For 1,934 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 9.5 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Ran
Lowest review score: 0 The Medallion
Score distribution:
1934 movie reviews
    • 62 Metascore
    • 67 Marc Savlov
    It's always odd to see Robbins, a political activist in his own right, playing at villainy, but here he descends into the role so thoroughly that the lopsided smile becomes less a notation of cockeyed boyishness than a treacherous Cheshire smirk.
    • 48 Metascore
    • 50 Marc Savlov
    Pop psychology has never been as visceral as it is in Saw III.
    • 69 Metascore
    • 89 Marc Savlov
    It's a masterful film, the kind you itch to see twice or more, as elliptical as a dream and as direct as the short sharp shock of lead kissing flesh.
    • 32 Metascore
    • 0 Marc Savlov
    It boggles the mind that Saddam Hussein and assorted cohorts have finally won their rightful place in the global noose while various and sundry villains associated with this third entry in the Santa Claus franchise of flaccidly feel-good, winter nostrums will no doubt be allowed to walk the Earth with nary a qualm nor backward glance.
    • 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.
    • 80 Metascore
    • 78 Marc Savlov
    The good news is Craig, who was riveting as a London pharmaceutical salesman in the recent Brit import "Layer Cake," is equally mesmerizing here.
    • 27 Metascore
    • 0 Marc Savlov
    The real crime here is that Let's Go to Prison made a daring escape from direct-to-video stir into the relative freedom of your neighborhood multiplex. Consider this one disarmed and extremely pointless.
    • 57 Metascore
    • 40 Marc Savlov
    It's neither utterly real nor utterly romantic (heroin, like alcohol, manages to be awfully and unremittingly both).
    • 64 Metascore
    • 40 Marc Savlov
    As a character-driven narrative, it's a hollow beast, too often pedantic, that smacks of good-guy agitprop, shrill when it should be subtle and shrieking when a whisper would be far more unnerving.
    • 66 Metascore
    • 67 Marc Savlov
    Like a dream, this film is wispy and ethereal; like a nightmare, it lodges in your hindbrain and gnaws away with gleeful abandon.
    • 55 Metascore
    • 50 Marc Savlov
    It's stoner comedy of the most absurd kind, part fryboy mental drizzle, part wink-wink audience baiting, and wholly, utterly funny.
    • 21 Metascore
    • 0 Marc Savlov
    Granted, the state of the indie hipster and/or Big-Man-on-the-Quad aesthetic has probably skewed a bit since I was a frosh, but good lord, man, it can't be this pale an imitation of campus life. I implore you: Go rent "National Lampoon's Animal House" and leave this flaccid wanker alone.
    • 36 Metascore
    • 67 Marc Savlov
    With Turistas, Stockwell dives head-first into a veritable riptide of churning, vicious exploitation cinema, and the result is surprisingly effective.
    • 64 Metascore
    • 50 Marc Savlov
    While the film never quite reaches the emotional peaks it so obviously seeks to scale, Zwick's film is still potent enough to save you three months salary.
    • 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"?
    • 82 Metascore
    • 89 Marc Savlov
    The quiet respect Venus displays toward lions in winter, defanged though they may be, is rare enough; the film's respect for unfinessed lionesses-to-be is rarer still. Wherever they're going, no one here is going quietly.
    • 63 Metascore
    • 67 Marc Savlov
    Like the character of Rocky, it's got heart to spare, and is by turns one of the sweetest of the sweet-science pictures as well as one of the most doleful. Fighters fight, it's what they do. And Balboa, god bless him, fights on.
    • 22 Metascore
    • 50 Marc Savlov
    This film is an evocative, effective entry into the holiday blood-spray subgenre in its own right. And if it doesn't make your skin crawl ... you probably ate too much Christmas dinner.
    • 56 Metascore
    • 40 Marc Savlov
    Tykwer's camera can assault the audience with the rankest of imagery, but not even once does it come close to distilling the actual aroma of the abattoir that was 18th-century France. And for that, I suppose, we should all be thankful.
    • 66 Metascore
    • 67 Marc Savlov
    A poke in the eye of genre convention with a flensing blade and a disarmingly charming razor-blade grin.
    • 28 Metascore
    • 0 Marc Savlov
    If you really want the kids to see a colorfully cryptic meta fairy tale, be subversive and go rent 'em some Alejandro Jodorowsky. No child deserves Happily N'Ever After.
    • 28 Metascore
    • 11 Marc Savlov
    The first film was near-mythic in its tone and treatment of its characters, while this remake barely serves as a primer in how not to generate suspense.
    • 88 Metascore
    • 89 Marc Savlov
    This is the sort of masterpiece that will obliterate memories of lesser, later efforts in the "meeting the parents" comedy lineage. Brilliant.
    • 33 Metascore
    • 40 Marc Savlov
    Not as yummy as it sounds, true, but nowhere near as godawful as "Van Helsing," a small mercy but very much appreciated.
    • 43 Metascore
    • 40 Marc Savlov
    Now it's just another romantic comedy, neither terribly bad nor truly great, buoyed along on currents of hope and post-traumatic good cheer.
    • 75 Metascore
    • 67 Marc Savlov
    Irony and unwavering idealism are bound up in this lengthy but instantly engaging and informative documentary.
    • 54 Metascore
    • 67 Marc Savlov
    In the end, it's all la dolce vita no matter how you look at it.
    • 35 Metascore
    • 30 Marc Savlov
    Has all the sugar-injected horsepower of a 6-year-old on a Big Wheel.
    • 71 Metascore
    • 67 Marc Savlov
    The war might be over, but fear and hope remain locked in a rapturous stranglehold amidst the rubble.
    • 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.
    • 60 Metascore
    • 78 Marc Savlov
    The hippies, the ravers, the bumbling bobbies and nonplussed locals, the mud, the rush of being in the crush, up against the barricades, torn between the need for a restroom and the need for more room, to dance, to sing, to carry on like a stark loony regardless of your faraway day job – all of this is captured by Temple's unblinking, seemingly everywhere-at-once eye.
    • 78 Metascore
    • 67 Marc Savlov
    At once eerie, picaresque, evocative, and utterly alien to the reality most viewers inhabit, Into Great Silence is a daring and breathtakingly constructed documentary dream. So much so that the more restless among us may find themselves nodding off.
    • 52 Metascore
    • 78 Marc Savlov
    300
    Not since Mario Bava's "Hercules in the Haunted World" has Greco-Roman movie-house mythmaking been so thoroughly well-conceived and executed.
    • 71 Metascore
    • 50 Marc Savlov
    Beyond the Gates bears witness to the worst of the worst, but these days, and far more importantly, so does YouTube.
    • 85 Metascore
    • 89 Marc Savlov
    The Host is a freewheeling mix of high style and goofy, good-natured fear-mongering.
    • 34 Metascore
    • 40 Marc Savlov
    Wan does manage to infuse his film with some of the subtle unsubtleties of classic Euro-horror outings, chief among them the palpable, dreamlike sense of dislocation and the abiding severance from reality that tends to make nongenre fans wonder if someone spiked their popcorn with LSD.
    • 72 Metascore
    • 89 Marc Savlov
    Death and the Maiden is a streamlined razor-ride of a movie: taut, riveting, and a psychological horror show that will leave nail-marks in your palms for days afterwards.
    • 24 Metascore
    • 11 Marc Savlov
    The movie feels mechanical all the way through, leaving Sadek's debut an inauspicious and ill-lubed affair.
    • 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.
    • 72 Metascore
    • 78 Marc Savlov
    This is a wonderful, disarming film, sort of like Ghost, but with all the Hollywood drained from it, leaving nothing on screen but the truth of the matter. Which is the way it should be, of course.
    • 70 Metascore
    • 67 Marc Savlov
    Cronos is a thoughtful, intelligent film, and as a horror movie (which is, I think, its main mission in life) it's genuinely disquieting.
    • 57 Metascore
    • 78 Marc Savlov
    Interestingly, Coppola has eschewed state-of-the-art special effects in favor of a panoply of archaic film-school tricks -- reversing the film, multiple exposures, playing with the shutter speed -- that give his Dracula a stylized, almost hyper-real clarity and a wonderfully singular weirdness.
    • 51 Metascore
    • 50 Marc Savlov
    High Heels becomes mired in its own best intentions - primary colors and all.
    • 43 Metascore
    • 50 Marc Savlov
    Despite the sheer gorgeousness, it ends up feeling false and, towards the end, rushed.
    • 54 Metascore
    • 50 Marc Savlov
    Wilson and Beckinsale, as the couple on the rocks, do their damnedest to go along for the creepfest, but nothing in Vacancy manages to come anywhere close to the quiet and steadily mounting dread of the real thing, much less the purview of Norman Bates or his beloved mother.
    • 62 Metascore
    • 50 Marc Savlov
    Severance is a British horror-comedy that, from the get-go, has two distracting strikes against it.
    • 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.
    • 44 Metascore
    • 40 Marc Savlov
    It's a mess alright, but it's easy on the eyes. Like phone sex is for the ears. Only not as much fun.
    • 78 Metascore
    • 67 Marc Savlov
    While 28 Weeks Later ultimately falls shy of classic status (it's no Panic in Year Zero!), there are several hard-to-shake scenes -- nightmare visions, really -- that reveal the infected populace to be far less dangerous to the fabric of a civilized society than, perhaps, the very notion of civilization itself.
    • 58 Metascore
    • 67 Marc Savlov
    Shrek, DreamWorks' big green cash machine, has finally run dry, perhaps not of box office power, but most assuredly of the caustic, fractured fairy tale-isms and the wry, snarky wit that made the first film, and to a lesser degree, the first sequel, so winning.
    • 52 Metascore
    • 67 Marc Savlov
    There's no other woman acting today that even remotely resembles Parker Posey. For that matter, there's never been anyone quite like her that I can think of. She has the dynamite improvisational instincts of a born grifter who wandered too far from one con and ended up in another – acting – and her tricky-risky game of onscreen three-card monte is, again and again, a jewel in indie filmmaking's oft-tattered crown.
    • 27 Metascore
    • 40 Marc Savlov
    Neither all that scary nor all that hilarious, Vampire in Brooklyn falls directly between the two, into the valley of mediocrity.
    • 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.
    • 32 Metascore
    • 40 Marc Savlov
    Hollow, predictable, and too glitzy for its own good, The Fan never even makes it to first base.
    • 44 Metascore
    • 50 Marc Savlov
    The film tries so very hard to be The Movie of Summer '93 that it almost makes you sick for what could have been, what should have been, and, in the end, what it is: soulless sound and fury -- action in a vacuum.
    • 71 Metascore
    • 78 Marc Savlov
    Mad Dog and Glory, thankfully, finds the director in remarkable form, crafting an engrossing new film out of what might have been, in less competent hands, simply another Hollywood formula movie.
    • 56 Metascore
    • 50 Marc Savlov
    D-FENS is a cut-out, a cartoon Everyman we're supposed to feel sorry for and can't. He's a bad parody in what will doubtless be an over-analyzed film about loss of control. It's just too bad nobody on the creative end seems to have had much control either.
    • 50 Metascore
    • 40 Marc Savlov
    Like the Flying Dutchman, this third Pirates outing is an empty vessel haunted by the ghosts of its sabre-rattling betters.
    • 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.
    • 74 Metascore
    • 50 Marc Savlov
    Despite the hardships depicted, Golden Door is a sweet film at heart, playing witness to the birth pangs of modern America with both due respect and the occasional comic grace note, but not, oddly, one single shot of the Statue of Liberty.
    • 81 Metascore
    • 78 Marc Savlov
    Schizophrenia never looked so good or so mesmerizing as it does here, and Paprika, while certainly not suitable for kids, manages to capture the childlike, helter-skelter chaos and curiosity of the human mind better than any other animated film.
    • 58 Metascore
    • 67 Marc Savlov
    Director Apted has somehow managed to take one of the most contrived plots I've ever seen and make it seem, if not original, then at least way above average.
    • 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.
    • 66 Metascore
    • 89 Marc Savlov
    Set in some sort of post-apocalyptic Parisian deli o' the damned, this lunatic's take on the future of man is so delightfully warped that it's impossible to shake it out of your head and go get a decent night's sleep.
    • 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.
    • 46 Metascore
    • 78 Marc Savlov
    Director Roth has accomplished the near impossible with Hostel: Part II: He's crafted a vastly superior sequel to a film already considered something of a classic by genre aficionados, one that supersedes its predecessor's sadistic entertainment quotient by orders of magnitude while also upstaging its own outrageous gore effects with a script that's smart, vicious, and occasionally, gleefully subversive.
    • 33 Metascore
    • 40 Marc Savlov
    A nifty idea that goes everywhere (and nowhere).
    • 64 Metascore
    • 89 Marc Savlov
    Greenaway and his picture-perfect cast weave so many interlacing threads into the story, and so many curious subtexts - stylistic and otherwise - that it sometimes leaves us scratching our heads in wonderment.
    • 40 Metascore
    • 50 Marc Savlov
    It's gritty, nasty, predictably meat-and-potatoes suspense, but genuinely gonzo fun nonetheless.
    • 45 Metascore
    • 30 Marc Savlov
    Relentlessly dull and curiously bombastic.
    • 62 Metascore
    • 78 Marc Savlov
    It's smart; it's silly; it's – kill me now – shear terror.
    • 69 Metascore
    • 67 Marc Savlov
    Superior in every way to 1995's "Die Hard With a Vengeance," Live Free or Die Hard's goofy generation-gap gambit pays off decently and proves, again, that nattily dressed terrorists are no match for Willis, the once and future Patron Saint of Bang.
    • 96 Metascore
    • 89 Marc Savlov
    Pixar's animation is simply flawless; colorful, deeply realized, and ably conveying both the chaos of the kitchen, and the sensual allure of food well prepared.
    • 61 Metascore
    • 40 Marc Savlov
    Transformers is about as clever as an unplugged blender.
    • 69 Metascore
    • 78 Marc Savlov
    It should be mandatory viewing for right-to-lifers and prospective parents as well as fans of creepy, crawly filmmaking.
    • 71 Metascore
    • 78 Marc Savlov
    Timely metaphors abound in The Order of the Phoenix, but the story (of which there is much) stands on its own magical merits, dark and darker still though they may be.
    • 24 Metascore
    • 0 Marc Savlov
    Captivity is the kind of film that gives torture porn a bad name.
    • 64 Metascore
    • 67 Marc Savlov
    Sometimes a little too pat, a little too cute.
    • 89 Metascore
    • 89 Marc Savlov
    It's enough to make you weep.
    • 50 Metascore
    • 50 Marc Savlov
    No Reservations succeeds as well as it does (kinda sorta) by virtue of Zeta-Jones' performance.
    • 33 Metascore
    • 11 Marc Savlov
    Shapeshifters-lite. Fangs but no fangs.
    • 44 Metascore
    • 20 Marc Savlov
    It just signals a series that's plainly out of gas.
    • 66 Metascore
    • 50 Marc Savlov
    Stardust has lost a good amount of its magic in the transformation from page to screen. It's the cinematic equivalent of getting a punch in the mind's eye by a bunch of faeries wearing the coolest Doc Martens this side of Florin.
    • 63 Metascore
    • 78 Marc Savlov
    Both apocalyptic and suitably vague, The Signal's only serious weakness comes from some borderline histrionic performances; then again, it's tough to call hysteria anything other than a sane response to a world gone mad. Crazy, man.
    • 57 Metascore
    • 78 Marc Savlov
    This is frightening stuff, ably helmed (by writer/director Gorak, art director on the nerve janglers Fight Club and Fear and Loathing in Las Vegas), viciously acted, and altogether horrific in ways George A. Romero could imagine only through the lens of the darkest sort of fantasy.
    • 63 Metascore
    • 67 Marc Savlov
    While it's a well-constructed doc, full of relevant information and geared toward those people who still might be fence-sitters on the subject, there's something missing from The 11th Hour's lengthy procession of talking heads: a sense of maddened outrage.
    • 45 Metascore
    • 11 Marc Savlov
    It's the pod people's version of a great, contemporaneously resonant cinematic fable, created by apparent committee, and utterly devoid of both meaning and feeling. The tagline warns: "Do not trust anyone. Do not show emotion. Do not fall asleep." Yawn.
    • 83 Metascore
    • 78 Marc Savlov
    Pure, goofy fun.
    • 37 Metascore
    • 11 Marc Savlov
    The Last Legion offers guilty-pleasure fun in a cheesy, very De Laurentiis way (much like 1976's Mandingo rip-off Drum), but, in the end, it's just not a very inspired or well-conceived film, despite Kingsley's strangely endearing turn as the proto-Merlin.
    • 38 Metascore
    • 30 Marc Savlov
    A mildly entertaining reworking of the Farrelly Brothers' superior micro-sport parody "Kingpin."
    • 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.
    • 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.
    • 57 Metascore
    • 78 Marc Savlov
    No other film in recent memory has featured such a terrifically retro maniac or revisited the heyday of Eighties gore films with such gleeful, moist abandon.
    • 84 Metascore
    • 89 Marc Savlov
    The story (even more so if you weren't around in July of 1969) is gripping, eloquent, and powerful stuff, the right stuff right down to its pioneering heart, taking manifest destiny to the stars themselves.
    • 49 Metascore
    • 30 Marc Savlov
    For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 56 Metascore
    • 50 Marc Savlov
    Pleasant but pedestrian.
    • 33 Metascore
    • 30 Marc Savlov
    This South Korean pseudo-epic is some of the most ambitious cr-- I've ever seen.
    • 82 Metascore
    • 89 Marc Savlov
    It's Cronenberg's film, but it's the actors who elevate Eastern Promises from mere thriller to some other, more disturbing plane.
    • 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.
    • 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.
    • 61 Metascore
    • 40 Marc Savlov
    It’s one of the most cautious readings of lust ever put to film.
    • 46 Metascore
    • 78 Marc Savlov
    This is a Farrelly film for adults, if not the entire family, and its a charmer, honest both to the nature of the loves we choose in haste, and the fear that makes us so hasty so often.
    • 38 Metascore
    • 0 Marc Savlov
    None of this made a lick of sense to me, nor did it appear to be all that obvious to either the cast or screenwriter Hodge, whose work here feels as though he'd given up in frustration halfway through before deciding to see how far he could push the vaguely Harry Potter-esque shenanigans before getting sacked.
    • 78 Metascore
    • 100 Marc Savlov
    Even though we're aware of the tragic trajectory of the singer's life, for a while it almost seems as if reality got it wrong and Curtis might just squeak past the reaper's scythe with no more than a shave and a haircut.
    • 53 Metascore
    • 67 Marc Savlov
    These days, it's dark everywhere. Which makes Slade's wild, often exhilarating neo-Western ride into frostbit vampirism something of a respite, albeit one awash gore.
    • 84 Metascore
    • 89 Marc Savlov
    While the evil that men do to one another in this film may well be rooted in the Cain-like enabling of original sin from one doomed brother to another, the final familial tragedy feels exactly like classic Lumet.
    • 47 Metascore
    • 67 Marc Savlov
    Bella is, indeed, a beautiful film. The bustling, cab-crowded thoroughfares of New York City have rarely looked as inviting and the coastline as momentously beachy as they do in this film.
    • 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.
    • 76 Metascore
    • 89 Marc Savlov
    Crowe has rarely been better, and the same goes for director Scott, who parallels and then dovetails Lucas and Roberts' stories with sublime, gritty precision, working up to a magnificent "Godfather III"-style crosscutting sequence that electrifies an already explosive tale.
    • 79 Metascore
    • 78 Marc Savlov
    Like an early Clash number, it's by turns lovely and ugly, loud as bombs and quiet as a revolution's first-thrown stone; it acknowledges the legend while uncovering the truth.
    • 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.
    • 68 Metascore
    • 67 Marc Savlov
    "It's difficult for people to believe our story," says one kid, succinctly, eloquently, "but if we don't tell you, you won't know."
    • 36 Metascore
    • 50 Marc Savlov
    Torture, you may recall, used to be an unparsable, unpardonable sin. Now it's porn.
    • 59 Metascore
    • 67 Marc Savlov
    Although this version of Beowulf (the script, ricocheting between thrilling, heroic, and hilarious, is by Neil Gaiman and Roger Avary) does take some liberties with certain heretofore undreamed of aspects of parentage, it's as faithful to the extant version as it needs to be.
    • 39 Metascore
    • 30 Marc Savlov
    Despite some briefly breathtaking, computer-generated special effects, Virtuosity is 95 minutes of unsubstantial firefights and meandering plot twists.
    • 38 Metascore
    • 40 Marc Savlov
    August Rush is a rather prosaic, oddly anxious, contemporary take on Dickens' Oliver Twist, with Williams – in nasty-man twee mode, a newish one for him – thrown in for bad measure.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    It's also and most interestingly about the writing process itself, a difficult feat to pull off on film, which Wagner and co-screenwriter Fred Parnes manage to display with unvarnished realism.
    • 59 Metascore
    • 50 Marc Savlov
    Truth is, once again, stranger and far more interesting than fiction, but Stewart, whose youthful idealism makes for passionate but uneven filmmaking, should scuttle further oceanic pedantry and focus his lens on Watson's "good pirate" efforts to sabotage the "bad pirates" and save the sea.
    • 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.
    • 57 Metascore
    • 50 Marc Savlov
    Turnabout is fair play, to be sure, but ultimately virtually everyone in Teeth ends up using sex as a weapon, edged or otherwise, to the detriment of all concerned. Just say "Ow."
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    Home Alone is the apex, the pinnacle, the culmination of every bad bit Hughes has ever written or directed. It overflows with primitive, disastrously unfunny sight gags and neo-hateful familial humor.
    • 39 Metascore
    • 20 Marc Savlov
    They shoot rodents, don't they?
    • 71 Metascore
    • 67 Marc Savlov
    A family film in the best sense.
    • 74 Metascore
    • 50 Marc Savlov
    Ultimately the composition comes off as both overplayed and underdone.
    • 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?"
    • 58 Metascore
    • 67 Marc Savlov
    Obenhaus' documentary on extreme, "big mountain" skiing feels, despite its jaw-dropping camerawork and patently fearless subjects, like a relic from 1998.
    • 24 Metascore
    • 11 Marc Savlov
    Do yourself a favor and go rent any Miike film other than this one.
    • 64 Metascore
    • 89 Marc Savlov
    Cloverfield is the most intense and original creature feature I've seen in my adult moviegoing life, and that's coming from a guy who knows his Gojira from his Gamera and his Harryhausen from his Honda. Cloverfield isn't a horror film – it's a pure-blood, grade A, exultantly exhilarating monster movie.
    • 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.
    • 15 Metascore
    • 11 Marc Savlov
    Who among us can explain the enigma wrapped in a riddle surrounded by fierce, ravening, razor-toothed conundrums that is German director Uwe Boll?
    • 82 Metascore
    • 78 Marc Savlov
    Impossible to shake off.
    • 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.
    • 35 Metascore
    • 50 Marc Savlov
    The whole production does reek a bit of origin story filminess, but even so, it's light sabers beyond Christensen's sad, revengeful fate in "Episode III" and does offer a nice view of the top of the Sphinx's head no less than three times.
    • 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.
    • 66 Metascore
    • 78 Marc Savlov
    Diary of the Dead is meant to scare your pants off, blow your mind out the back of your skull, and then deposit you ungently back into reality, quaking a little, maybe, but still alive and, unlike the undead, thinking.
    • 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.
    • 50 Metascore
    • 67 Marc Savlov
    Works both as an engagingly sordid meditation on protofeminism and contemporized sisterhood set in a time and a place where either/or were grounds for, at the very least, defenestration.
    • 34 Metascore
    • 0 Marc Savlov
    The only evolution in question here is that of Emmerich's skills as a director of motion pictures.
    • 63 Metascore
    • 50 Marc Savlov
    The comedic success of this pair of dramatic archetypes, the radiant flibbertigibbet and the gray, lumpen elder spinster, in a lightweight bit of piffle such as this is a testament to both Adams' and McDormand's smarts. It's tough to play dumb when you're not and even more difficult to dial down your own innate brilliance.
    • 83 Metascore
    • 89 Marc Savlov
    Paranoid Park shows the Portland-based director to be working at the pinnacle of his art in every frame, in every composition. It's breathtaking, heartbreaking, tragic, gorgeous, and true all at the same time.
    • 51 Metascore
    • 50 Marc Savlov
    Marshall, like his characters, does not mess around: Good people do bad things to not-entirely bad people while the Man (in this case No. 10 Downing St.) seeks ways to screw everyone.
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    It turns out globalization has its good points after all, and they're sporting Chucks, Kangols, and post-Gomi DIY gear. Spin again.
    • 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.
    • 72 Metascore
    • 78 Marc Savlov
    Priceless is a supremely satisfying confection – a French romantic comedy of the sort that ends with you standing outside the theatre with a dopey grin on your face.
    • 61 Metascore
    • 67 Marc Savlov
    Phillippe does a dark, searing turn with a character that could have easily been little more than Taps-era hubris, and Gordon-Levitt, as one of King's more fragmented former charges, is riveting and convincingly small-town Texas.
    • 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.
    • 60 Metascore
    • 78 Marc Savlov
    One of the most affecting and certainly the most intimate of the cinematic arguments against the war in Iraq yet made.
    • 17 Metascore
    • 0 Marc Savlov
    A nearly bloodless slasher film with fewer surprises than a broken jack-in-the-box.
    • 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.
    • 57 Metascore
    • 67 Marc Savlov
    The plot is negligible, but that's fine since it's really only a way to get from one set-piece to another.
    • 67 Metascore
    • 67 Marc Savlov
    Segel, scripting himself, injects regular bursts of comic genius into the proceedings.
    • 20 Metascore
    • 0 Marc Savlov
    Make Ben Stein some more money (and get a good, mordant chuckle while you're at it) by checking out this loopy, factually befuddled documentary that should manage the not-inconsiderable feat of insulting Christians, Jews, Muslims, and those nutty sci-guys who go in for Darwin by way of bad teeth and Einsteinian hair styles.
    • 71 Metascore
    • 67 Marc Savlov
    It's contemporary French cinema without a dollop of Besson and Jeunet's beloved CGI theatrics, and all the better for it.
    • 79 Metascore
    • 78 Marc Savlov
    And Favreau? If you'd told me 12 years ago that Swingers' comic linchpin would end up helming one of the best, most visceral, and downright fun foray of all the comic-book franchises waiting in the CGI wings, I'd have told you to amscray, kid. But what the hell? Turns out irony's good for your blood.
    • 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.
    • 64 Metascore
    • 78 Marc Savlov
    The Fall lives and dies on the strength of Pace and Untaru's remarkable performances. It's there that the pulsing heart of this magical-real film beats most true.
    • 62 Metascore
    • 78 Marc Savlov
    A consistently entertaining parody that never once makes you feel like an idiot for laughing out loud at its idiocy.
    • 62 Metascore
    • 67 Marc Savlov
    Adamson's pulled a more morally nuanced rabbit (or badger, actually) out of his directorial hat this time out, and the result is a far more engrossing film than its predecessor.
    • 65 Metascore
    • 78 Marc Savlov
    Ford's Indy, who doesn't quite hang up his fedora at film's end, is still the only cinematic smartass-cum-bullwhipping scholar of antiquities I'd want by my side when push comes to shove comes to Nazis ("I hate these guys"), Russkies, or, for that matter, Al Quaeda. Go get 'em, Indy, and cue the John Williams while you''e at it.
    • 37 Metascore
    • 30 Marc Savlov
    War, Inc. is neither all that interesting nor all that cool.
    • 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.
    • 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.
    • 54 Metascore
    • 67 Marc Savlov
    Sandler's first collaboration with co-writer and current Hollywood comedy godhead Judd Apatow, is a crazed, delightfully bizarre return to form for Sandler.
    • 34 Metascore
    • 30 Marc Savlov
    The Happening is both too incoherenly weird and too narratively ambitious for its own good.
    • 61 Metascore
    • 78 Marc Savlov
    Five years after Ang Lee attempted a stylistically and narratively daring reimagining of what a comic-book movie could be (an example that tanked disastrously at the box office), the big green gamma-guy returns to the screen in a purer, more unadulterated, vastly more entertaining form.
    • 95 Metascore
    • 89 Marc Savlov
    This is Pixar's finest and most emotionally powerful film yet, and it draws on a wealth of cinematic resources that run the gamut from Chaplin's best to Buster Keaton, Jacques Tati, and even Martin and Lewis.
    • 61 Metascore
    • 67 Marc Savlov
    Laugh? Cry? I thought I'd die, but then that's the genius of Gordon.
    • 49 Metascore
    • 30 Marc Savlov
    A godforsaken (possibly literally) mess.
    • 78 Metascore
    • 78 Marc Savlov
    It's not perfect -- thank Satan! -- but Hellboy II: The Golden Army is by far the most splendidly imaginative and creatively uncorked piece of fantastic cinema since the director's "Pan's Labyrinth" netted an Oscar trifecta in 2007.
    • 82 Metascore
    • 50 Marc Savlov
    The only thing here that feels truly, utterly alive is Ledger's maniacal, muttery Joker. The last laugh is his and his alone. It's enough to make you cry.
    • 74 Metascore
    • 50 Marc Savlov
    By the time the film's abrupt conclusion arrives, you realize you've been watching a love story and not, as some might hope, "The Lord of the Rings: The Asian Edition."
    • 80 Metascore
    • 67 Marc Savlov
    You get the impression that Herzog believes wholeheartedly the planet will be better off without us. Nosferatu that we have proven ourselves to be, he may be right.
    • 75 Metascore
    • 78 Marc Savlov
    No matter how bad you may have it, you'll feel better about your own lot in life after watching the tumultuous sexual flailings of Marcela and Jarda (Brejchová and Luknár), a way, way, way down on their luck Czech couple.
    • 78 Metascore
    • 50 Marc Savlov
    It wouldn't feel out of place on a double bill with "Dangerous Liaisons," given Breillat's unrepentantly nihilistic attitude toward the battle of the sexes in which all are pawns, every knight is errant, and the only queen is Queen Bitch.
    • 47 Metascore
    • 11 Marc Savlov
    They've become deadly dull, these two once-keen buckers of bureaucratic BS, and watching them interact on screen is akin to having your pleasure centers removed by knobby little aliens whose only knowledge of mankind comes from Jack Webb's stoically unvarying television incarnations.
    • 51 Metascore
    • 40 Marc Savlov
    Step Brothers has comic fuel to burn, some of it unashamedly non sequitur and stupid-brilliant, but it still feels like a post-"Talladega" flameout.
    • 36 Metascore
    • 50 Marc Savlov
    Who doesn't love an animated, anthropomorphized-chimpanzee-starring, sci-fi romantic comedy?
    • 58 Metascore
    • 78 Marc Savlov
    It's a grim, dark, and relentlessly violent film throughout; James Bond as Terminator rather than Templar – but it delivers the goods in bloody high style: explosively, sexily, and with 007 shaken (not stirred) to his icy core.
    • 31 Metascore
    • 11 Marc Savlov
    Little more than a cluttered, noisy, and unsatisfying thrill ride to nowhere.
    • 89 Metascore
    • 89 Marc Savlov
    Hauntingly beautiful film.
    • 25 Metascore
    • 20 Marc Savlov
    The story is a shambles, incoherent throughout, veined with tirelessly wearying flashbacks, hallucinations, and just plain old lousy storytelling.
    • 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.
    • 43 Metascore
    • 0 Marc Savlov
    Anderson has neutered the original film's outrageously transgressive macadam mayhem and completely stripped the story of its pointedly political social satire, making this Death Race one of the most boring drags of all time.
    • 54 Metascore
    • 67 Marc Savlov
    Arquette wander in and out of frame, but like everyone else in this film, they're eclipsed by Coogan's gloriously unhinged performance, which has the lunatic, semi-meta tone of a parody within a parody.
    • 56 Metascore
    • 50 Marc Savlov
    Watchmen is worth seeing, fan or no, for Haley's squirmy presence alone, and all the other characters are also well-served.
    • 49 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.
    • 15 Metascore
    • 0 Marc Savlov
    College, a film so persistently loud and annoying that it single-handedly makes the case for drugging yourself with a roofie.
    • 26 Metascore
    • 30 Marc Savlov
    It's not a great action dust-up by any means.
    • 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.
    • 67 Metascore
    • 78 Marc Savlov
    This is a Disney film, so there's never any real question regarding Bolt and his friends' ultimate success or failure, but the writing team of Dan Fogelman (Cars) and co-director Williams (Mulan) have concocted one of the most witty and often hilarious Disney outings in years.
    • 40 Metascore
    • 30 Marc Savlov
    Pixar this isn't, but neither is it "Mary Shelley's Veggie Tales." If only.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 89 Marc Savlov
    This quiet, contemplative gem of a film paints a painfully accurate portrait of familial love, loss, and healing-by-degrees among the migrant communities bordering San Antonio.
    • 64 Metascore
    • 67 Marc Savlov
    We've heard tell about the rebirth of the Western at least since Clint Eastwood's vicious, "Unforgiven" 16 years ago, but since the genre never truly died in the first place there's no need to flog that horse here.
    • 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.
    • 51 Metascore
    • 50 Marc Savlov
    Transporter 3 is so far over the top that it more than once spills into outright cartoonishness.
    • 20 Metascore
    • 30 Marc Savlov
    Truly, the greatest torture of all is boredom.
    • 54 Metascore
    • 78 Marc Savlov
    It's like the Sixties never happened, or maybe happened too much.
    • 31 Metascore
    • 40 Marc Savlov
    A film that feels far too familiar for the likes of Wahlberg to juice up, hallucinatory valkyries or no.
    • 49 Metascore
    • 40 Marc Savlov
    It's not "Sixteen Candles," but it's not "Road Trip," either. Instead, this comedic car-trip riff on the teen-male libido and the lengths to which it will go to satisfy itself falls somewhere in between part endearing emo love story, part gross-out semen gag-fest, and, very occasionally, a smart, inspired, non-sequitur-laden hoot.
    • 69 Metascore
    • 89 Marc Savlov
    Dreamlike, disjointed, and possessed of a stunningly complex sensual and narrative poetry that may confound audiences not familiar with Chinese director Wong's defining stylistic tropes, Ashes of Time Redux is, simply, one of the most gorgeous films ever made.
    • 58 Metascore
    • 50 Marc Savlov
    Ultimately, it's undone by the overfamiliar nature of Doon and Lina's quest, the outcome of which, while breathlessly paced, is never really in question.
    • 63 Metascore
    • 50 Marc Savlov
    Eastwood's grim handling of even grimmer subject matter could have used some paring down toward its histrionic ending, but Changeling is still one of the director's most assured and engaging historical horror shows.
    • 82 Metascore
    • 89 Marc Savlov
    Could be summarized as a vampire tween romance, but that cheap and tawdry sum-up does zero justice to the magnificent emotional resonance of this gemlike bloodstone of a film.
    • 28 Metascore
    • 11 Marc Savlov
    The real shocker is how hellishly yawn-inducing this utterly pointless and forgettable Haunting turns out to be. It's enough to make you scream.
    • 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.
    • 32 Metascore
    • 50 Marc Savlov
    It's not often you come across a film as unique as this, and while my taste for liver, lights, and sweetbreads isn't what it once was, this is still a fine post-Halloween aperitif, with guts to spare.
    • 86 Metascore
    • 89 Marc Savlov
    Like Mumbai, Slumdog pulses and throbs with raw, unadulterated life and the hope for a better Bombay, today. It's brilliant.
    • 68 Metascore
    • 78 Marc Savlov
    Timecrimes is a tremendously entertaining bit of Kafka that whirlpools down into "The Twilight Zone."
    • 40 Metascore
    • 20 Marc Savlov
    Dull, unnecessary film.
    • 58 Metascore
    • 78 Marc Savlov
    There is a sense of ambiguity at the core of The Reader that makes it all the more brutal, all the more honest in its deflowering of love and what one imagines love ought to be instead of what it too often is.
    • 27 Metascore
    • 30 Marc Savlov
    Delgo is a dud.
    • 53 Metascore
    • 67 Marc Savlov
    Sweet and wise and often laugh-out-loud funny (just like Grogan's book), Marley & Me isn't just for dog people; it's just not for Cruella De Vil.
    • 56 Metascore
    • 40 Marc Savlov
    We all know how it ends, and that foreknowledge dooms Singer's hotly anticipated and much troubled account of the attempt on Adolf Hitler's life.
    • 91 Metascore
    • 89 Marc Savlov
    Be forewarned: Folman closes his film with a grisly, real-death denouement that may give you some nightmares of your own. As well it should.
    • 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.
    • 51 Metascore
    • 67 Marc Savlov
    MBV 3D is full-on, old-school, Fangoria-approved, gorehound heaven – a supersaturated arterial goregasm with zero socially redeeming values for anyone other than first-year med students.
    • 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.
    • 36 Metascore
    • 11 Marc Savlov
    I saw the original version of this same story 28 years ago. It was called "Scanners" and it blew my mind for real. Push just blows.
    • 34 Metascore
    • 0 Marc Savlov
    But bad, this film's so bad! To flub the fans' most beloved butcher boy.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    Howard's snappy-smooth performance, unsurprisingly, is what elevates Fighting from its hoary genre predecessors.
    • 53 Metascore
    • 50 Marc Savlov
    It's a totally serviceable reboot for young people who are just discovering the joys of manga, but I can't help but miss the raw animation and even rawer emotional aesthetics of Tezuka's original televised animé series.
    • 52 Metascore
    • 50 Marc Savlov
    Fans of the original films will dig Richards and Eisenmann's cameo appearances.
    • 49 Metascore
    • 40 Marc Savlov
    Where else are you going to get a chance to see the aircraft carrier USS John F. Kennedy drift down the side of a mile-high tsunami and take out the White House? Big. Dumb. Fun.
    • 87 Metascore
    • 89 Marc Savlov
    This isn't some pomo arthouse picture looking to score points by subverting the gangster paradigm; it's a killer film about killers who idolize film but are unable or unwilling to parse the doom that always crops up come Act III.
    • 74 Metascore
    • 78 Marc Savlov
    Two Lovers is an intensely felt, character-driven film, and there's no stronger character onscreen – not even Leonard – than Leonard's wise, Jewish mother, Ruth, played with effortless, pure perfection by Rossellini.
    • 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.
    • 17 Metascore
    • 0 Marc Savlov
    It boggles the mind that The Legend of Chun-Li is as vapid and dull as it is.
    • 72 Metascore
    • 89 Marc Savlov
    12
    12 is every bit as much of a moral powerhouse as its predecessors but with the added bonus of being simultaneously intellectually riveting and, at times, almost indescribably poetic.
    • 63 Metascore
    • 67 Marc Savlov
    Falling somewhere between the horrors of Three … Extremes and the beauties of Eros, this triptych of short films set in and underscored by the titular megalopolis is a gorgeous, sprawling mess.
    • 79 Metascore
    • 78 Marc Savlov
    Even if you're familiar with the details of the game, Rafferty's suspenseful editing draws you to the edge of your seat and beyond, back into 1968 itself.
    • 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.
    • 33 Metascore
    • 11 Marc Savlov
    Koteas' overearnest performance almost makes The Haunting in Connecticut worth a look, but ultimately even the star of Cronenberg's "Crash" can't salvage what is essentially a substandard rip-off of "The Amityville Horror."
    • 48 Metascore
    • 67 Marc Savlov
    This is an impressively realized (and, yes, occasionally, unavoidably humorous) valentine to Hollywood's sci-fi glory days – all heart, no snark, and one big eye.
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    In the end, it's much ado about nothing. Oh, the ennui, the ennui.
    • 45 Metascore
    • 40 Marc Savlov
    Bottom line: costumed Goku and Chi Chi cosplayers may argue the finer points of this adaptation, but it is fairly dazzling it its own overextended, futurist-teenpulp fashion, and Chow makes a vastly more entertaining Roshi than he did a King.
    • 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.
    • 54 Metascore
    • 40 Marc Savlov
    On the whole, there are precious few life lessons in Is Anybody There? that haven't been noted before.
    • 74 Metascore
    • 78 Marc Savlov
    The most remarkable aspect of Lemon Tree, however, and the one that's most likely to land this film on many year-end Best Foreign Film lists, is Abbass' devastating and marvelously restrained performance.
    • 83 Metascore
    • 78 Marc Savlov
    It's brutal to watch the bigger-they-are-the-harder-they-fall tragedy of this once-great heavyweight. In fact, it's enough to make you cry.
    • 54 Metascore
    • 67 Marc Savlov
    Battle for Terra boasts impressively executed battle sequences that, frankly, are light-years beyond anything found in the recent Star Wars animated add-ons.
    • 46 Metascore
    • 11 Marc Savlov
    Might make a terrific double bill with the equally inane (but considerably more entertaining) "Con Air," with the French electonica duo Air chirruping in the background. But, you know, only if you're stoned out of your head.
    • 78 Metascore
    • 78 Marc Savlov
    A spare and perfectly droll kinda-sorta comedy from Norwegian director Hamer.
    • 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.
    • 50 Metascore
    • 50 Marc Savlov
    Hasn't got a lot more to say than it did last time about the necessity of accepting the nontraditional family in extraordinary times, but what it does have going for it are its well-delineated characters.
    • 42 Metascore
    • 20 Marc Savlov
    Shamlessly dumb movie.
    • 27 Metascore
    • 30 Marc Savlov
    Considerably less of a thrillgasm than playing "Frogger" blindfolded.
    • 81 Metascore
    • 89 Marc Savlov
    Blomkamp and his entire cast and crew have created an instant genre classic that transcends the self-limiting ghetto implied by the term "science fiction" and instead, like precursors such as Robert Wise's "The Day the Earth Stood Still," engages not only the mind but the heart as well. It's magnificent.
    • 50 Metascore
    • 50 Marc Savlov
    It's hardly a classic of the genre, but then again, like Armour hot dogs: it's Comfort Food for Men.
    • 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.
    • 83 Metascore
    • 89 Marc Savlov
    Nothing short of horror-hound heaven.
    • 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.
    • 60 Metascore
    • 50 Marc Savlov
    9
    This expanded version only suffers, albeit in grim visual splendor, from the extrapolation.
    • 42 Metascore
    • 50 Marc Savlov
    Bottom line: This Orphan is an atmospheric and occasionally vicious little git and an above-average entry into the "cuddly hellspawn" genre, overlong at two-plus hours, but nowhere near as excruciatingly overdone as others of its ilk (Devil Times Five, I'm talking to you).
    • 82 Metascore
    • 89 Marc Savlov
    It's the truth, unshackled and captured against all odds, and it's one of the most powerful documentary films I have ever seen, period.
    • 68 Metascore
    • 78 Marc Savlov
    Gentle and comedically nuanced exercise in mourning.
    • 66 Metascore
    • 40 Marc Savlov
    Who knew reincarnation could be such a lovely snooze?
    • 84 Metascore
    • 78 Marc Savlov
    A genuinely moving portrait of the artist as a young(ish) scullery maid.
    • 54 Metascore
    • 67 Marc Savlov
    All in all, Imagine That is an amiable detour from its star's usual scatological skronk. Kids will empathize, parents will breathe a sigh of relief.
    • 78 Metascore
    • 67 Marc Savlov
    One of the more surreal docs to come down the pike in some time.
    • 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.
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    Best of all, though, is the kinescope footage of the televised version's early episodes, which eerily resemble nothing so much as every other TV sitcom to follow, Seinfeld included.
    • 73 Metascore
    • 89 Marc Savlov
    Zombieland is dead set against being dead serious. Its tonal pallor has more in common with a foreshortened "It's a Mad, Mad, Mad, Mad World" than with "28 Days" or "Weeks Later," and then, again, there's that jaw-dropping cameo. It'll kill ya.
    • 42 Metascore
    • 30 Marc Savlov
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