For 1,829 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 8.7 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Tower
Lowest review score: 0 Catwoman
Score distribution:
1829 movie reviews
    • 42 Metascore
    • 40 Marc Savlov
    The Boy’s overriding concern is telegraphed enough in advance that fans of Gothic suspense will almost certainly have guessed it 45 minutes in.
    • 42 Metascore
    • 40 Marc Savlov
    Reminiscent of the opening moments of "Monty Python and the Holy Grail," actually, only without the clever wit.
    • 60 Metascore
    • 40 Marc Savlov
    There may be nothing new under the sun, but you can bet your life there's absolutely nothing new about Rush Hour at all.
    • 47 Metascore
    • 40 Marc Savlov
    By the end, though, it's all too much what it seems, a literalist adventure with a socko "Twilight Zone" twist that's finally too little, too late.
    • 51 Metascore
    • 40 Marc Savlov
    There's so much and so little going on here simultaneously that you're not sure whether to squirm or doze.
    • 72 Metascore
    • 40 Marc Savlov
    Why remake Norman Jewison's staunchly cool 1968 heist film in such a lackadaisical, uninspired manner?
    • 55 Metascore
    • 40 Marc Savlov
    It’s a pleasure to watch, if not always to sit through.
    • 41 Metascore
    • 40 Marc Savlov
    Just don't go expecting complex moral and ethical quandaries and you'll likely never think of "Ishtar" even once.
    • 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.
    • 53 Metascore
    • 40 Marc Savlov
    Too sloppy, pinning psychological crime dramatics to good old-fashioned gunplay.
    • 23 Metascore
    • 40 Marc Savlov
    You can barely tell what's going on half the time, but what you do see is effective.
    • 50 Metascore
    • 40 Marc Savlov
    At the very least, Hoodlum might have been better off had it been filmed in monochromatic black-and-white instead of the garish color palette (and plenty of gore) that Duke opted for because they, unfortunately, only reinforce the hamminess of the picture.
    • 46 Metascore
    • 40 Marc Savlov
    It's a real gone flick, daddy-o.
    • 57 Metascore
    • 40 Marc Savlov
    There's no denying the fact that Jackson is woefully miscast here, and as a result spends much of his time struggling to define his role as a “serious” collector of objets d'art in this muddled-though-gorgeous omnibus film.
    • 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.
    • 65 Metascore
    • 40 Marc Savlov
    Refreshingly, there’s nary a cheap scare manifested in this Conjuring, although the unspoken corollary to that is that The Conjuring 2 just isn’t very scary, or even unnerving.
    • 34 Metascore
    • 40 Marc Savlov
    As always, there's the combustible band of mismatched survivors.
    • 61 Metascore
    • 40 Marc Savlov
    In a word, it’s soulless.
    • 68 Metascore
    • 40 Marc Savlov
    Hell, even Heston's performance elicited cheers back in the day. Franco, in a totally, tonally different role, but still the prime human here, is a pale shadow of the ruined future to come.
    • 39 Metascore
    • 40 Marc Savlov
    Pompeii delivers the goods – well, at least during its final 20 minutes.
    • 37 Metascore
    • 40 Marc Savlov
    Viewed as a war film, it's strictly standard run 'n' gun fare.
    • 45 Metascore
    • 40 Marc Savlov
    When she's (Dunst) off the screen, Elizabethtown goes dark and broody, stranding us with the morose Bloom during a third-act road trip that goes everywhere and nowhere at once.
    • 71 Metascore
    • 40 Marc Savlov
    So bereft of hope... that it's a chore to withstand.
    • 61 Metascore
    • 40 Marc Savlov
    Two-and-a-half hour slice of unmitigated depression.
    • 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.
    • 36 Metascore
    • 40 Marc Savlov
    An unpredictably bizarre and tonally askew Hong Kong freak show.
    • 60 Metascore
    • 40 Marc Savlov
    It’s a worthy effort, and Webb’s story is important. Nevertheless, Kill the Messenger feels extremely dated: In these cynical times, it’s too little, too late, which is too bad.
    • 53 Metascore
    • 40 Marc Savlov
    Comes across as a particularly unspecial "Very Special Episode" of a television series that never made it past the pilot stage.
    • 24 Metascore
    • 40 Marc Savlov
    The film itself is a muddle, all rapid-fire step-edits and grainy, blue-filtered hokum. What is good is Stallone.
    • 51 Metascore
    • 40 Marc Savlov
    The appearance of Richard Gere as a new guest whom everybody assumes is a plant from the multinational hotel chain that Muriel and Sonny have been wooing is straight out of the “Hotel Inspectors” episode of Fawlty Towers. Where’s John Cleese when you really need him?
    • 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.
    • 67 Metascore
    • 40 Marc Savlov
    uUltimately Better Luck Tomorrow feels nearly as hollow and unknowable as its characters’ hearts.
    • 35 Metascore
    • 40 Marc Savlov
    Van Helsing is simply far too much of a good thing, and although Hensley's Frankenstein Monster comes off better than anyone else, the film suffers from some truly inane dialogue and pacing that will likely cause tachycardia in members of the audience old enough to recall who Dwight Frye was.
    • 60 Metascore
    • 40 Marc Savlov
    I'm certainly not asking for car chases and explosions here, but this is a suspense film that's too "adult" for its own good, despite the fact that Redford, Dafoe, and Mirren (in particular) have rarely been more mature in their performances.
    • 56 Metascore
    • 40 Marc Savlov
    Strives to be an inspirational depth charge, but its power is consistently waylaid by some genuinely hokey dialogue and situations.
    • 43 Metascore
    • 40 Marc Savlov
    Toei Animation has done their usual bang-up job on the 2-D animation, filling nearly the entire running time with skirmishes, melees, and battles royal beyond compare.
    • 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.
    • 70 Metascore
    • 40 Marc Savlov
    It's the kind of film you feel like watching twice -- not because you found it that engaging to begin with, but because you didn't, and everyone else did.
    • 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.
    • 53 Metascore
    • 40 Marc Savlov
    It takes great skill to make something so ponderously stultifying as this third film entry in the ongoing adaptation of C.S. Lewis' series of splendidly imagined children's books.
    • 47 Metascore
    • 40 Marc Savlov
    Zombie continues to have a true, unflinching artist's eye for the sublimely horrific (a woodsy murder sequence is pregnant with disturbing, painterly compositions), that eye is wasted here on an unnecessarily moribund history of sociopathy as it relates to Halloween in Haddonfield, Illinois.
    • 58 Metascore
    • 40 Marc Savlov
    Tim Burton is all grown up and getting serious with this wildly scattershot tale.
    • 39 Metascore
    • 40 Marc Savlov
    But instead of being the hippest kid on the block, this plays like some ranty, paranoid comic thriller. It'd be more fun watching Jimmy Stewart get the beat-down from Claude Rains on the Senate floor; when Mr. Williams goes to Washington, the result is a total snooze.
    • 39 Metascore
    • 40 Marc Savlov
    While this is no "Clueless," to be sure, it's also, thankfully, no "Born in East L.A."
    • 48 Metascore
    • 40 Marc Savlov
    A gorgeous-looking but ill-conceived mash note to the city of Paris that riffs on its better, wiser, glaringly obvious cinematic predecessors.
    • 61 Metascore
    • 40 Marc Savlov
    Transformers is about as clever as an unplugged blender.
    • 43 Metascore
    • 40 Marc Savlov
    Utterly pointless remake.
    • 57 Metascore
    • 40 Marc Savlov
    A poor man's "Excalibur," but the fact of the matter is that the film displays far too little of the incisor-sharp wit and out-of-control mayhem readily available in the other two films. It just doesn't work.
    • 49 Metascore
    • 40 Marc Savlov
    Inoffensive and sporadically engrossing.
    • 62 Metascore
    • 40 Marc Savlov
    Seems as though its reach is always exceeding its grasp...partly because Kasdan spreads himself a bit thin amongst the nine major characters he's working with.
    • 32 Metascore
    • 40 Marc Savlov
    Hollow, predictable, and too glitzy for its own good, The Fan never even makes it to first base.
    • 50 Metascore
    • 40 Marc Savlov
    Its vague stabs at moralizing and goofball shenanigans are an odd mix. It's not the high school experience I had, nor is it probably like yours.
    • 54 Metascore
    • 40 Marc Savlov
    Staged and stagy, this adaptation of Wendy MacLeod's play about family dysfunction and the "anti-Camelot" is a muddled, middling mess, despite a witty, top-drawer performance from Posey and a surprisingly comic turn from Spelling.
    • 64 Metascore
    • 40 Marc Savlov
    A muddled, gimpy mess, filled with the worst sort of Trek clichés and ill-timed humorous outbursts.
    • 76 Metascore
    • 40 Marc Savlov
    Iwish I could say 99 Homes delivers a shockingly good sucker punch to the American electorate and a stand-up-and-cheer piece of socially conscious filmmaking, but it’s not. It lacks the satisfactory denouement of, for instance, Michael Mann’s The Insider (and Garfield is no Russell Crowe), in part because the events it depicts are still happening across the country (albeit to a lesser extent).
    • 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.
    • 65 Metascore
    • 40 Marc Savlov
    Walk on Water makes you wonder what the Mossad is teaching its field agents these days.
    • 63 Metascore
    • 40 Marc Savlov
    By the time Foot Fist limps to its ultimate fighting climax, you'll likely wish you had double-teamed "Game of Death" and "Waiting for Guffman" instead.
    • 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.
    • 46 Metascore
    • 40 Marc Savlov
    There's the shell of not one but two excellent films in Pumpkin, but as it is the one we have here is just too bewildering to puzzle out.
    • 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.
    • 44 Metascore
    • 40 Marc Savlov
    A gothic little slip of a film, beautiful to behold but with less substance than the shadowy tendrils of fog that blanket nearly every scene.
    • 30 Metascore
    • 40 Marc Savlov
    This rambunctious swords ’n’ sorcerers fantasy flick has grubby, pseudo-medieval CGI style to burn, but precious little in the way of anything new to add to this sort of genre storytelling.
    • 55 Metascore
    • 40 Marc Savlov
    It's an ode, of sorts, to Seventies grindhouse cinema, curdled and gooey and tailor-made for midnight showings (preferably with a crowd, preferably intoxicated).
    • 39 Metascore
    • 40 Marc Savlov
    What if the filmmaker had found a way to reconcile his two storylines into a cohesive whole? Wouldn’t that have made a wonderfully affecting film? Why yes, it would have.
    • 36 Metascore
    • 40 Marc Savlov
    Hit-or-miss comedy at its best and worst: When it connects, the belly laughs are long and loud, but when it misses, the groans you'll be hearing are your own.
    • 51 Metascore
    • 40 Marc Savlov
    Why make a new mediocrity when the old ones are still so much more fun to watch?
    • 48 Metascore
    • 40 Marc Savlov
    The outcome is no great surprise, and plenty of the gags feel as though they were meant to be throwaways, but Ted 2, exactly like its predecessor, has plenty of heart, which makes all the rest of the black-dick jokes marginally more tolerable.
    • 32 Metascore
    • 40 Marc Savlov
    Proving once again that no matter how many times you remake a film it's tough to top the original.
    • 56 Metascore
    • 40 Marc Savlov
    Though Foley is adept at handling the action, the film is a grim washout peppered with too many earnest, good-cop/bad-cop conundrums and not enough solid police work.
    • 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.
    • 52 Metascore
    • 40 Marc Savlov
    There are only so many pratfalls you can string together sans storyline and keep a ball like this rolling, and unfortunately, too many of Bean's schticks were old news by the time they first aired on PBS.
    • 52 Metascore
    • 40 Marc Savlov
    A wistful, humorous, but ultimately fluffy look at those halcyon days, before punk, junk, and the onslaught of the Eighties.
    • 56 Metascore
    • 40 Marc Savlov
    It's a pleasant enough ride, certainly, but in the end it also has all the wicked emotional punch of Bill Cosby on Quaaludes.
    • 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."
    • 34 Metascore
    • 40 Marc Savlov
    This is a strange movie (it feels like a lost episode of the old Leonard Nimoy chestnut In Search of …) about strange people doing strange things.
    • 43 Metascore
    • 40 Marc Savlov
    Aside from the ridiculous dialogue, of which there is much, and truly crappy CGI gore, of which there is even more, Survival of the Dead feels like the single weakest link in what is otherwise the strongest, smartest, and most transgressively revolutionary horror series in cinema history.
    • 67 Metascore
    • 40 Marc Savlov
    Fascinating, no? Of course, that's just one (obvious) reading of Fast Five. You could also say it's a kickass demolition derby – pure dumb summer fun – and often easy on the (hetero) eyes thanks to the inclusion of Brewster and Mendes.
    • 54 Metascore
    • 40 Marc Savlov
    Attack of the Clones' final 35 minutes very nearly makes up for the preceding 105, featuring as it does the jaw-dropping spectacle of the entire Jedi Council battling it out with not only clones, but also lumbering monsters, space ships of all sorts, and each other.
    • 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.
    • 48 Metascore
    • 40 Marc Savlov
    It’s just not quite bad enough to be considered good, although Stanley Tucci’s hairpiece comes awfully close.
    • 36 Metascore
    • 40 Marc Savlov
    It's not quite quick enough to be anywhere near as gloomily engaging as the cast's original outing.
    • 41 Metascore
    • 40 Marc Savlov
    It's a shame that the subjects of Gazecki's film come off as so many quasi-mystical loonies.
    • 37 Metascore
    • 40 Marc Savlov
    P2
    Ultimately, though, and despite an enormously creepy turn from Bentley (American Beauty), the story has nowhere else to go but into the standard (albeit judiciously-used) stalk-and-slash territory.
    • 47 Metascore
    • 40 Marc Savlov
    Inoffensive and sporadically funny, its chief charm is Arnold's ridiculous noggin, and that's not saying much.
    • 43 Metascore
    • 40 Marc Savlov
    Suicide Kings' morbid sense of humor does nothing but muddle the film's overall tone. Comedy? Caper flick? It's all too much, and simultaneously not enough by a long shot.
    • 39 Metascore
    • 40 Marc Savlov
    Will make monster fans ache for what might have been.
    • 54 Metascore
    • 40 Marc Savlov
    There are, of course, the requisite trial sequences, and some mildly horrific shocks along the way, but Ruben and company fail to make any of this very interesting.
    • 41 Metascore
    • 40 Marc Savlov
    Tyler Perry has already been here and done that to such a degree that this particular cinematic field should now be plowed under and salted so that nothing might grow thereupon forevermore. Amen.
    • 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.
    • 45 Metascore
    • 40 Marc Savlov
    When you've got Maya Angelou and Cicely Tyson in the kitchen, laying on the sophomoric laughs is just plain stupid.
    • 59 Metascore
    • 40 Marc Savlov
    Unfriended provides a modicum of chills and more gore than you’d expect.
    • 57 Metascore
    • 40 Marc Savlov
    Frankly, Mr. Shankly, I've seen Morrissey videos that are more life-changing than this well-intentioned but ultimately yawn-inducing barrage of factoids.
    • 45 Metascore
    • 40 Marc Savlov
    Feels awfully rushed, as Ryan flies from the Ukraine to Moscow to the Russian hinterlands and back to Baltimore to make sweet, sophomore agent love to his physician girlfriend (Moynahan). It has the feel of one of 007's globe-hopping adventures, but without any of that franchise's giddy sense of fun.
    • 70 Metascore
    • 40 Marc Savlov
    The film's very title is a tease, however: It never gets all that loud, and you might doze off after 30 minutes of watching this unwieldy power trio recount their formative years and visit old haunts before heading on to a soundstage for their minimum rock & roll "summit."
    • 43 Metascore
    • 40 Marc Savlov
    Hardly a comic masterpiece -- the jokes are awfully broad and obvious -- but I couldn't help feeling relieved at the film's absence of malice.
    • 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.
    • 64 Metascore
    • 40 Marc Savlov
    All I can seem to muster, post-screening, is a modicum of fondness and a probably impermanent relief that the film isn't anywhere near as awful as it might have been in less capable hands.
    • 56 Metascore
    • 40 Marc Savlov
    Try as they might, the Jackass gang can't quite snatch the year's ultimate 3D gross-out from the pricking jaws of "Pirahna 3-D."
    • 43 Metascore
    • 40 Marc Savlov
    There's plenty of doom, gloom, and outright despair on hand here but very little genuine human emotion.
    • 50 Metascore
    • 40 Marc Savlov
    A far more profound and moving film about this particularly Aussie/Kiwi campaign (and one that will probably never be topped) is Peter Weir’s devastating Gallipoli, starring a very young Mel Gibson. Given the choice, I’ll take that over Crowe’s earnest bombast any day.
    • 61 Metascore
    • 40 Marc Savlov
    Retelling of White's classic children's book is a spun-sugar treacle-bomb, though a darn good-looking one.
    • 52 Metascore
    • 40 Marc Savlov
    Equal parts French sex farce, Mai-Decembre romance, middle-aged white male fantasy, and wannabe Hitchcockian intrigue, Fontaine's film can be a chore to sit through, but not for any of the obvious reasons.
    • 34 Metascore
    • 40 Marc Savlov
    It's all one big blur: sound, fury, and Martin Sheen devouring scenery as if it were going out of style (and in Spawn, it's definitely not).
    • 45 Metascore
    • 40 Marc Savlov
    Ultimately, the remake is, at best, rote and, at worst, totally unnecessary.
    • 44 Metascore
    • 40 Marc Savlov
    The result is a vacuous feel-good movie that leaves you feeling nothing at all.
    • 37 Metascore
    • 40 Marc Savlov
    Even Cathy Moriarty-Gentile's role as a rival mob boss (with a nod to "Raging Bull") can't save this DOA affair.
    • 58 Metascore
    • 40 Marc Savlov
    McTiernan is an old hand at actioners and, like the pro he is, keeps the film rushing along from fiery stunt to stunt.
    • 72 Metascore
    • 40 Marc Savlov
    A bold (and lovely) experiment that will almost certainly bore most audiences into their own brightly colored dreams.
    • 51 Metascore
    • 40 Marc Savlov
    Nemesis, by comparison, is about as exciting as a Tribble on Vicodin.
    • 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.
    • 41 Metascore
    • 40 Marc Savlov
    Laughably and knowingly preposterous, cheerfully un-PC, and violent in a way that makes the myriad slaphappy deaths of Wile E. Coyote seem downright dull in comparison.
    • 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.
    • 49 Metascore
    • 40 Marc Savlov
    Comes close to overdosing on bone-pulverizing kickassery at the expense of a plot that ricochets from the nationalistically fatuous to the lovestruck, farcical before shutting down completely in favor of punch-drunk loveliness.
    • 59 Metascore
    • 40 Marc Savlov
    Cloyingly melodramatic film.
    • 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.
    • 35 Metascore
    • 40 Marc Savlov
    Mansome is mostly miss, and pretty thin as well.
    • 19 Metascore
    • 40 Marc Savlov
    It's a strictly date-night-rental affair, and if you still get Ryan Reynolds and Dane Cook confused, this will do little to help sort things out.
    • 23 Metascore
    • 40 Marc Savlov
    Not nearly as clever at taxing the audience's knuckles as its forerunner, Speed 2 still manages to stay above board long enough to merit a look-see, if only to relish the once-in-a-lifetime pleasure of Mr. Dafoe and his pet leeches.
    • 65 Metascore
    • 40 Marc Savlov
    Amibitiously mediocre.
    • 43 Metascore
    • 40 Marc Savlov
    It's hobbled by odd plot contrivances and some less-than-stellar acting from DiCaprio.
    • 47 Metascore
    • 40 Marc Savlov
    About as pedestrian as you can get.
    • 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.
    • 29 Metascore
    • 40 Marc Savlov
    Bruce Willis shows up, in full Bruce “yippee-ki-yay, mofo” Willis mode, to little effect, and while Hudson’s sassy camp follower is a hoot, there are just too many narratively bizarre subplots falling out all over the place.
    • 45 Metascore
    • 40 Marc Savlov
    Come What May over-romanticizes the horrific, forced French exodus.
    • 36 Metascore
    • 40 Marc Savlov
    The film falls just shy of both Diesel and Gray's mark.
    • 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.
    • 38 Metascore
    • 40 Marc Savlov
    It's just not all that interesting to watch two pretty young things go through the muddled rituals of the pas de duh when I can, you know, do it just as poorly myself.
    • 55 Metascore
    • 40 Marc Savlov
    A mess, albeit one with occasional flashes of brilliance.
    • 61 Metascore
    • 40 Marc Savlov
    It's an existential, Kafka-esque nightmare with no real resolution, although if you've been biding your time waiting to see some high-strung, ham-handed bickering on-screen, this is your A-ticket.
    • 44 Metascore
    • 40 Marc Savlov
    Still, every generation deserves its own coming-of-age cinematic snapshot; if this is that, though, things are tougher than I thought.
    • 52 Metascore
    • 40 Marc Savlov
    I'm not entirely sure, but near as I can tell, this adaptation of Augusten Burroughs' memoir of family dysfunction finally and irrevocably lost me right about where the cat ended up in the stew pot, stirred with maniacally morose glee by Paltrow.
    • 66 Metascore
    • 40 Marc Savlov
    Notably, Phantom Boy treads territory that’s similar to much of Hayao Miyazaki’s work, with a main character seeking the otherworldly in the face of a terrible reality. Missing, though, is the narrative and emotional cohesiveness that would likely have led to Felicioli and Gagnol’s film being a more engaging and memorable work
    • 47 Metascore
    • 40 Marc Savlov
    If nothing else, this adaptation of Peter Mayle's umpteenth ode to livin' la vie en Provence will make you wonder about Ridley Scott and the directorial aging process.
    • 65 Metascore
    • 40 Marc Savlov
    What we're left with -- Kubrick or no -- is a muddled, messy disaster of a film, something that seems more like a drastically edited miniseries, cut down to incomprehensible levels with whole sections missing.
    • 45 Metascore
    • 40 Marc Savlov
    It's big, it's loud, it's dumb, and all things considered, it's not completely un-fun.
    • 35 Metascore
    • 40 Marc Savlov
    Williamson's directorial debut is a sad affair, devoid of shocks, surprises, or even his clever trademark diologue.
    • 59 Metascore
    • 40 Marc Savlov
    It all adds up to a peculiar whole; fun I suppose, but not what you'd call a picnic.
    • 47 Metascore
    • 40 Marc Savlov
    As an extended metaphor on the perils of imperialism and the colonization of both land and heart, Before the Rains works just fine, but as a love story run afoul of the times, it's a soggy affair.
    • 48 Metascore
    • 40 Marc Savlov
    Feels like the little animated adventure nobody loved.
    • 47 Metascore
    • 40 Marc Savlov
    Its ultimate message is as French as they come: The family that lays together, stays together. What the hell, it's more fun than a riot.
    • 33 Metascore
    • 40 Marc Savlov
    Stupid, yes, but fun nonetheless.
    • 30 Metascore
    • 40 Marc Savlov
    The whole film suffers from a serious case of overplotting, perhaps inevitable when trying to cram two largish novels into one smallish film.
    • 53 Metascore
    • 40 Marc Savlov
    Quarantine is a one-note nightmare, nicely pitched to the high-C howls of the bitten and the biters but offering considerably less froth than last year's "The Signal," which mined similar nightmares with far more fulsome results.
    • 52 Metascore
    • 40 Marc Savlov
    Too self-referential for its own good by half.
    • 36 Metascore
    • 40 Marc Savlov
    There are moments of great beauty throughout (the film was lensed by Wong Kar-Wai cinematographer Christopher Doyle), and Shyamalan's heart is nowhere if not on his sleeve, but even these moments cannot steer Lady in the Water clear of its director's zealously over-earnest pretensions.
    • 41 Metascore
    • 40 Marc Savlov
    It's certainly one of the most beautiful costume-drama/historical-romance naps you'll ever have, but this effortlessly evocative, endlessly ennui-inducing paean to Hawaii's final princess is, ultimately, a dull, "Upstairs Downstairs" affair.
    • 43 Metascore
    • 40 Marc Savlov
    Ruffalo, actually, who was so perfect in the little-seen "You Can Count On Me," is the only real reason to sit through The Last Castle.
    • 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.
    • 63 Metascore
    • 40 Marc Savlov
    Rio
    So does Rio measure up to the insanely great standard set by Pixar? Visually, yes.
    • 40 Metascore
    • 40 Marc Savlov
    Feels sterile and chilly; the humor -- Yiddish and otherwise -- falls flat, and sadly so does the film.
    • 34 Metascore
    • 40 Marc Savlov
    Law Abiding Citizen, ultimately and inappropriately, tips the scales in favor of the Man over mankind. Somebody call Charles Bronson.
    • 31 Metascore
    • 40 Marc Savlov
    A film that feels far too familiar for the likes of Wahlberg to juice up, hallucinatory valkyries or no.
    • 65 Metascore
    • 40 Marc Savlov
    A dodgy, hit-or-miss affair that never quiet seems to gel: too many lumpy bits, and not enough crème.
    • 51 Metascore
    • 40 Marc Savlov
    Woo's mainstreaming his vision here, and though Windtalkers has its moments of precious, awful clarity, it can't hold a candle to the man's earlier blood-soaked balletics.
    • 44 Metascore
    • 40 Marc Savlov
    Something of a snooze.
    • 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.
    • 36 Metascore
    • 40 Marc Savlov
    This may be a remake of a Swedish film from 2002 (itself based on a novel), but unspooling in the cineplex it feels more akin to one of emo godhead Conor Oberst's more emotionally mopey musical diversions.
    • 46 Metascore
    • 40 Marc Savlov
    King Arthur is a snooze, overcast and drizzly both on location and on the pages of the script. Owen is too classy, too James Bond-handsome to realistically portray the not-yet-King Arthur.
    • 40 Metascore
    • 40 Marc Savlov
    After this mediocrity, no one's even going to remember Roger Corman's godawful bargain-basement 1994 version. Which, on second thought, had a lot more heart that this one.
    • 44 Metascore
    • 40 Marc Savlov
    This Hangover is a doozy, not quite as much fun (or well-written) as the original, but neither does it lack for lunatic plot complications that could only spring from the minds of writers Phillips, Craig Mazin, and Scot Armstrong.
    • 57 Metascore
    • 40 Marc Savlov
    With A Walk Among the Tombstones, the names have been changed but the story’s all too familiar. Speaking of which, "Taken 3" is on its way.
    • 52 Metascore
    • 40 Marc Savlov
    Amiable fluff that takes its time learning how to walk, talk, and generally act like the kid-centric rom-com that it is.
    • 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.
    • 35 Metascore
    • 40 Marc Savlov
    Plays like a slapdash assemblage of the greatest hits of conspiracy-minded action cinema.
    • 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.
    • 67 Metascore
    • 40 Marc Savlov
    A curiously unaffecting amalgam of the archetypal coming-of-age tale, here twinned to "outsider" religious overtones (in this case São Paulo's Orthodox Jewish community) and a small but deadly dose of uneasy political melodrama.
    • 40 Metascore
    • 40 Marc Savlov
    A thing of beauty. But then so is a cloud and I wouldn't want to stare at one of those for an hour and half.
    • 38 Metascore
    • 40 Marc Savlov
    It really IS fun to watch yet another oddball turn by Sutherland, and a marginally restrained one from Spacek. It's just not THAT fun.
    • 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.
    • 40 Metascore
    • 40 Marc Savlov
    This American version can't hold a candle to its French counterpart, which was deeply, eerily resonant where this is only frustrating, a Rubik's cube, minus its colorful signage.
    • 56 Metascore
    • 40 Marc Savlov
    The only glimmer of actual characterization in the entire film comes – all too briefly – from Frank's old boss Inspector Tarconi (Berléand).
    • 50 Metascore
    • 40 Marc Savlov
    Merendino's film is lacking the streamlined cohesion it needs to spike itself in your cortex as hoped, but it is about as accurate a punk film as I've seen in some time, especially when it comes to the horrors and boredoms of small-scene life.
    • 36 Metascore
    • 40 Marc Savlov
    Neither the riveting boy band documentary nor the riveted gay porn its title seems to suggest, Biker Boyz is instead a late-model knockoff of 2001’s outlaw auto racing epic The Fast and the Furious, reconfigured with a predominantly black cast and a whole lotta two-wheeled saké.
    • 41 Metascore
    • 40 Marc Savlov
    Almost all of it has to do with watching the occasionally nude Jovovich look absolutely smashing in duster and sidearms, but sometimes, let's face it, that's not enough.
    • 53 Metascore
    • 40 Marc Savlov
    Wilson is buoyed by a sporadically witty script, and while there are no surprises whatsoever in the story, his goofy, puppylike charm renders what could have been a disaster merely an unfortunate event.
    • 47 Metascore
    • 40 Marc Savlov
    It's a mess and it might cost him some career freedom, but at least Kelly hasn't cashed in his trademark narrative complexity for Hollywood pap.
    • 61 Metascore
    • 40 Marc Savlov
    It’s one of the most cautious readings of lust ever put to film.
    • 68 Metascore
    • 40 Marc Savlov
    Equal parts Ray Bradbury and rickety carnival spook show, this animated tale of a carnivorous, haunted house and the band of neighborhood kids who decide to put it out of commission feels maddeningly unfinished.
    • 55 Metascore
    • 40 Marc Savlov
    I had looked forward to seeing King's low men and their hideous yellow coats and monstrous high-finned automobiles, but what we've got here is less King than Goldman, and less fun to boot.
    • 49 Metascore
    • 40 Marc Savlov
    Say what you will about the story, but Pitch Black at least looks and sounds stunning.
    • 64 Metascore
    • 40 Marc Savlov
    Falters in small but important ways -– the suspense, carefully ratcheted up throughout, just plain goes busto in the film’s final moments -– while Malkovich stays resolutely behind the camera, a consummate professional who, this time, misses his mark by the merest of degrees.
    • 27 Metascore
    • 30 Marc Savlov
    Delgo is a dud.
    • 28 Metascore
    • 30 Marc Savlov
    It's all a bit of overkill.
    • 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.
    • 31 Metascore
    • 30 Marc Savlov
    How much better this would have been had someone like Brian De Palma stepped behind the camera.
    • 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.
    • 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.
    • 30 Metascore
    • 30 Marc Savlov
    My advice? Grab Mr. Peabody’s Wayback Machine and recast with Jimmy Dean.
    • 38 Metascore
    • 30 Marc Savlov
    A mildly entertaining reworking of the Farrelly Brothers' superior micro-sport parody "Kingpin."
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 30 Marc Savlov
    A dead-chamber misfire, a hollowpoint dud.
    • 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.
    • 35 Metascore
    • 30 Marc Savlov
    A 119-minute trailer.
    • 39 Metascore
    • 30 Marc Savlov
    Despite some briefly breathtaking, computer-generated special effects, Virtuosity is 95 minutes of unsubstantial firefights and meandering plot twists.
    • 56 Metascore
    • 30 Marc Savlov
    It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
    • 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.
    • 39 Metascore
    • 30 Marc Savlov
    Gondry's update of vigilante crime fighter The Green Hornet's escapades is above all an exercise in frustration.
    • 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.
    • 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.
    • 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.
    • 25 Metascore
    • 30 Marc Savlov
    Rings is an unfortunate and often incomprehensible mess that kicks off with a neat premise and then never fully explores it.
    • 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.
    • 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.
    • 38 Metascore
    • 30 Marc Savlov
    For all its genuine thrill-ride gestalt, No Escape completely short-shrifts its Southeast Asian players. There’s exactly one Asian character of note, a Kenny Rogers-loving tuk-tuk driver (Boonthanakit). Everyone else is a nameless victim of the equally nameless mob.
    • 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.
    • 49 Metascore
    • 30 Marc Savlov
    For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 37 Metascore
    • 30 Marc Savlov
    About as thrilling as cleaning out your garage.
    • 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.
    • 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.
    • 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
    Sporadically funny, the film seems weighted down, literally, with bulging, bulbous Murphys flatulating endlessly.
    • 26 Metascore
    • 30 Marc Savlov
    It's not a great action dust-up by any means.
    • 29 Metascore
    • 30 Marc Savlov
    The Collector feels like the final, welcome nail in the bizarrely popular torture-porn coffin.
    • 35 Metascore
    • 30 Marc Savlov
    Has all the sugar-injected horsepower of a 6-year-old on a Big Wheel.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 24 Metascore
    • 30 Marc Savlov
    An exercise in unintentional farce.
    • 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.
    • 30 Metascore
    • 30 Marc Savlov
    For fans, however, Saw VI is, pardon the pun, a cut above the rest but not, sadly, by much.
    • 35 Metascore
    • 30 Marc Savlov
    It's visceral bloodbathery at its most repellent, but worse than that, it's horrific like the aftermath of a suicide bombing instead of terrifying like the bomb beneath the table or the knife behind the back.
    • 20 Metascore
    • 30 Marc Savlov
    Truly, the greatest torture of all is boredom.
    • 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.
    • 44 Metascore
    • 30 Marc Savlov
    It is, in a word or two, everything that Poe's tales and poems were not: interminable and picayune.
    • 49 Metascore
    • 30 Marc Savlov
    It's mediocrity at its most unremarkable.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    At its core, a very manipulative piece of work.
    • 12 Metascore
    • 30 Marc Savlov
    This new film version, sad to say, is a hollow shell of the original series.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    Just as clichéd as its predecessor, and lacks the old-school charm of films like "Wild Style" and "Breakin’."
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    While the totality of Jupiter Ascending is just too much for its own massive narrative heft to support, kudos to the Wachowskis for beating back against mainstream Hollywood by casting actors of all races and genders in key roles, something they’ve been doing since their 1996 debut "Bound."
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    War, Inc. is neither all that interesting nor all that cool.
    • 36 Metascore
    • 30 Marc Savlov
    A dull, tired mess.
    • 38 Metascore
    • 30 Marc Savlov
    The Green Inferno feels like a retread of a retread.
    • 37 Metascore
    • 30 Marc Savlov
    While it’s possible that Annabelle might give a few audience members goosebumps, anyone who’s ever seen "Rosemary’s Baby" –or pretty much any film James Wan’s had a hand in since helming 2007’s "Dead Silence", the "Saw" franchise excepted – will figure out what’s going on within the first 30 minutes.
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    Another addition to Universal’s Pictures Classic Monsters arsenal of crap (remember Van Helsing?), director Shore, in his feature debut, displays a fine sense of pacing but little else.
    • 45 Metascore
    • 30 Marc Savlov
    Its kooky hybrid of slapstick gender jokes already had whiskers on 'em in Shakespeare's day.
    • 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.
    • 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?"
    • 63 Metascore
    • 30 Marc Savlov
    Consider this yet another nail in the Eighties coffin.
    • 52 Metascore
    • 30 Marc Savlov
    Can barely limp to its final CinemaScope sunset shot.
    • 41 Metascore
    • 30 Marc Savlov
    The result is a goofy-weird mishmash of some pretty swell CGI creatures and some downright lousy screenwriting.
    • 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?
    • 30 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.
    • 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.
    • 55 Metascore
    • 30 Marc Savlov
    A character-driven piece with a character who seems somewhat hollow.
    • 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.
    • 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.
    • 49 Metascore
    • 30 Marc Savlov
    A godforsaken (possibly literally) mess.
    • 34 Metascore
    • 30 Marc Savlov
    The Happening is both too incoherenly weird and too narratively ambitious for its own good.
    • 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.
    • 22 Metascore
    • 30 Marc Savlov
    The creature’s big reveal is masterfully handled and a final revelation is exceptionally memorable, but the characters, unsurprisingly, remain interchangeable with those of any number of other teens-in-peril pics.
    • 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.
    • 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.
    • 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.
    • 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.)
    • 19 Metascore
    • 30 Marc Savlov
    An inoffensive, eminently forgettable bit of fluff.
    • 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
    The Resurrection of Gavin Stone isn’t as exploitive as some recent Christian-based films – for that, check out 2014’s truly offensive "Heaven Is for Real" – and while it’s got its charms, it’s far from likely to bring in any new converts.
    • 35 Metascore
    • 30 Marc Savlov
    Barely even worthy of a straight-to-video release, as simplistic and silly as it is.
    • 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.
    • 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.
    • 25 Metascore
    • 30 Marc Savlov
    It’s really just a tortuous series of blackout sketches hung together with the flimsiest of threads.
    • 33 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.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    The finished product is as predictably dull as a newborn's soft spot.
    • 29 Metascore
    • 30 Marc Savlov
    Sitting through the film was an exercise in confusion.
    • 46 Metascore
    • 30 Marc Savlov
    Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.

Top Trailers