For 1,682 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 Ran (re-release)
Lowest review score: 0 The Seeker: The Dark Is Rising
Score distribution:
1,682 movie reviews
    • 53 Metascore
    • 67 Marc Savlov
    It's a great set-up, and for the first two-thirds or so of the film it works exceptionally well as a jaundiced satire on the world of gay porn.
    • 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.
    • 55 Metascore
    • 67 Marc Savlov
    Remarkable and enlightening.
    • 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.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    Has the look and feel of Euro-Altman (vastly superior to Euro-Disney, mind you).
    • 56 Metascore
    • 67 Marc Savlov
    A smart albeit uneven jab at everything from the clubbing life to the male inclination toward Peter Pan.
    • 63 Metascore
    • 67 Marc Savlov
    It's nonstop chaos, and the everything-and-the-kitchen-sink style of comedy is taxing despite the frequent moments of pure comic genius.
    • 58 Metascore
    • 67 Marc Savlov
    Unleashed suffers from a surfeit of sentimentality at times (blame Besson for that), but it's Li's first major Western role of any depth and he acquits himself admirably as both mad dog and melancholy master.
    • 68 Metascore
    • 67 Marc Savlov
    A vast improvement over the previous two outings, but still and all, it's no "Star Wars."
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 67 Marc Savlov
    The delectably atmospheric Asylum remains gothic to its morally maggoty core.
    • 71 Metascore
    • 67 Marc Savlov
    Red Eye's no classic, but with its smart, twisty little script and those two killer performances, it is a helluva lot of fun.
    • 55 Metascore
    • 67 Marc Savlov
    At its best when it goes down to the pub and captures, quite flawlessly, the grotty intoxication of these mad, bad, dangerous-to-know Hammers fans hoisting incalculable pints.
    • 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."
    • 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.
    • 55 Metascore
    • 67 Marc Savlov
    If you're not already smitten with all things Gaiman, you may well find yourself, like Helena, a stranger in a strange land.
    • 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.
    • 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.
    • 58 Metascore
    • 67 Marc Savlov
    This is a war film with precious little war, which was also the crux of Swofford's book.
    • 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.
    • 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.
    • 65 Metascore
    • 67 Marc Savlov
    The Matador is anything but predictable, and therein lies its sublime and fascinating charm.
    • 68 Metascore
    • 67 Marc Savlov
    All one needs to know about Burt Munro, the real-life New Zealand codger and Indian motorcycle enthusiast who in 1967 set a land speed record that still stands today, comes midway through this unabashedly sentimental wall of schmaltz.
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    It's still just cops and robbers, but with Donner at the helm, it feels like so much more.
    • 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.
    • 27 Metascore
    • 67 Marc Savlov
    This is an unpleasant film, but Argento, whose bloodline positively seethes with unpleasantness, is, in her own right, a master cinematic stylist of the first order.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    As a narrative film, it's confounding and oblique – but still gorgeous to behold.
    • 57 Metascore
    • 67 Marc Savlov
    Trite? Sure. Obvious? And then some. But a lesson to be taken to heart nonetheless.
    • 64 Metascore
    • 67 Marc Savlov
    It's less cheesecake than angel-food: frothy, light, and delicious, sure, but two hours later you're ready for something slightly more substantive.
    • 61 Metascore
    • 67 Marc Savlov
    Never less than good but it's also never quite great.
    • 53 Metascore
    • 67 Marc Savlov
    It's all a bit much, yes, a bit exhausting, that's true, but then why on earth would anyone expect otherwise?
    • 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.
    • 51 Metascore
    • 67 Marc Savlov
    It's unlike anything else out now, and Williams, to his credit and our immense relief, has for the moment foresworn his usual giddiness in favor of a muted, hunched acting style that befits both the character of Noone and the overall tone of the film.
    • 63 Metascore
    • 67 Marc Savlov
    Its view of mankind is unkind, to say the least, but any race that can produce such remarkably garish gore as this is perhaps salvageable somehow, someday.
    • 58 Metascore
    • 67 Marc Savlov
    To be sure, Snakes on a Plane is going to inspire some highly readable graduate-school film theses. You may even want to re-enroll to pen one yourself.
    • 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.
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    American Hardcore encapsulates a largely forgotten (by the mainstream, that is) moment in maximum rock & roll history.
    • 63 Metascore
    • 67 Marc Savlov
    Apparently fit and reasonably trim, Deal's honesty touches a nerve that the band's music only gnawed on back in the day.
    • 75 Metascore
    • 67 Marc Savlov
    It's Winslet who is the heart and soul of Little Children, and when she makes a desperate, final bid to reclaim her soul, it's both horrifying and heart-rending.
    • 62 Metascore
    • 67 Marc Savlov
    It's always odd to see Robbins, a political activist in his own right, playing at villainy, but here he descends into the role so thoroughly that the lopsided smile becomes less a notation of cockeyed boyishness than a treacherous Cheshire smirk.
    • 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.
    • 36 Metascore
    • 67 Marc Savlov
    With Turistas, Stockwell dives head-first into a veritable riptide of churning, vicious exploitation cinema, and the result is surprisingly effective.
    • 63 Metascore
    • 67 Marc Savlov
    Like the character of Rocky, it's got heart to spare, and is by turns one of the sweetest of the sweet-science pictures as well as one of the most doleful. Fighters fight, it's what they do. And Balboa, god bless him, fights on.
    • 66 Metascore
    • 67 Marc Savlov
    A poke in the eye of genre convention with a flensing blade and a disarmingly charming razor-blade grin.
    • 75 Metascore
    • 67 Marc Savlov
    Irony and unwavering idealism are bound up in this lengthy but instantly engaging and informative documentary.
    • 54 Metascore
    • 67 Marc Savlov
    In the end, it's all la dolce vita no matter how you look at it.
    • 71 Metascore
    • 67 Marc Savlov
    The war might be over, but fear and hope remain locked in a rapturous stranglehold amidst the rubble.
    • 78 Metascore
    • 67 Marc Savlov
    At once eerie, picaresque, evocative, and utterly alien to the reality most viewers inhabit, Into Great Silence is a daring and breathtakingly constructed documentary dream. So much so that the more restless among us may find themselves nodding off.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    While 28 Weeks Later ultimately falls shy of classic status (it's no Panic in Year Zero!), there are several hard-to-shake scenes -- nightmare visions, really -- that reveal the infected populace to be far less dangerous to the fabric of a civilized society than, perhaps, the very notion of civilization itself.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 67 Marc Savlov
    Sometimes a little too pat, a little too cute.
    • 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.
    • 53 Metascore
    • 67 Marc Savlov
    These days, it's dark everywhere. Which makes Slade's wild, often exhilarating neo-Western ride into frostbit vampirism something of a respite, albeit one awash gore.
    • 47 Metascore
    • 67 Marc Savlov
    Bella is, indeed, a beautiful film. The bustling, cab-crowded thoroughfares of New York City have rarely looked as inviting and the coastline as momentously beachy as they do in this film.
    • 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."
    • 59 Metascore
    • 67 Marc Savlov
    Although this version of Beowulf (the script, ricocheting between thrilling, heroic, and hilarious, is by Neil Gaiman and Roger Avary) does take some liberties with certain heretofore undreamed of aspects of parentage, it's as faithful to the extant version as it needs to be.
    • 78 Metascore
    • 67 Marc Savlov
    It's also and most interestingly about the writing process itself, a difficult feat to pull off on film, which Wagner and co-screenwriter Fred Parnes manage to display with unvarnished realism.
    • 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.
    • 71 Metascore
    • 67 Marc Savlov
    A family film in the best sense.
    • 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.
    • 50 Metascore
    • 67 Marc Savlov
    Works both as an engagingly sordid meditation on protofeminism and contemporized sisterhood set in a time and a place where either/or were grounds for, at the very least, defenestration.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 67 Marc Savlov
    Segel, scripting himself, injects regular bursts of comic genius into the proceedings.
    • 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.
    • 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.
    • 54 Metascore
    • 67 Marc Savlov
    Sandler's first collaboration with co-writer and current Hollywood comedy godhead Judd Apatow, is a crazed, delightfully bizarre return to form for Sandler.
    • 61 Metascore
    • 67 Marc Savlov
    Laugh? Cry? I thought I'd die, but then that's the genius of Gordon.
    • 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.
    • 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.
    • 64 Metascore
    • 67 Marc Savlov
    We've heard tell about the rebirth of the Western at least since Clint Eastwood's vicious, "Unforgiven" 16 years ago, but since the genre never truly died in the first place there's no need to flog that horse here.
    • 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.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    Howard's snappy-smooth performance, unsurprisingly, is what elevates Fighting from its hoary genre predecessors.
    • 63 Metascore
    • 67 Marc Savlov
    Falling somewhere between the horrors of Three … Extremes and the beauties of Eros, this triptych of short films set in and underscored by the titular megalopolis is a gorgeous, sprawling mess.
    • 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.
    • 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.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    One of the more surreal docs to come down the pike in some time.
    • 69 Metascore
    • 67 Marc Savlov
    Best of all, though, is the kinescope footage of the televised version's early episodes, which eerily resemble nothing so much as every other TV sitcom to follow, Seinfeld included.
    • 64 Metascore
    • 67 Marc Savlov
    The Road deviates from McCarthy's original text via a series of flashbacks to the man's pre-apocalyptic life with the woman (Theron) who both leaves her family behind and is in turn left behind by them.
    • 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.
    • 57 Metascore
    • 67 Marc Savlov
    Here's hoping that younger members of the audience will seek out Conan Doyle's original stories to further explore Holmes' official amanuensis, Dr. John Watson, whose brilliant case studies regarding his friend, roommate, and fellow rationalist are the stuff dreams are made of.
    • 70 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.
    • 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.
    • 43 Metascore
    • 67 Marc Savlov
    It's more fun than a poke in the heart with a sharp stick.
    • 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).
    • 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.
    • 73 Metascore
    • 67 Marc Savlov
    By far the freakiest and most unnerving shocker in theatres this season.
    • 73 Metascore
    • 67 Marc Savlov
    You may have the biggest flat-screen DLP monitor in the city, but Red Cliff will never look half as spectacular as it will on the big – and I mean really big – screen.
    • 61 Metascore
    • 67 Marc Savlov
    A winning update of a classic piece of Eighties' filmmaking, and that in itself is something of a coup.
    • 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).
    • 64 Metascore
    • 67 Marc Savlov
    Due in large part to its cultural relevance, this is also one of the few sequels that nearly succeeds in topping the original.
    • 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.
    • 65 Metascore
    • 67 Marc Savlov
    The Runaways nails both the glammy, SoCal temper of the mid-Seventies and the metallurgic tempering of the first all-girl rock band in America.
    • 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.
    • 65 Metascore
    • 67 Marc Savlov
    It's nail-biting good fun, sporting some très haute couture nails.
    • 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.
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    Call it the aesthetic of un-Happiness.
    • 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.
    • 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?).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 67 Marc Savlov
    Director Benny Chan has fashioned a visually sumptuous period wushu film with a strikingly contemplative and pacifist bent.
    • 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.
    • 59 Metascore
    • 67 Marc Savlov
    The film provides a whole new way of looking at the same old dead things. Eat up.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 67 Marc Savlov
    Exodus is an entertainment of the first order. I’m not so sure about the filmmaker’s decision to render the Metatron archangel as a 9-year-old boy, but what the hell? You get hit on the head with a boulder, who knows what you’ll see?
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Marc Savlov
    An occasionally charming mix of campy fun and dodgy computer-generated effects.
    • 59 Metascore
    • 50 Marc Savlov
    It's a gorgeous albeit depressing mess, as distancing and despairing as a realpolitik wipeout.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 50 Marc Savlov
    A middling urban thriller that's one part "Rear Window" and three parts "Seven."
    • 51 Metascore
    • 50 Marc Savlov
    Not for everyone's taste, I'd think, but a notably thoughtful effort nonetheless.
    • 54 Metascore
    • 50 Marc Savlov
    Full of nuanced performances (Streep in particular) and wonderfully enveloping music.
    • 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.
    • 56 Metascore
    • 50 Marc Savlov
    Where Scream 3 triumphs is in its wacky, take-no-prisoners, I am a Juggernaut of Terror, Hee, Hee attitude, which wisely makes room for some downright surreal moments amongst the carnage.
    • 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.
    • 47 Metascore
    • 50 Marc Savlov
    It's rougher stuff than most would expect, though not unrewarding in its own horrific way.
    • 62 Metascore
    • 50 Marc Savlov
    Much of the film is frankly ludicrous, but that does little to dispel its overall power and passion.
    • 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.
    • 48 Metascore
    • 50 Marc Savlov
    Make no mistake -- this Mummy is an effects film all the way.
    • 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.
    • 26 Metascore
    • 50 Marc Savlov
    A middling film through and through, despite the occasional shocks it tries to earnestly to achieve.
    • 60 Metascore
    • 50 Marc Savlov
    Manages to get by on wry smarts, barbed asides, and plenty of Barrymore's comic grace.
    • 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.
    • 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.
    • 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).
    • 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.
    • 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.
    • 65 Metascore
    • 50 Marc Savlov
    Flawed at its core but stunning nonetheless.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Marc Savlov
    All's fair in love and war, I know, but really now.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 50 Marc Savlov
    Is this the future of horror or just some bizarre fluke? Don't ask me, I'm having too much fun to care.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Marc Savlov
    A crowd-pleasing blockbuster if ever there was one, features as its centerpiece a jaw-droppingly vivid re-creation of the Japanese attack on the U.S.'s fabled (and extremely vulnerable, as it turned out) Pacific fleet.
    • 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
    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.
    • 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.
    • 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.
    • 81 Metascore
    • 50 Marc Savlov
    Relax, sit tight, and enjoy the ride.
    • 77 Metascore
    • 50 Marc Savlov
    But even a rapper needs to punch things up a bit, and 8 Mile, for all its hip-hop braggadocio, is a pretty weak riff.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Marc Savlov
    It is a harmless and occasionally hilarious pop comedy good for a few bargain yuks.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Marc Savlov
    Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.
    • 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.
    • 38 Metascore
    • 50 Marc Savlov
    While it’s far from bad, it also falls far short of the icy frissons produced by the original.
    • 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.
    • 64 Metascore
    • 50 Marc Savlov
    If you can get past the ick factor inherent in these suddenly adulterized relationships –- and there’s really no way this film should have received a kid-friendly PG rating –- and latch on to the film’s wealth of metaphor, you’ll surely have something to discuss over coffee post-screening.
    • 72 Metascore
    • 50 Marc Savlov
    Without a doubt, the animation is vibrant and electrifying; it's only the story that lacks.
    • 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.
    • 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.
    • 54 Metascore
    • 50 Marc Savlov
    Jim Jarmusch's elegiac, hilarious performance as a man about to smoke his final cigarette is brilliant.
    • 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.
    • 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.
    • 47 Metascore
    • 50 Marc Savlov
    It’s The Alamo, all right, but will anyone want to remember it?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Marc Savlov
    Miike's film is a cunning little comedy of manners gone mad. Even when you feel you have to turn away from the screen or lose your lunch, Miike has something interesting to say. I'm not entirely sure what it is but his lips are moving and something horrific is definitely coming out.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Marc Savlov
    Both interesting and insufferable.
    • 64 Metascore
    • 50 Marc Savlov
    Juvenile yet compellingly smart humor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 50 Marc Savlov
    For a film focusing on such a rich emotional tapestry, Kundun is strangely lacking in its emotional core.
    • 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).
    • 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
    Like the inky void of space, there's really not much here, but what there is, is certainly entertaining.
    • 40 Metascore
    • 50 Marc Savlov
    It's a comic book movie in the broadest sense of the term, and although it's neither as emotionally resonant as "The Crow" nor as surreally goofy as "Tank Girl," Barb Wire still manages to get you going, Anderson Lee fan or not.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Marc Savlov
    It seems almost beside the point to bring up the notion of plotting and characterization in such an effects-driven film ; nobody's going to rush out to catch Dante's Peak on account of the Shakespearean-caliber thespians involved.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Marc Savlov
    Bertolucci returns to his native Italian soil for the first time in 15 years, and the result is a gorgeous albeit fairly insubstantial homecoming.
    • 67 Metascore
    • 50 Marc Savlov
    It's charming, in its own little way, but really, this film has as much substance as a Cirrus cloud, despite fine turns from Boyle as the family patriarch and Warden as Godfather Saul.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Marc Savlov
    Unfortunately, The Pelican Brief comes across as a prolonged bout with deja vu: you know you've seen this before, and more than once at that.
    • 58 Metascore
    • 50 Marc Savlov
    It is, in essence, the video game transferred part and parcel to the screen, and very well at that.
    • 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.

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