For 1,657 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 7.5 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 Happily N'Ever After
Score distribution:
1,657 movie reviews
    • 50 Metascore
    • 40 Marc Savlov
    Can this be the end of Death? If only.
    • 36 Metascore
    • 40 Marc Savlov
    An unpredictably bizarre and tonally askew Hong Kong freak show.
    • 44 Metascore
    • 40 Marc Savlov
    "Bob & Carol & Ted & Alice" meets a considerably tamed Van Wilder for a mediocre romp in the Hamptons.
    • 70 Metascore
    • 40 Marc Savlov
    Contagion is certainly the most realistic portrayal of a global pandemic I've seen, but that doesn't make it the most entertaining, or even all that intellectually interesting.
    • 45 Metascore
    • 40 Marc Savlov
    Ultimately, the remake is, at best, rote and, at worst, totally unnecessary.
    • 43 Metascore
    • 40 Marc Savlov
    With its combustible mix of high-octane action and Christian faith, and an overall vibe that falls somewhere between bloodthirsty nihilism and an unshakable belief in the twinned powers of religious redemption and obsession, Machine Gun Preacher is certainly the strangest examination of grace under AK-47 fire to merit a mainstream release in ages.
    • 50 Metascore
    • 40 Marc Savlov
    "Shakespeare in Love" it ain't, but the wealth of stage and screen talent on display, most if not all of whom have essayed one or another of the Bard's characters in the past (including a modern-day introduction by Sir Derek Jacobi), make for a pleasantly ridiculous descent into utter confabulation.
    • 56 Metascore
    • 40 Marc Savlov
    What The Rum Diary lacks in narrative astonishment it almost makes up for in boozy charm. Depp, Ribisi, and Rispoli are a sight to behold.
    • 22 Metascore
    • 40 Marc Savlov
    Beneath the Darkness has nada on Don Coscarelli's epic "Phantasm" saga or, for that matter, Norman Bates' clear-eyed if psychotic shenanigans. It's strictly a guilty pleasure.
    • 40 Metascore
    • 40 Marc Savlov
    In the end it's all much ado about not so much, a semifunctional thriller that tingles but never terrifies. Ledge schmedge.
    • 31 Metascore
    • 40 Marc Savlov
    But Pine playing 1960s-era Shatner – sometimes subtly, sometimes not? That's a terrific gag. Really, it is. Totally inspired. It's just not enough to save this otherwise cookie-cutter bromantic comedy from being anything other than what it is: an inoffensive yawn.
    • 39 Metascore
    • 40 Marc Savlov
    The chickiest flick you're likely to see this season. Depending on your taste in romantic fare, you'll either find it toe-curlingly dreamy or ploddingly predictable.
    • 55 Metascore
    • 40 Marc Savlov
    Enough already with the pointless gun battles that litter Safe like spent syringes in a shooting gallery. No matter how spastically you edit them, you'll never top John Woo's early work, or, for that matter, Sam Peckinpah's. Aim higher, even if it means fewer hits.
    • 35 Metascore
    • 40 Marc Savlov
    Mansome is mostly miss, and pretty thin as well.
    • 57 Metascore
    • 40 Marc Savlov
    If you have an 8- to 16-year-old underfoot in the house, there are worse ways to spend a Saturday afternoon.
    • 36 Metascore
    • 40 Marc Savlov
    The Watch is awfully lightweight, and while it earns its R rating via some comic gore and a whole lot of hyper-sexualized tomfoolery, it's hardly the best work of anyone involved.
    • 50 Metascore
    • 40 Marc Savlov
    A bizarre mélange of earnest and romantic road movie, high-octane chase picture reminiscent of everything the mustachioed version of Burt Reynolds ever did, and a slapsticky comedy that gives Tom Arnold considerably more screen time than actually necessary.
    • 51 Metascore
    • 40 Marc Savlov
    Why make a new mediocrity when the old ones are still so much more fun to watch?
    • 57 Metascore
    • 40 Marc Savlov
    Both the yuks and the yucks are plentiful, but by the time the film reaches a montage sequence of these two boneheads (well, one bonehead, one dope) laying waste to Los Angeles gang members and other wastrels in an attempt to satiate Bart's thirst for the red stuff, you're more than likely wishing you were watching Simon Pegg and Nick Frost in something else entirely. The similarities between the two horror comedy pairings are just too obvious to be ruled out as coincidence.
    • 45 Metascore
    • 40 Marc Savlov
    Is this the start of a new subgenre? Probably not – 2009's "The Unborn" traded in Jewish mysticism, too – but it's considerably creepier than it has any right to be and, to be sure, righteous rabbis can be pretty terrifying in and of themselves.
    • 37 Metascore
    • 40 Marc Savlov
    It's not atrocious, but it borders on it, thanks to Dennis Quaid's annoying narration and his even more irritating portrait of the self-loathing writer whose presence bookends the two main storylines.
    • 57 Metascore
    • 40 Marc Savlov
    Flying Swords of Dragon Gate isn't as much fun as the director's previous film – the wondrous "Detective Dee and the Mystery of the Phantom Flame."
    • 39 Metascore
    • 40 Marc Savlov
    Jovovich's physicality and chilly mien (she was originally a "project" of the Umbrella Corp.) carry the series from start to … whenever it finishes, which might not be for quite a while yet.
    • 32 Metascore
    • 40 Marc Savlov
    Least Among Saints is a heartfelt if not exactly heartwarming story of two wounded males, but despite top-notch performances from all the leads, it never really brings anything new to a story that's already overly familiar.
    • 72 Metascore
    • 40 Marc Savlov
    Sweet enough but in the end a bit of a corny-syrupy wipeout, this is middling family-night fare, but it never even comes close to the emotional or technical wizardry of Pixar's finest moments.
    • 65 Metascore
    • 40 Marc Savlov
    One of the dullest films of the sextet thus far.
    • 61 Metascore
    • 40 Marc Savlov
    As an ensemble comedy that at best is only firing on four cylinders at any given moment, Mr. Jealousy is a slight contrivance, one that dawdles around in your head for a brief while before vacating the area to make room for more pressing issues.
    • 61 Metascore
    • 40 Marc Savlov
    Ultimately, Elysium ends up with explosions, running gun battles, and summer non-blockbuster tedium. The outcome is never in question, and while Blomkamp has proven himself to be a master of sci-fi social commentary in the past, this dull wheel in the sky just lands with a resounding thud.
    • 44 Metascore
    • 40 Marc Savlov
    It fails to rise above the inherent limitations of the traditional Hollywood biopic and it's about as insanely great as a Mac "low cost" LC model – which was, to be fair, pretty cool.
    • 50 Metascore
    • 40 Marc Savlov
    Still, the revelations of evildoers clogging the corridors of power pack very little punch; we're all too aware that such malfeasance and malignity have become the status quo in the real world.
    • 41 Metascore
    • 40 Marc Savlov
    It works extremely well as a drunken, date-night midnighter or film-fest entry, all madcap bloodletting and surrealist non sequiturs.
    • 63 Metascore
    • 40 Marc Savlov
    It’s still a hellish glimpse into one of climbing’s worst days ever, and there’s no way to resolve the unresolvable, but as it is The Summit, like K2 itself, remains an icily beautiful and altogether deadly mystery.
    • 49 Metascore
    • 40 Marc Savlov
    From Lee’s point of view, I can understand the enticing challenge of taking on a revered cult film Oldboy. But a pair of ill-conceived casting choices can jolt you out of the film, or worse, elicit the rolling of eyes and barely stifled giggle.
    • 34 Metascore
    • 40 Marc Savlov
    Although a slow-burn approach to this sort of creepfest is generally a smart move, Devil’s Due peters out of outright suspense midway through and never fully recovers, despite (or possibly because of) a final reel that may shock some viewers but will leave die-hard genre fans gnashing their teeth and rending their clothes in dismay.
    • 30 Metascore
    • 40 Marc Savlov
    I, Frankenstein is nowhere near as garishly, ghoulishly awful as "Van Helsing," Universal’s last attempt to resurrect its classic monsters. It’s a grimly fiendish slog nonetheless, and hardly worth getting up out of the grave for.
    • 30 Metascore
    • 40 Marc Savlov
    It’s not a complete disaster, but even the appearance of Gabriel Byrne, as Lissa’s uncle Victor, fails to make much of a dent in the slapdash proceedings.
    • 39 Metascore
    • 40 Marc Savlov
    Pompeii delivers the goods – well, at least during its final 20 minutes.
    • 61 Metascore
    • 40 Marc Savlov
    Oculus never quite resolves into the image of horror it clearly wishes to be. Kudos, though, to cinematographer Michael Fimognari and score composers, the Newton Brothers – all of whom provide a fertile audiovisual background for Flanagan’s film.
    • 48 Metascore
    • 40 Marc Savlov
    Valiantly tries to recapture the spit and polish indie feel of the original, and comes up looking more like something Franklin might have directed on a Bad Day.
    • 48 Metascore
    • 40 Marc Savlov
    It's dumb, to be sure, but then again, so were most of the old movie cliffhangers, from which Timecop is obviously derived.
    • 69 Metascore
    • 40 Marc Savlov
    James Gandolfini’s wintery silences and bitter outbursts are enough on their own to merit seeing this otherwise frustratingly vague slice of low-end Crooklyn crime life, but just barely.
    • 56 Metascore
    • 30 Marc Savlov
    Feels more like Barry Levinson's "Tin Men" on Prozac.
    • 56 Metascore
    • 30 Marc Savlov
    The most lackadaisical thriller I've ever seen, overly infatuated with not only the inexplicability of random evil, but also its mundanity.
    • 38 Metascore
    • 30 Marc Savlov
    The script by S.S. Wilson and Brent Maddock (Ghost Dad) is so jumbled and the direction so chaotic that it's often hard to tell what's going on -- where, when, and why.
    • 35 Metascore
    • 30 Marc Savlov
    Apart from the fang-restraint of the nosferatu, however, there's precious little that's altogether new or for that matter shocking about this by-the-numbers thriller.
    • 46 Metascore
    • 30 Marc Savlov
    Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
    • 52 Metascore
    • 30 Marc Savlov
    Just watching the trailer for Oliver Stone's new football epic a few weeks back left me with a grating headache; watching the whole sweaty film practically put me in the ICU.
    • 40 Metascore
    • 30 Marc Savlov
    Selick is widely and rightly regarded as a master of surreal, dark humor, and wildly inventive animation technique, and Monkeybone is the first tarnish on his otherwise spotless reputation.
    • 38 Metascore
    • 30 Marc Savlov
    Sporadically funny, the film seems weighted down, literally, with bulging, bulbous Murphys flatulating endlessly.
    • 37 Metascore
    • 30 Marc Savlov
    The finished product is as predictably dull as a newborn's soft spot.
    • 55 Metascore
    • 30 Marc Savlov
    A character-driven piece with a character who seems somewhat hollow.
    • 38 Metascore
    • 30 Marc Savlov
    A limp and lackluster affair that telegraphs its feel-good smarm miles in advance.
    • 53 Metascore
    • 30 Marc Savlov
    It's the type of film that begs to be called “charming” and by doing so instead ends up grating.
    • 49 Metascore
    • 30 Marc Savlov
    The bottom line with the film is that there's just no damn mystery about it.
    • 36 Metascore
    • 30 Marc Savlov
    Fumbles on so many levels it's just plain silly. To paraphrase the film's tagline: The Thirteenth Floor: You can go there, but why would you want to?
    • 56 Metascore
    • 30 Marc Savlov
    It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.
    • 12 Metascore
    • 30 Marc Savlov
    This new film version, sad to say, is a hollow shell of the original series.
    • 24 Metascore
    • 30 Marc Savlov
    An exercise in unintentional farce.
    • 51 Metascore
    • 30 Marc Savlov
    The few gags that hit their mark only serve to point up how flaccid the rest of his material is, and that spells doom for a comic, no matter how much his hometown crowd cheers him on.
    • 28 Metascore
    • 30 Marc Savlov
    It's all a bit of overkill.
    • 63 Metascore
    • 30 Marc Savlov
    A dead-chamber misfire, a hollowpoint dud.
    • 49 Metascore
    • 30 Marc Savlov
    It's mediocrity at its most unremarkable.
    • 40 Metascore
    • 30 Marc Savlov
    Director Irwin Winkler and his cast obviously hope to shed light on the boundaries of love, and instead come up with a walloping case of the preachies.
    • 34 Metascore
    • 30 Marc Savlov
    Herzfeld also wrote the screenplay, and so its leaden and obvious tone and the resulting dearth of delicacy rests squarely on him.
    • 27 Metascore
    • 30 Marc Savlov
    As middling comedies go, this is neither as smart as it ought to be nor as dumb as you'd expect.
    • 41 Metascore
    • 30 Marc Savlov
    From the swooping aerial shots of downtown Miami, to the long, long-legged beauties that seem to crop up every time the action threatens to slow down, to the nonsensical lack of logic that permeates the film like the acrid odor of wasted cordite, Bad Boys oozes Eighties Hollywood clichés like no film since "Top Gun."
    • 35 Metascore
    • 30 Marc Savlov
    Neither as good as its direct ancestor (Michael Schultz's great 1976 hood masterpiece Car Wash) nor as clever as the original Friday, this is, to put it bluntly, all seeds and stems.
    • 35 Metascore
    • 30 Marc Savlov
    A 119-minute trailer.
    • 24 Metascore
    • 30 Marc Savlov
    A boisterous, gooey miscue.
    • 21 Metascore
    • 30 Marc Savlov
    Prinze, Lillard, and Biel are all pleasant enough to look at, but the film's Romeo and Juliet tropes are shopworn by now, and the movie gives us nothing else.
    • 62 Metascore
    • 30 Marc Savlov
    In all honesty I'd advise you to go rent the stunning (and brand-new) DVD of the director's great "Le Mépris (Contempt)," which seems to me to be much more Godardian and much less hopeless.
    • 30 Metascore
    • 30 Marc Savlov
    Eager to please, but it’s so lacking in real-world skate politics that it more resembles the chugging PG-13 mediocrity of Top 40 pop-punk-lite than the hard-core Black Flagisms of Peralta’s scathingly real doc.
    • 45 Metascore
    • 30 Marc Savlov
    Surely something more original than this could have been mined from the history of North America’s largest and most professional police force. As it is, though, Johnson’s film is just firing blanks.
    • 49 Metascore
    • 30 Marc Savlov
    Torpedoed by its own overarching idealism -- the film targets the new star system, the media, the studios, digital technology, and pretty much everything else you might care to think of -- and not enough script to back it all up.
    • 19 Metascore
    • 30 Marc Savlov
    An inoffensive, eminently forgettable bit of fluff.
    • 35 Metascore
    • 30 Marc Savlov
    Barely even worthy of a straight-to-video release, as simplistic and silly as it is.
    • 52 Metascore
    • 30 Marc Savlov
    Can barely limp to its final CinemaScope sunset shot.
    • 37 Metascore
    • 30 Marc Savlov
    By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
    • 40 Metascore
    • 30 Marc Savlov
    It's a pleasure to watch, but I found myself wondering if having a story here even mattered to the director at all.
    • 48 Metascore
    • 30 Marc Savlov
    A less cohesive action-comedy than its predecessor, Full Throttle is instead a freewheeling collection of random action sequences strung together with little or no discernible rhyme or reason.
    • 26 Metascore
    • 30 Marc Savlov
    Director Chappelle lays on the spook factor heavy in the first 30 minutes or so, but the film quickly devolves into a simplistic slash 'n' bash shoot-'em-up which goes nowhere fast.
    • 22 Metascore
    • 30 Marc Savlov
    Jawbreaker has all the heart and soul of last week's mystery loaf (a dish that made the weekly rounds at my alma mater, sadly). And like that unidentifiable bovine by-product, the film is a chilly, messy anti-treat, sweet on the outside, sickly on the in.
    • 40 Metascore
    • 30 Marc Savlov
    At its core, a very manipulative piece of work.
    • 37 Metascore
    • 30 Marc Savlov
    About as thrilling as cleaning out your garage.
    • 59 Metascore
    • 30 Marc Savlov
    Like rocky road ice cream, The Rundown is chunky stuff, full of calories and easy to take in small doses. Also like rocky road, it’s bound to attract flies if you leave it lying around, and, more to the point, too much of it is likely to make you gag.
    • 43 Metascore
    • 30 Marc Savlov
    Possibly one of the dullest takes on a real-life murder mystery, this gutter’s-eye-view of the waning days of Los Angeles porn king John "Johnny Wadd" Holmes is barely as interesting as one of the big man’s films, and a lot less revelatory.
    • 55 Metascore
    • 30 Marc Savlov
    It’s Brisseau's penchant for the flamboyantly perverse and the perversely flamboyant, however, that might have been best left secret.
    • 35 Metascore
    • 30 Marc Savlov
    At its core the film is as standardized as the exam it seeks to debunk, and nearly as tedious.
    • 30 Metascore
    • 30 Marc Savlov
    My advice? Grab Mr. Peabody’s Wayback Machine and recast with Jimmy Dean.
    • 37 Metascore
    • 30 Marc Savlov
    Just as clichéd as its predecessor, and lacks the old-school charm of films like "Wild Style" and "Breakin’."
    • 45 Metascore
    • 30 Marc Savlov
    Works just fine for the first half hour or so, but quickly devolves into a case of too much affection and not enough affliction.
    • 46 Metascore
    • 30 Marc Savlov
    The film itself is an effective enough metaphor for out-of-control bullshit that frankly, Koepp aside, was part and parcel of King’s novella from page 1.
    • 32 Metascore
    • 30 Marc Savlov
    Bad as it may be, though, the film falls that one precious inch shy of being quite so awful that it achieves cult status; in short, it's just not bad enough to be any good.
    • 66 Metascore
    • 30 Marc Savlov
    The emotions are turbocharged and the topic is eternally relevant, but that's not enough to save Two Girls and a Guy from being a whiny, snoozy bore.
    • 35 Metascore
    • 30 Marc Savlov
    Spottily directed and lacking the dubious merits of even the Friday the 13th franchise, this is one slasher film that should die a quick and lonely box-office death.
    • 53 Metascore
    • 30 Marc Savlov
    This might not matter so much to the youngest members of the audience, but for anyone over the age of 10, it’s strictly a colorful bore.
    • 41 Metascore
    • 30 Marc Savlov
    The script, written by the three brothers, is ludicrous and incomprehensible, and plays cat-and-mouse games with what could have been some deeply funny comments on race, wealth, and, in one inspired changing-room scene, eating disorders.
    • 44 Metascore
    • 30 Marc Savlov
    It's exasperating watching so much top-drawer talent wasted in a film that wraps itself up with one of the most preposterous (not to mention obvious) endings the genre has ever seen.
    • 35 Metascore
    • 30 Marc Savlov
    Fans of the video game will doubtless love it all but for true fans of the gnashing dead – and we count ourselves among them – this is strictly second-tier terror.
    • 46 Metascore
    • 30 Marc Savlov
    Saw
    Saw has its moments, and most of them are brutal in the extreme, but ultimately it's one tremendous misfire that will either leave you laughing or, possibly, gagging. Not what I'd call a winning combination.
    • 29 Metascore
    • 30 Marc Savlov
    Sitting through the film was an exercise in confusion.
    • 30 Metascore
    • 30 Marc Savlov
    Home may be where the heart is, but I kept wishing this poor silly girl would up and move.
    • 38 Metascore
    • 30 Marc Savlov
    At it's best, it's a wishy-washy treatise that fails to elicit much of any reaction.
    • 30 Metascore
    • 30 Marc Savlov
    There's not much more to this poorly scripted thriller than exactly one well-done shock moment and Michael Keaton's eyebrows, but, to be fair, Keaton's brows have carried three Tim Burton films nearly on their own, so don't let this dissuade you from seeing the film.
    • 54 Metascore
    • 30 Marc Savlov
    It's never wise to try to one-up a classic.
    • 35 Metascore
    • 30 Marc Savlov
    It all falls apart at the end, however, and in such a loud and abrasive way that it makes Brian De Palma's "Raising Cain" look like a model of restraint.
    • 55 Metascore
    • 30 Marc Savlov
    Crucial to the nature of the disaster film -- and something that Irwin Allen knew so very well -- is that films of this sort depend on an emotional hook, a peg of normalcy to hang the chaos from. Volcano offers no such hook, and as a result it plays like some La Brea dinosaur risen from the tar, all effects and no heart.
    • 30 Metascore
    • 30 Marc Savlov
    Indeed, the biggest acting coup here comes by way of Courtney Love, whose cameo as an obliging waitress is the best thing the film has going for it.
    • 54 Metascore
    • 30 Marc Savlov
    All we're left with is a second-rate J-Horror entry that bores rather scares.
    • 37 Metascore
    • 30 Marc Savlov
    10 times too much, a nonstop orgy of bullets, bombs, and booty that aims low and hits the bull’s-eye with enough firepower to sink the Bismarck.
    • 45 Metascore
    • 30 Marc Savlov
    Roughly as entertaining as watching your neighbor's kid's soccer game, not because you want to, but because you have to.
    • 31 Metascore
    • 30 Marc Savlov
    How much better this would have been had someone like Brian De Palma stepped behind the camera.
    • 62 Metascore
    • 30 Marc Savlov
    It's inoffensive and sports a positive "be yourself" message that’s obvious enough to be seen from space without benefit of hero-vision, but really, there's very little that's super about it.
    • 48 Metascore
    • 30 Marc Savlov
    Like the infamous Japanese water tortures of WWII, Dahl’s film is a steadily mounting series of pesky nonevents paced with all the frenetic, action-packed verve of a wounded lawn sprinkler.
    • 46 Metascore
    • 30 Marc Savlov
    Derrickson's staid direction, coupled with Wilkinson’s sad-sack priest and a general air of dreariness make for a courtroom thriller that’s somewhat less apocalyptic than the "L.A. Law" episode involving the death of Benny's mom.
    • 51 Metascore
    • 30 Marc Savlov
    Isn't teen heartache confusing enough without adding into the libidinal mix a bunch of buff scullers nicknamed the Queerstrokes?
    • 34 Metascore
    • 30 Marc Savlov
    Go for the gore (there's lots of it), but stay for the immortal line: "Now let's go find the body this arm belongs to."
    • 47 Metascore
    • 30 Marc Savlov
    The script, by Adam "Tex" Vegas, ricochets between over-earnest romantic comedy staples and a noticeable lack of any consistent tone for Reynolds’ character.
    • 45 Metascore
    • 30 Marc Savlov
    Its kooky hybrid of slapstick gender jokes already had whiskers on 'em in Shakespeare's day.
    • 45 Metascore
    • 30 Marc Savlov
    Sandler is a post-Catskills goldmine of potential, he always has been, and when he's willing to break with tradition (a là Punch Drunk Love), he's downright revelatory. Not this time, though. This time he's just dying.
    • 65 Metascore
    • 30 Marc Savlov
    Perhaps vice isn't what it used to be, or maybe Crockett and Tubbs just aren't all that interesting when removed from their appropriate time slot, but this may well be the dreariest and most monochromatic time you'll have at the movies all summer.
    • 52 Metascore
    • 30 Marc Savlov
    It takes so long to get going and fails to generate the necessary suspense to keep viewers engaged, that the horrific final act is too little, too late, while at the same time nearly being much too much.
    • 55 Metascore
    • 30 Marc Savlov
    There are moments in Idlewild that resonate with the painful "if only" of missed opportunity, and more than a few that just make you scratch your head. It's like some wildly overlong music video, minus the sexy thump 'n' grind. It's all blow, no pop.
    • 49 Metascore
    • 30 Marc Savlov
    Neither as adroitly funny as Franken's comic routines, nor as notable as his conversion to the fine art of politics, this is a 90-minute "What If?" with no discernible answer.
    • 49 Metascore
    • 30 Marc Savlov
    Forty-five minutes in, I was already glancing at my watch and wondering why the only lively actress in this film was playing the dead girl. Go figure.
    • 36 Metascore
    • 30 Marc Savlov
    Co-writers Don Calame and Chris Conroy utterly fail to notice the wealth of black-comedy gold inherent in the very notion of sprawling supercenters and instead go for the dumbest gags they can find.
    • 29 Metascore
    • 30 Marc Savlov
    Only good old Leatherface literally mirrors the festering cultural and political corruption of the era, and to the film's vast discredit, this hideous echo is never even noted.
    • 35 Metascore
    • 30 Marc Savlov
    Has all the sugar-injected horsepower of a 6-year-old on a Big Wheel.
    • 42 Metascore
    • 30 Marc Savlov
    It's no "Dellamorte Dellamore," but neither is it "Uwe Boll," a smallish favor we should all be thankful for.
    • 49 Metascore
    • 30 Marc Savlov
    It's a mess, and one that even the pickled cowboys behind me found yawningly tedious, and that's not something I ever thought I'd be saying about a Sam Raimi movie with the word “dead” in the title.
    • 45 Metascore
    • 30 Marc Savlov
    Relentlessly dull and curiously bombastic.
    • 38 Metascore
    • 30 Marc Savlov
    A mildly entertaining reworking of the Farrelly Brothers' superior micro-sport parody "Kingpin."
    • 52 Metascore
    • 30 Marc Savlov
    The Nines is the feature-film-directing debut from screenwriter John August (Go, Big Fish), but it feels much more like some Bizarro World collaboration between Jean-Paul Sartre and Charlie Kaufman, and not in a good way, either.
    • 49 Metascore
    • 30 Marc Savlov
    For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 33 Metascore
    • 30 Marc Savlov
    This South Korean pseudo-epic is some of the most ambitious cr-- I've ever seen.
    • 24 Metascore
    • 30 Marc Savlov
    House has a few moments that ring genuinely eerie, but the cluttered, unconvincing dialogue – not to mention Moseley's ongoing penchant for crazed overacting – make it more of a genre curiousity than anything the "Fangoria" gang would likely want to sit through.
    • 39 Metascore
    • 30 Marc Savlov
    Despite some briefly breathtaking, computer-generated special effects, Virtuosity is 95 minutes of unsubstantial firefights and meandering plot twists.
    • 33 Metascore
    • 30 Marc Savlov
    With a running time of 78 minutes, Awake is relatively painless, playing a little like a lesser story from one of EC Comics Shock SuspenStories – or a lot like Joseph Cotten's "Breakdown" episode of Alfred Hitchock Presents – updated for the Fangoria generation.
    • 32 Metascore
    • 30 Marc Savlov
    Far from perfect and about as much fun as a holiday in Cambodia, this is lightweight yuletide fluffery, offensive neither in tone nor spirit but entirely unnecessary.
    • 39 Metascore
    • 30 Marc Savlov
    Almost insufferably sufferable. It's a chick flick of the tallest order, with schmaltz galore and the sort of ongoing romantic hubris that practically screams, "This is codswallop, right?"
    • 41 Metascore
    • 30 Marc Savlov
    Much to my dismay this is not an unauthorized sequel to Abel Ferrara's 1979 East Village art-world freakout "Driller Killer." This is instead a dispiritingly mediocre tweener comedy from some very talented people who appear to be experiencing a delayed sophomore slump.
    • 37 Metascore
    • 30 Marc Savlov
    There's more story, heart, and – cutting to the chase, the quick, and the dead – pure, unadulterated fun contained within a scant five minutes of Rockstar Games' new Grand Theft Auto IV video game than there is in the whole of Speed Racer.
    • 37 Metascore
    • 30 Marc Savlov
    War, Inc. is neither all that interesting nor all that cool.
    • 34 Metascore
    • 30 Marc Savlov
    The Happening is both too incoherenly weird and too narratively ambitious for its own good.
    • 49 Metascore
    • 30 Marc Savlov
    A godforsaken (possibly literally) mess.
    • 52 Metascore
    • 30 Marc Savlov
    Terrifically dull, full of ear-searing sound design and much yakkity-yakking about the fate of humanity but entirely lacking any sort of soul or sense of good old summer matinee fun.
    • 30 Metascore
    • 30 Marc Savlov
    Ultimately, it's a long, incoherent mess of a film, enlivened only by the sure knowledge that the great Will Eisner's original is available to one and all at your nearest comic-book shop.
    • 26 Metascore
    • 30 Marc Savlov
    It's not a great action dust-up by any means.
    • 40 Metascore
    • 30 Marc Savlov
    Pixar this isn't, but neither is it "Mary Shelley's Veggie Tales." If only.
    • 24 Metascore
    • 30 Marc Savlov
    I'm beginning to suspect there's some sort of ancient, or at least post-Pearl Harbor, curse in play that stops genre-oriented Asian filmmakers from creating anything of all but the most negligible merit once they hit the California shore.
    • 56 Metascore
    • 30 Marc Savlov
    I've had mosquito bites that were more passionate than this undead, unrequited, and altogether unfun pseudo-romantic riff on Romeo and Juliet.
    • 20 Metascore
    • 30 Marc Savlov
    Truly, the greatest torture of all is boredom.
    • 58 Metascore
    • 30 Marc Savlov
    You come away from Splinter feeling it would have made a far more effective short than the feature-length drag it is.
    • 36 Metascore
    • 30 Marc Savlov
    A dull, tired mess.
    • 27 Metascore
    • 30 Marc Savlov
    Delgo is a dud.
    • 44 Metascore
    • 30 Marc Savlov
    It's chop-socky vindaloo, pleasing on a platter but awfully difficult to swallow whole.
    • 44 Metascore
    • 30 Marc Savlov
    It's a testament to Bill Nighy's cadaverous panache that this third entry in the ongoing exsanguinators vs. lycanthropes franchise (that's vampires and werewolves to anyone not weaned on Famous Monsters) is as tolerable as it is.
    • 42 Metascore
    • 30 Marc Savlov
    Why remake Craven's original at all? Oh, yeah, I forgot: Reheated depravity sells. To avoid existential despair, keep repeating: It's only a remake; it's only a remake; it's only a remake.
    • 40 Metascore
    • 30 Marc Savlov
    In the end, it's much ado about nothing. Oh, the ennui, the ennui.
    • 32 Metascore
    • 30 Marc Savlov
    Ends up as little more than a recursive footnote to the infinitely better up-all-night teen comedies of, you guessed it, John Hughes.
    • 27 Metascore
    • 30 Marc Savlov
    Considerably less of a thrillgasm than playing "Frogger" blindfolded.
    • 54 Metascore
    • 30 Marc Savlov
    The film may have only the best of intentions, but it tries way too hard and ends up being shallow, superficial, and only sporadically funny.
    • 42 Metascore
    • 30 Marc Savlov
    The real problem with this Aliens encounter is that it's patently a Nick at Night midweek movie that inadvertently got greenlighted for a big-screen opening.
    • 29 Metascore
    • 30 Marc Savlov
    The Collector feels like the final, welcome nail in the bizarrely popular torture-porn coffin.
    • 30 Metascore
    • 30 Marc Savlov
    For fans, however, Saw VI is, pardon the pun, a cut above the rest but not, sadly, by much.
    • 26 Metascore
    • 30 Marc Savlov
    It's not a total wipeout: Czuchry embodies the Tucker Max(-ims) to a self-obsessed fault, and there are moments of rough comic brilliance scattered throughout, but really, this particular antihero is all anti- and zero hero.
    • 47 Metascore
    • 30 Marc Savlov
    Less a traditional martial-artistry marathon than it is an exercise in filmic frustration, lovely to look at by small degrees, but a mud-spattered mess of a movie overall.
    • 47 Metascore
    • 30 Marc Savlov
    As scripted by Craig Titley, this first in a presumptive franchise is a dull, scattershot affair that owes much to both "X-Men" and Greek mythology, but which never seems to slow down enough to make any sense whatsoever.
    • 31 Metascore
    • 30 Marc Savlov
    An equally tired and wearisome buddy-cop movie that might as well be a forgotten leftover from the era of "Turner and Hooch." Now there's a film with classic Kevin Smith scrawled all over it.
    • 63 Metascore
    • 30 Marc Savlov
    Consider this yet another nail in the Eighties coffin.
    • 33 Metascore
    • 30 Marc Savlov
    The resulting film makes Sam Raimi's "The Quick and the Dead" look like a stone cold neo-Western thoroughbred.
    • 30 Metascore
    • 30 Marc Savlov
    Although it's great fun for the under-8 set and for those of us monitoring the chaos theory that is Nolte's career of late, this film is otherwise mediocre and features some of the most uninvolving 3-D CGI since "Clash of the Titans" earlier this year.
    • 37 Metascore
    • 30 Marc Savlov
    It pains me to say it, but Afterlife, the latest installment in this seemingly eternal zombie apocalypse franchise, is considerably more entertaining than George A. Romero's most recent exhumation.
    • 24 Metascore
    • 30 Marc Savlov
    Fans of the series, if there are any left and I'm not too certain that there are, will enjoy the usual smorgasbord of lower intestines spilling out from the screen and onto their laps (via the profoundly crappy 3-D) as well as an above-average opening slaughter involving two men, one woman, several buzz saws, and a crowd of gawking onlookers.
    • 69 Metascore
    • 30 Marc Savlov
    It's manic and wearyingly predictable, and as soon as it begins, you know exactly how it's going to end: with a hard, fast crash (and the requisite yakkety epilogue).
    • 65 Metascore
    • 30 Marc Savlov
    It's confused and confusing, by turns hilarious and off-putting. In short, it's awfully hard to love I Love You Philip Morris.
    • 39 Metascore
    • 30 Marc Savlov
    Gondry's update of vigilante crime fighter The Green Hornet's escapades is above all an exercise in frustration.
    • 49 Metascore
    • 30 Marc Savlov
    West (Con Air) saturates his imagery in a sickly, sulphurous stew of rotten-egg yellows and oranges, making a mediocre picture downright repellent at times.
    • 44 Metascore
    • 30 Marc Savlov
    "When you race with the devil, you'd better be fast as hell." (And you, angry driver, are not that fast.)
    • 31 Metascore
    • 30 Marc Savlov
    Director Munroe (TMNT) is clearly a fan and attempted his best on an admittedly limited budget, but some things just don't translate that well. Throw this dog a bone? No need, he's already got a closetful.
    • 40 Metascore
    • 30 Marc Savlov
    Wolverine is a noisy mess, an origin/prequel that's nicely full of Jackman's ace glare as Wolverine and seriously killer snarl – The Boy From Aaarrrgh! – but utterly devoid of any of the borderline subversive smarts that made Bryan Singer's "X-Men" outings so contemporarily resonant.
    • 36 Metascore
    • 30 Marc Savlov
    The result is a somewhat functional blood feast for the exploitation crowd, but it's hardly a bead of sweat on the original's battered backside. Oh, and the score? Basil Poledouris' bombastic brass is still No. 1.
    • 37 Metascore
    • 30 Marc Savlov
    For one thing, Seven Days in Utopia feels an awful lot like Victor Salva's 2006 New Age uplifter "Peaceful Warrior." That film at least had the appeal of watching Nick Nolte play Yoda, whereas here Duvall simply seems to be playing Duvall.
    • 41 Metascore
    • 30 Marc Savlov
    The result is a goofy-weird mishmash of some pretty swell CGI creatures and some downright lousy screenwriting.
    • 32 Metascore
    • 30 Marc Savlov
    This time out, the action is in 3-D, which amounts to a few shots of flaming motorcycle parts comin' at ya, but little else.
    • 36 Metascore
    • 30 Marc Savlov
    Seyfried acquits herself admirably in the panicky, hysterical mode, if that's what you're looking for, but by the time the final, goofy revelations roll around, you're slapping yourself for not having just taken a nap instead.
    • 37 Metascore
    • 30 Marc Savlov
    I've always said, "If you've seen one god, you've seen them all," and Wrath of the Titans only serves to underscore my point.
    • 44 Metascore
    • 30 Marc Savlov
    It is, in a word or two, everything that Poe's tales and poems were not: interminable and picayune.
    • 41 Metascore
    • 30 Marc Savlov
    This crass and hugely dumb aliens vs. multiple earthling navies should thrill the hyperactive 10-year-old inside you. Adults, on the other hand – and especially genre-fan adults – will be bored to tears and wishing Bay (or at least Jerry Bruckheimer) had something of their own on the marquee out front.
    • 58 Metascore
    • 30 Marc Savlov
    Less extraordinary and considerably more banal, given the sci-fi/comedy subject matter, is Men in Black 3's story, which jumps the ectomorphic shark in high style but with a deficit of actual belly laughs.
    • 66 Metascore
    • 30 Marc Savlov
    In short, the character is a lot like the way Stan Lee first envisioned him, but the trilogy's screenwriter Steve Ditko would probably loathe this new, unsatisfying, and hollow-feeling entry into the new cinematic Marvel Universe.
    • 30 Metascore
    • 30 Marc Savlov
    It's a courageous but misguided move on Perry's part; he has none of Freeman's soulful, nuanced subtlety, and watching him display the gamut of emotions called for in Marc Moss and Kerry Williamson's script is like watching the Hulk attempt Swan Lake.
    • 39 Metascore
    • 30 Marc Savlov
    Sea of Monsters most bizarre and apropos-of-nothing moment comes when the half-blood kids find themselves stuck on – I kid you not – what appears to be the Civil War ironclad ship Monitor, captained and crewed by a host of Confederate zombies.
    • 53 Metascore
    • 30 Marc Savlov
    On the not-much-of-a-plus side, at over two hours long, sitting through The Book Thief engenders in the viewer some serious sympathy for the interminable plight of poor, sickly Max, concealed below stairs in a dank, dark corner of the house on Himmelstrasse.
    • 42 Metascore
    • 30 Marc Savlov
    Yeah, this movie's a dog, but you can't blame the producers for strip-mining the same old fool-proof formula to death … and beyond.
    • 25 Metascore
    • 30 Marc Savlov
    It’s really just a tortuous series of blackout sketches hung together with the flimsiest of threads.
    • 48 Metascore
    • 20 Marc Savlov
    It's a huge, bloated, hulking movie.
    • 19 Metascore
    • 20 Marc Savlov
    Fails chiefly because it's senseless. How it even managed to bypass the straight-to-video route boggles the mind and is a speculative fiction far more engaging than any to be found onscreen.
    • 34 Metascore
    • 20 Marc Savlov
    De Palma's film is a mess from its anxious start all the way through to its new-agey end, relying heavily on cribs from Kubrick and Cameron and even the recent "Apollo 13."
    • 33 Metascore
    • 20 Marc Savlov
    Plays like a bad adolescent revenge fantasy on Ritalin, all jagged editorial edges and silly, pumped-up testosterone.
    • 44 Metascore
    • 20 Marc Savlov
    Kaplan's lustily awful film is to be avoided if at all possible, and if not, well, don't say I didn't warn you.
    • 16 Metascore
    • 20 Marc Savlov
    Simply a lousy film from start to finish.
    • 32 Metascore
    • 20 Marc Savlov
    The film is a TKO before it even had a chance to get off a decent hook.
    • 43 Metascore
    • 20 Marc Savlov
    It's a hockey affair at the best of times.
    • 38 Metascore
    • 20 Marc Savlov
    A moribund Harrison Ford vehicle, stodgily dull, and seemingly endless in its monotony.
    • 50 Metascore
    • 20 Marc Savlov
    Well-intentioned but hardly well-executed.
    • 26 Metascore
    • 20 Marc Savlov
    Belongs in the histrionic comedy genre, packed as it is with just plain silly situations that fail to elicit grins, much less guffaws.
    • 33 Metascore
    • 20 Marc Savlov
    I Dreamed Of Africa...and all I got was this lousy movie.
    • 41 Metascore
    • 20 Marc Savlov
    Quite possibly, this could have been a hit back in 1975 or so, and almost certainly for Blake Edwards, but here and now it's just a puzzling aberration.
    • 36 Metascore
    • 20 Marc Savlov
    A colorful mess, all style and substances and little else.
    • 57 Metascore
    • 20 Marc Savlov
    A forgivable error, but an error nonetheless.
    • 48 Metascore
    • 20 Marc Savlov
    It’s as deadly dull as the blunt end of a rifle.
    • 35 Metascore
    • 20 Marc Savlov
    It keeps you off balance, all right, but not enough to obscure the sad fact that Ghosts of Mars is a muddled, derivative disaster straight on through.
    • 30 Metascore
    • 20 Marc Savlov
    Mitchell's film would be another example of why former SNL cast members should choose their scripts wisely, except that Schneider wrote this one.
    • 27 Metascore
    • 20 Marc Savlov
    Eminently resistible, an unclassifiable cinematic leftover best left untasted.
    • 25 Metascore
    • 20 Marc Savlov
    Why the Pokémon fad hasn't died off yet is one of the great mysteries of the universe, right up there with the Pyramids of Gaza and the white stuff in Twinkies.
    • 25 Metascore
    • 20 Marc Savlov
    Instead of true grit and gutshot black-hatters, director Les Mayfield has crafted what may well be the world's first Tommy Hilfiger Western.
    • 40 Metascore
    • 20 Marc Savlov
    X
    It sounds as ridiculous as a "Pokemon" episode gone horribly awry.
    • 16 Metascore
    • 20 Marc Savlov
    Would have made a hell of a short -- but falls flat on its hyperstylized face as a feature.
    • 19 Metascore
    • 20 Marc Savlov
    To make a bad movie worse, even Ballistic's fight scenes, which ought to be the film's strong suit, are poorly edited, slice 'n' diced into incomprehensible blurs.
    • 35 Metascore
    • 20 Marc Savlov
    Just plain dismal, an inexplicable mining of old, mid-level programming that has all the raging excitement of continental drift.
    • 45 Metascore
    • 20 Marc Savlov
    For all the swords 'n' sandals hoodoo that makes up the wilting backbone of Jonathan Hale's script, the Rock is, nevertheless, fun to keep an eye on.
    • 32 Metascore
    • 20 Marc Savlov
    This was already tired stuff when cult fave "Sleepaway Camp" came out in 1983, and it’s downright comatose by now.
    • 29 Metascore
    • 20 Marc Savlov
    It's not quite as bad as "Cutthroat Island," I'll grant you, but it's woefully close.
    • 31 Metascore
    • 20 Marc Savlov
    A storyline that makes less sense than the current state of tech stocks on the Nasdaq.
    • 30 Metascore
    • 20 Marc Savlov
    Sad, sorry remake.
    • 29 Metascore
    • 20 Marc Savlov
    Promises thrills galore but delivers only limp non-frights and predictable yawns.
    • 27 Metascore
    • 20 Marc Savlov
    Get out your handkerchiefs. No, scratch that -- get out a pair of windshield wipers and staple them to your brow. Perhaps they'll obscure the screen.
    • 28 Metascore
    • 20 Marc Savlov
    Meandering, sub-aquatic mess: It's so bad it's good, but only if you slide in on a freebie.
    • 38 Metascore
    • 20 Marc Savlov
    It’s all very nice to look at, sure, but pretty colors and molten intercoolers aside, 2 Fast 2 Furious is about as exciting as a Yugo in quicksand.
    • 68 Metascore
    • 20 Marc Savlov
    Michael Lehmann's "Heathers" followed the same sort of story line to much better effect in 1989, and Clueless leaves you itching to race over to the video store in search of just that.
    • 48 Metascore
    • 20 Marc Savlov
    Dull and meandering documentary.
    • 32 Metascore
    • 20 Marc Savlov
    I came out of Beyond Borders with the gnawing feeling I'd just been subjected to some sort of ghastly prank, Punk’d by the director of "GoldenEye" with Lara Croft as his willing confederate.
    • 49 Metascore
    • 20 Marc Savlov
    Enough already.
    • 37 Metascore
    • 20 Marc Savlov
    Amid the endless stream of catch-a-rising-star movie clichés that Honey screenwriters Alonzo Brown and Kim Watson throw up and out are a few new ones, notably "skinny girls always win out in the end" and "hootchie bad, faux hootchie good."
    • 43 Metascore
    • 20 Marc Savlov
    Maybe it’s time for Woo to finally make that musical he keeps talking about.
    • 45 Metascore
    • 20 Marc Savlov
    Feels so depressingly vacant that it registers less as a film than as a pointed lesson in what not to do in the wacky world of non-traditional dating. Hasn't anyone in this film heard of Friendster?
    • 26 Metascore
    • 20 Marc Savlov
    Ridiculously overwrought.
    • 37 Metascore
    • 20 Marc Savlov
    Charmless, unfrightening, and even devoid of the requisite gratuitous nudity, Anaconda just plain bites.
    • 36 Metascore
    • 20 Marc Savlov
    Tired and formulaic.
    • 27 Metascore
    • 20 Marc Savlov
    A dark comedy caught in a white-light washout, it's neither mean enough to be funny, nor funny enough to mean much.
    • 31 Metascore
    • 20 Marc Savlov
    Envy feels like a comedy in search of a drama in search of some sort of lugubrious existential meaning; it never quite seems to know where it's going to head next, and neither will the audience.
    • 24 Metascore
    • 20 Marc Savlov
    Neither very scary nor very interesting, Godsend is an unresurrectable muddle.
    • 34 Metascore
    • 20 Marc Savlov
    A smallish cast peppered with a pair of bullish performances by both Platt and the lesser-known Gleeson. The two spark some chemistry between them, which is more than can be said for Pullman and Fonda's moribund performances.
    • 36 Metascore
    • 20 Marc Savlov
    This newest laff-riot from the once and future director of The Decline of Western Civilization documentaries is a lamentable mess, chiefly made up of stale gags that went bad sometime during the Kennedy administration and a stunningly unengaging romance that has all the snap of a moist cotton swab.
    • 19 Metascore
    • 20 Marc Savlov
    Shoddily plotted and unimaginative, Species II is a slapdash effort at best, creepily unaffecting and minus the T&A this sort of film so desperately hinges on.
    • 36 Metascore
    • 20 Marc Savlov
    With its eye-popping color palette and surreal sense of ever-heightening melodrama, Thunderbirds comes across as "Spy Kids'" poorer British cousin.
    • 29 Metascore
    • 20 Marc Savlov
    This space invaders stuff is, like, so 1981.
    • 28 Metascore
    • 20 Marc Savlov
    Batman & Robin fails to engage the spirit of Batman, Robin, or decent marketing in general, and instead ends up as a limp, excruciatingly shallow knockoff that leaves viewers cringing at the unavoidable one-liners that make up the better part of the script.
    • 31 Metascore
    • 20 Marc Savlov
    Stupendously dull and infuriatingly obtuse.
    • 38 Metascore
    • 20 Marc Savlov
    The man behind the "Rush Hour" franchise proves that dropping sly nods in Alfred Hitchcock's direction does not necessarily a fine caper make.
    • 39 Metascore
    • 20 Marc Savlov
    Absurdism taken to a new extreme.
    • 38 Metascore
    • 20 Marc Savlov
    Of all the missteps made and absurdities offered, the most glaring is the casting of what appears to be a steroidal Eurotrash pimp as no less than Dracula.
    • 42 Metascore
    • 20 Marc Savlov
    Toils in high school hell and doesn't even manage to come up with one good shock.
    • 21 Metascore
    • 20 Marc Savlov
    It's a dull, unremarkable comedy.
    • 34 Metascore
    • 20 Marc Savlov
    Not stupid enough to qualify as good, dumb fun.
    • 32 Metascore
    • 20 Marc Savlov
    Even the should-have-been-triumphant revelation of the Boogeyman arrives as a CGI letdown of epic proportions.
    • 32 Metascore
    • 20 Marc Savlov
    Inexplicable Fantasy Romances for the Harried Modern Gal 101 is a more fitting title for this shameless mediocrity.
    • 31 Metascore
    • 20 Marc Savlov
    Genre fans and newcomers alike should skip this monstrosity and go rent "Ginger Snaps" instead.
    • 44 Metascore
    • 20 Marc Savlov
    It's only at film's end that you realize the whole soggy, overlong mess isn't going to go anywhere.
    • 56 Metascore
    • 20 Marc Savlov
    Ultimately, it's a bore. Don't see the movie – read the book, play the game.
    • 52 Metascore
    • 20 Marc Savlov
    The overall emotion the film generates is one of moist, enervated ennui. Who cares if the apartment is haunted when the best the ghost can do is get things a bit damp and run laps on the floor above?
    • 39 Metascore
    • 20 Marc Savlov
    Despite an ambitious script from Wadlow and Beau Bauman, it's extremely difficult to care, seeing as how these tropes have already been recycled enough to make Greenpeace proud.
    • 30 Metascore
    • 20 Marc Savlov
    Daltry Calhoun's saving grace comes in the form of a snappy compilation soundtrack that spans from Johnny Cash to Serge Gainsbourg, a feat of all-inclusiveness that renders the film a moot point at best.
    • 47 Metascore
    • 20 Marc Savlov
    There are precious few things for a Zorro fan – or a film fan, for that matter – not to loathe about The Legend of Zorro.
    • 37 Metascore
    • 20 Marc Savlov
    Best never to have left dry dock with this one.
    • 41 Metascore
    • 20 Marc Savlov
    It's not just a bad movie it actually manages to suck the very hope out of the air, leaving behind a cinematic vacuum populated by mobsters, sadists, pedophiliac demon-people, and an overwhelming sense of futility that just makes you want to run in the other direction.
    • 50 Metascore
    • 20 Marc Savlov
    It's all so much blood and brine signifying nothing, not even a good time. Now somebody do us all a favor and cut that albatross from around Petersen's neck already.
    • 36 Metascore
    • 20 Marc Savlov
    Do yourself a favor: Go rent Hardy's original film, watch it, and then try and get it out of your head. You never, ever will.
    • 18 Metascore
    • 20 Marc Savlov
    Darby and co-screenwriter Michael Cristofer ("Breaking Up") telegraph every available bit of plot seemingly hours before it's necessary, resulting in a tawdry, boring mish-mash of genre clichés and arched eyebrows.
    • 33 Metascore
    • 20 Marc Savlov
    Americans are befuddled by the inexplicable, and they demand explanations. With The Grudge 2 Shimizu delivers them and thus defangs the horror, leaving us in a well-lit room, pining for the shadows.
    • 38 Metascore
    • 20 Marc Savlov
    Dear George Lucas: What gives with this Eragon jazz? I mean, gee whiz, did you seriously think that we wouldn't recognize you, the Great Man, as the guiding, um, FORCE behind this dull retelling of "Star Wars"?
    • 45 Metascore
    • 20 Marc Savlov
    Unfortunately, the film rests heavily on the shoulders of Murphy, who seems to wander aimlessly from scene to scene, searching for a laugh. The joke's on him, though: There are none.
    • 44 Metascore
    • 20 Marc Savlov
    It just signals a series that's plainly out of gas.
    • 35 Metascore
    • 20 Marc Savlov
    To be sure, Hitman is a lousy film, but like the video game that inspired it, it's also great fun, drawing as it does on everything from James Bondian Eurotrash panache to Vin Diesel's moribund XXX character.
    • 39 Metascore
    • 20 Marc Savlov
    They shoot rodents, don't they?
    • 32 Metascore
    • 20 Marc Savlov
    Tepid, borderline offensive cyber-serial killer thriller.
    • 36 Metascore
    • 20 Marc Savlov
    Most unforgivably, this Eye culminates not with the mounting dread and spectacular tragedy of the original film's decidedly downbeat vision, but with the trademark LASIK laziness of Hollywood's stylistically blank remake factory.
    • 40 Metascore
    • 20 Marc Savlov
    If you can work your way past Vantage Point's goofy casting that places a bland, blank-eyed Hurt in the White House, then I suppose you can manage to forgive this "Rashomon" rip-off's other glaring idiosyncrasies, of which there are many.
    • 37 Metascore
    • 20 Marc Savlov
    The very Thai-specific charms that made the original Shutter such an unforeseen, unpredictable delight when I first saw it – and when I screened it again, last night – are almost entirely absent here, eclipsed by the annoying blonde highlights of Taylor, ex-Transformer babe and forever, as the Thai say, farang.
    • 33 Metascore
    • 20 Marc Savlov
    It's a tonally confused comedy which, for once, doesn't go far enough comedically.
    • 44 Metascore
    • 20 Marc Savlov
    As it stands, The Ruins is about as interesting as a pile of old stones and a monkey-dumb yanqui falling prey to the horrors of globalization. And that's pretty dumb.
    • 17 Metascore
    • 20 Marc Savlov
    Attica! Attica! Everyone involved in the creation of this muddled, joyless, and deadly dull serial killer-meets-forensic psychiatrist snoozefest should be forced to spend – at the very least – 88 minutes behind Attica's bars.
    • 25 Metascore
    • 20 Marc Savlov
    The story is a shambles, incoherent throughout, veined with tirelessly wearying flashbacks, hallucinations, and just plain old lousy storytelling.
    • 36 Metascore
    • 20 Marc Savlov
    There's nothing righteous about this tired and tiresome good cop/bad cop NYPD procedural.
    • 36 Metascore
    • 20 Marc Savlov
    Adding to weirdness is a tacked-on, live-action appearance from the real Aldrin, who reassures kids and terrified X-Files fans that there weren't, in fact, any houseflies on board Apollo 11.
    • 40 Metascore
    • 20 Marc Savlov
    Dull, unnecessary film.
    • 30 Metascore
    • 20 Marc Savlov
    Calling The Unborn a dull, plodding, exposition-crammed slog through a twilight of barely maintained tedium is like calling "Valkyrie" a yawn. It's too easy.
    • 39 Metascore
    • 20 Marc Savlov
    While expertly executed animation-wise and passably entertaining for very young kids (less so, their parents), is still as dull as the hull on Rocketship X-M.
    • 42 Metascore
    • 20 Marc Savlov
    Shamlessly dumb movie.
    • 55 Metascore
    • 20 Marc Savlov
    Loud, abrasive, and featuring performances seemingly calibrated to be heard over the cacophonous roar of Travolta's mad, bad overacting.
    • 34 Metascore
    • 20 Marc Savlov
    The only people who should be peeved enough to raise hell about Year One are the viewers who had to pay to sit through it.
    • 32 Metascore
    • 20 Marc Savlov
    It's all noise and flash and chaos, but it lacks virtually everything that made the original television series so memorable.
    • 33 Metascore
    • 20 Marc Savlov
    A dull, plodding remake.
    • 24 Metascore
    • 20 Marc Savlov
    Brings absolutely nothing new to the autopsy table that wasn't previously covered.
    • 32 Metascore
    • 20 Marc Savlov
    As for Legion, well, if you've seen one plague of flies and death and angels at war with each other, you've seen 'em all.
    • 41 Metascore
    • 20 Marc Savlov
    The Squeakquel might be appreciated by filmgoers aged 10 or younger.
    • 30 Metascore
    • 20 Marc Savlov
    Grown Ups is exactly, beat for beat, what the previews would have you believe: a depressingly predictable, two-chuckle deconstruction of what Sandler sees as the modern American male.
    • 25 Metascore
    • 20 Marc Savlov
    Neither so awful as to be enjoyable nor eerily artful enough to be anything other than a snoozy also-ran in the perpetually poor plotting machine that is the demon-child cinematic subgenre.