc Savlov
    A middling film through and through, despite the occasional shocks it tries to earnestly to achieve.
    • 45 Metascore
    • 50 Marc Savlov
    A middling urban thriller that's one part "Rear Window" and three parts "Seven."
    • 48 Metascore
    • 50 Marc Savlov
    Make no mistake -- this Mummy is an effects film all the way.
    • 43 Metascore
    • 50 Marc Savlov
    Palmetto follows the rules of film noir so slavishly that it's tough not to like it just on its own dopey, headstrong merit.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Marc Savlov
    Inoffensive fun that kids will love and adults will likely love too, it's a middle of the road affair, but a far cry from roadkill.
    • 51 Metascore
    • 50 Marc Savlov
    Not for everyone's taste, I'd think, but a notably thoughtful effort nonetheless.
    • 52 Metascore
    • 50 Marc Savlov
    It bears noting that Greendale is an awful lot like the town of Mayberry R.F.D. in that paragon of homespun virtue, "The Andy Griffith Show," but then again, it's probably equally wise to bear in mind that before Griffith was the sheriff of that hamlet, he was in "A Face in the Crowd" playing a character who, with his conniving, manipulative, black-at-heart ways, might well represent Greendale's dark and awful future.
    • 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.
    • 71 Metascore
    • 50 Marc Savlov
    October Sky falls flat (despite its rich tone and some startling cinematography by Fred Murphy) due to its all-too-obvious third act and the vague fact that, really, not that much happens.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Marc Savlov
    It is a harmless and occasionally hilarious pop comedy good for a few bargain yuks.
    • 38 Metascore
    • 50 Marc Savlov
    While it’s far from bad, it also falls far short of the icy frissons produced by the original.
    • 56 Metascore
    • 50 Marc Savlov
    Max
    Ultimately, Meyjes focuses too much on Max when he should be filling the screen with this tortured, dull artist and monster-in-the-making.
    • 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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 49 Metascore
    • 50 Marc Savlov
    McGuigan's wonderfully ambitious but terribly melodramatic film is chock-full of symbolic references, subtext, and the sort of period detail that made Monty Python's historical comedies so gamely endearing.
    • 72 Metascore
    • 50 Marc Savlov
    Without a doubt, the animation is vibrant and electrifying; it's only the story that lacks.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Marc Savlov
    Once you get past the admittedly breathtaking shots of our national landmarks being turned into kindling, the rest of the film is a tired and empty two hours of feel-good patriotism and oddly cast characters.
    • 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.
    • 47 Metascore
    • 50 Marc Savlov
    It’s The Alamo, all right, but will anyone want to remember it?
    • 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.

Top Trailers