Marjorie Baumgarten
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For 1,456 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Big Lebowski
Lowest review score: 0 Kazaam
Score distribution:
1,456 movie reviews
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Although the movie contains occasional moments of glimpsed accomplishment, Kansas City is for the most part a lame duck.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    By the film's climax, following the plot movements has become merely complex rather than suspenseful.
    • 70 Metascore
    • 50 Marjorie Baumgarten
    It's a cuckoo's nest that's nicely feathered.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    The relationship advice is all fairly boilerplate, much like the film itself, but these actors have made this a bankable romcom.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Intelligent and well-meaning, Rendition is nevertheless an oversimplified and uneven attempt to arouse righteous indignation among its viewers.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    As Zamperini, Jack O’Connell is the film’s strongest asset. The actor holds our attention from beginning to end, making us care deeply about the man’s fate instead of becoming an empty icon of stoicism.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Stillman inserts chapter headings and written asides into the proceedings, but none of it helps explain what is before us. The authorial voice in Damsels in Distress lacks definition.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    As with his previous film "The Assassination of Jesse James by the Coward Robert Ford," Dominik's ideas get the better of his creative handiwork as he throws off his pacing to follow points he has already made.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    Every once in a while, a movie is more than a movie, but it’s surprising when that becomes the case with a punk-ass comedy, one that’s more puerile than pointed yet not without some good laughs.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Has little of the wit, surprise, or memorable characterizations of the original.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Each member of the well-chosen cast not only creates a distinct character with unique and memorable resonances but also meshes these separate personalities to form as satisfying an example of ensemble acting as we are likely to see for quite some time to come.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Seeing The Terminal is like experiencing an uneventful flight: The trip was pleasant but not delightful, and you’re happy to deplane at the other end.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    With all the hallmarks of a prestige picture, chief among them a great cast and creative crew and an "important" message, The Soloist plays its tune with a frequently heavy hand.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    More like watching a Polaroid picture develop without ever getting to see the finished picture.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Penis-obsessed, man-child film comedies can crown a new king: the Danish import Klown.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    No nectar of the gods this, but we can still be thankful that Bee Movie is a sweet morsel that's devoid of any jokes about bee farts and poop.
    • 42 Metascore
    • 50 Marjorie Baumgarten
    More honest than you might expect a promotional piece such as this to be, but less self-investigative than you might like, you come away thinking there are much greater depths for Snoop Lion to plumb.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    There's a lot of truly hilarious material in The Grand.
    • 63 Metascore
    • 50 Marjorie Baumgarten
    The greatest problem with The Great Buck Howard is that writer/director McGinly shapes the story with young Troy as the protagonist, when the really interesting character is the one for whom the movie is named.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    The Girlfriend Experience uses nonprofessional actors, aside from lead Grey, who is the acclaimed star of more than 80 porn films and here debuts in her first "nonadult" role.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    In filming this movie with such artistic precision, the movie ironically winds up objectifying Griet just as much as any appreciator of the original painting.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    The film reunites Carell with his "Little Miss Sunshine" co-star Arkin, who, as always, delivers the goods, as do most of the other supporting players. Too long by at least 15-20 minutes, Get Smart is nevertheless a giggly summer movie.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Hereafter is a consistently identifiable Clint Eastwood movie only in the sense that the prolific filmmaker shows that he still has the ability to confound our expectations of him.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Never finding its right tone, Admission uncomfortably founders between the story’s comic and dramatic aspects and leaves behind a lumpy residue that tars its likable leads.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Cars 2 makes for a decent play date but is not an especially good movie.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    Intends to be a farce, not a drama. The film never quite achieves either definition.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Yet, the problem goes beyond the film's staginess (although there's plenty of that to go around). It could even have something to do with the delicate difficulties involved in the successful transfer of stage camp to the more intimate level of film.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Director Caton-Jones ("Scandal", "Memphis Belle") once again shows his flair for period detail though he never here exerts his grip on the human drama.
    • 73 Metascore
    • 50 Marjorie Baumgarten
    Uses a wraparound story to provide a hint of Glass’ deep-seated pathology, but allows no details about how it came into being.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    In the sea of mediocrity that passes for children's films these days, Mr. Popper's Penguins has enough originality (and silly physical comedy) to make it stand out.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Pacing problems and shallow psychological inquiries plague this film almost as much as the overworked metaphor that supplies the film's title.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    Newcomers should be advised that this is not an introductory course.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    Despite good performances all around, particularly the ever-brilliant Blanchett, Elizabeth: The Golden Age is a gilded ornament, speculative and uninterested in much besides this queen's matters of heart.
    • tbd Metascore
    • 50 Marjorie Baumgarten
    The film’s historical pageantry is fascinating to observe, even though the story is mostly conjecture. Competently directed, the real pleasure in this high-grossing South Korean film lies in its performances, which lighten the regal solemnity with comic warmth.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    It’s perhaps surprising that there aren’t more Linklater documentaries out there, considering how substantial, influential, and plain f---ing brilliant his body of work is. In the meantime, 21 Years will have to do.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    The movie's simplistic storyline does not match its stunning visual accomplishments: Pleasantville's story is drawn from a palette that's strictly limited to black-and-white.
    • 42 Metascore
    • 50 Marjorie Baumgarten
    Lost River is a film whose reputation precedes it. Viewers have decried it as a mess or lauded it as an artistic achievement ever since it premiered at Cannes 11 months ago. Ultimately, the film is really neither. Yes, Gosling’s ambition exceeds his accomplishment, but what he’s delivered is hardly a disaster.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    Cesar Chavez, though respectful and illuminating, never rises to the inspirational level of its titular subject.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    The story's accumulation of scattered impressions is exactly what bedevils the film's overall impact. The story lacks focus, sustained development, and direction.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    The movie's storyline is not always perfectly clear, seemingly falling into the same murky “grey zone” as everything else.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    A climactic speech on the lessons Western democracy might learn from Middle Eastern despotism offers a few moments of pure brilliance. I'd say that speech is worth the price of admission if it didn't also illustrate exactly what the film is missing: barbs that aim for the comedic bull's-eye.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    Stunning camera shots by ace Michael Ballhaus are lovely to look at, and the performances are all excellent.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Deli Man needs more meat on its rye.
    • 73 Metascore
    • 50 Marjorie Baumgarten
    On a certain level, Notes on a Scandal can be fun viewing, but, odds are, you'll find you won't respect yourself in the morning.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    This new movie is a trifle, a listless excursion into the luxurious problems of rich, white people.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    This movie has precious little satirical edge. What is needs is more emphasis on the "vanity" and less on the "fair."
    • 66 Metascore
    • 50 Marjorie Baumgarten
    The first 15-20 minutes of this documentary are solid gold.
    • 43 Metascore
    • 50 Marjorie Baumgarten
    An article of faith for girls who just wanna have fun; only problem is that the movie doesn't go all the way.
    • 40 Metascore
    • 50 Marjorie Baumgarten
    Garner hasn't come across as amusing as she is here in quite some time. Despite many funny bits, Butter also, at times, seems to excoriate the blinkered Midwesterners in the flyover states.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Though remaining sweet and tasty, Efron, in his first non-singing and dancing feature film proves he has an agreeable and kinetic screen presence, although his ability to convince us he's truly a 37-year-old encased in a 17-year-old's body is dramatically dubious.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    It's definitely not hard to understand what the little girls see in Bieber, and this film delivers the goods. This one's for the fans, not the movie buffs.
    • 36 Metascore
    • 50 Marjorie Baumgarten
    Even this sequel, released 20 years after the original, had to up the number of poop jokes from the first film’s doozies in order to keep up with public taste.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film seems overlong and drawn out, with variations on the same joke occurring throughout. Although the performances are good, the nostalgia for the past seems quaint in the new "have it your way" Burger King world.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    It’s a frequently riveting gambit, and the actors give it their all. However, the mood and the stylized camerawork make the proceedings too arch to completely succeed.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a creepy tale.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    The film feels like a collection of sketches instead of a mad, three-day, drug-and-sex-infused whirl.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    If the jingoism that permeates the latter half of The Kingdom does not sufficiently sour the experience of watching it, then the film's closing sentiments about the eternality of vengeance will surely do the trick.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    There's an amiability that permeates the movie and carries it through most of the rough patches and split ends.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    What Sayles gives us is a jumble of ideas and stunning performances that never coalesce into a satisfying movie.
    • 44 Metascore
    • 50 Marjorie Baumgarten
    It makes you wonder, ultimately, how the carbon footprint created by the film will stand up to the test of time.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Sequences like the silly montage of Charlie on Ritalin (which just looks like the precious doodles of a former editor), grievously underdeveloped characters, and heavy heapings of sap instead of snark keep Charlie Bartlett from making the dean’s list.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Ultimately one of those sprawling epics best suited for a rainy day.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    Bogs down during several fuzzily romantic interludes.
    • 50 Metascore
    • 50 Marjorie Baumgarten
    Though he has stepped up his game, Perry's plainspoken, unsubtle aesthetic is an uncomfortable match for the fragility of Shonge's speeches, and scenes abruptly switch between the language of Perry's scripted continuity sequences and sudden poetic soliloquies.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The movie is a strange amalgam of compelling visuals and fascinating vocational details forged with deep moral ambivalence and often hollow didacticism.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    By the end, there's nothing to admire except Range's technical virtuosity.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    The script is all too often downright clunky though it's saved by vigorous direction (especially in the dance sequences) and performances.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    The movie's third act goes astray as the storyline shifts to Dorian's dating problems, which seem an overextended tangent to his coming-out story. Still, the film has a lot of playful dialogue and pixillated montages.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    Ultimately offers some ironic amusement but wallows too long in the sins of its father.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    What the movie lacks is spark and sizzle. There's no palpable chemistry between Lopez and male lead Ralph Fiennes, plus the script by "Working Girl" scribe Kevin Wade is workmanlike in the extreme.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It gives the creeping sensation that this is going to be a talking-heads documentary, which Greenwald delivers in spades.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    At two hours, the movie goes on too long and resolves too little -- even though it provides some interesting moments along the way.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    In the end, however, Protocols of Zion illuminates manifestations of anti-Semitism without ever really elucidating or posing solutions to the problem.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Stays on its feet through all the rounds, but it never “floats like a butterfly.”
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Ruby Sparks doesn't. Spark, that is. Oh, the film is sprightly and wholehearted, sweetly in thrall to its bold central conceit, and endearing as a puppy with boundless energy. You want to like it. And you do. It's just that it never, you know, it never sparks.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    Never inspires more than an interested detachment.
    • 79 Metascore
    • 50 Marjorie Baumgarten
    Maybe we won't fully understand Eastwood's film until we see the second part of this project, "Letters From Iwo Jima," his companion film seen from the Japanese viewpoint expected in 2007. On its own, however, Flags of Our Fathers merely flags.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Visually arresting but dramatically rote, The Book of Life at least introduces American kids to the Mexican holiday of Día de los Muertos and should score points with families looking for kid-friendly movies that reflect aspects of their Mexican cultural heritage.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    The show delivers with its corps of dancers, backup singers, elaborate runways, and a couple tunes by boy group, the Jonas Brothers, who do their thing while the fictional Hannah makes the backstage transition into the flesh-and-blood Miley.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Last Chance Harvey is so much an "actors' film" that the hand of the director seems hidden until it bursts into view with something clunky.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Neither a true concert film nor a strict behind-the-scenes documentary, This Is It is, like Jackson himself, a real hybrid.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    The story is rather creaky, but who cares when the actors Clive Owen and Juliette Binoche are so sublime together? Even though the film creates an artificial construct that rings hollow, the two central characters generate great heat and interest. Their presence is enough to keep the film’s nattering foolishness at bay.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Amounts to little more than a big, wet kiss to the group’s worldwide legions of young, female fans.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Funny and expands our background knowledge of these likable characters, but the story gets bogged down.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    Good performances give this movie a pleasant shine, but in all honesty, Thin Ice relies on too many familiar setups to feel wholly fresh.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    A must for any Deadhead and of genuine interest to any music fan, even if its documentary chops hit a few sour notes.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    The movie offers glimmers of truth about the aging process, but there is always the sense that Moss only wades knee-high into this river.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Carla Gugino, however, energizes the film with every step of her self-assured stride. She genuinely manages to create a dimensional character who is fulsomely inspirational – and as I said at the outset, that's not too shabby an accomplishment when it comes to the world of women and sports movies.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    May not be grade-A prime, but it ain't chopped liver either.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Does not go gentle into that good night.
    • 46 Metascore
    • 50 Marjorie Baumgarten
    Whether Ringer, with its mild comedy and milder messages about inclusiveness and tolerance, will be embraced by Knoxville's hardcore "Jackass" fans remains to be seen. But we can at least trust that the Farrellys will stay the course.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    It would be easy to pigeonhole this as "Norma Rae" en L.A., and Padilla is at least as ingratiating and as much of a guy magnet as Sally Field was in that movie.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    Although the movie's anti-war propaganda mission is clear, it nevertheless makes a strong case for asking questions and examining our country's imperialistic motives.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    Although the film’s character portraits are vividly drawn, they remain largely one-dimensional.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    A refresher course in the perils of celebrity and activism, but its syllabus and insights are purely remedial.
    • 69 Metascore
    • 50 Marjorie Baumgarten
    A pleasant frolic, but fairly inconsequential in terms of the overall Allen output.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    There’s definitely ore to be mined in Silver City but Sayles’ pan comes up with only particles of dust.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    The camerawork, which relies heavily on shots of picture-perfect vistas and not enough on human beings and their place in this world. When we do see the characters, we primarily see their beauty.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Little more than a well-written and nicely delivered feature-length sitcom.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    For American children, Nanny McPhee Returns may seem something like a foreign film, but the movie has enough spoonfuls of sugar to make the Britishisms go down.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Living up to its title, Rudo y Cursi is appealingly tough and corny but contains little that causes these elements to congeal into anything greater.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Satire without teeth is sort of a mewling entity that brings little into sharp focus. Nevertheless, the performances here are all stellar, and narrative movies that take the making of art seriously are a rare breed indeed.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Although several great speeches and hilarious one-liners goose the film, God Bless America nevertheless peaks too early and becomes rather one-note.
    • 52 Metascore
    • 50 Marjorie Baumgarten
    A moderately entertaining, mostly inoffensive piece of filmmaking.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Writer/director Lucía Puenzo (XXY) has a nice feel for her characters and, especially, the viewpoint of adolescent Lilith. But by giving away the story’s big reveal at the very beginning, it infuses the film with a potent sense of dread rather than suspense.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    There are some wonderful performances and lovely unadorned moments in The Flower of Evil when the movie is not drowning its viewers in its doomed fragrance.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Despite its inadequacies, Basquiat presents a fascinating glimpse of the Eighties art scene, due in large measure to several stunning performances.
    • 61 Metascore
    • 50 Marjorie Baumgarten
    Aided by a strong soundtrack by Corbijn's friend Herbert Grönemeyer, The American nevertheless seems more like a concept in search of a movie.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    Some fine comedy performances bolster this thinly plotted film.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Lost's Evangeline Lilly remains lost, however, in this film role as Charlies's too-good-to-be-true romantic interest.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    Granted, femme-centered film comedies are a thing to cherish, but The Other Woman only gets it half right.
    • 65 Metascore
    • 50 Marjorie Baumgarten
    Thus, this indifferently shot film winds up being another in a long line of creative works by men that exploit the legacy of Marilyn Monroe for their own satisfaction and little public good.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Generally works like a drone but sometimes provides glimpses of the queens at the center
    • 39 Metascore
    • 50 Marjorie Baumgarten
    The script by Andy Stock and Rick Stempson (Balls Out: Gary the Tennis Coach) can, at times, be a nasty piece of work, and no amount of laughter will fully obscure the gag reflex that occasionally forms in the back of your throat.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Borte may have lost his way on this film, but there is one thing he has done for America: He has demonstrated the correct way of spelling the plural of the surname Jones. Grammarians, if few others, will be satisfied.
    • 39 Metascore
    • 50 Marjorie Baumgarten
    In Seagal's movies, the interesting stuff never derives from what happens, but rather from how it happens. Exit Wounds is certainly one of his best efforts, although the distinction is a dubious one at best.
    • 72 Metascore
    • 50 Marjorie Baumgarten
    Ultimately a mystery box that lacks a treasure at its core.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    Although Gilliam's bright color palette and weird camera angles lift the film, it has an overall sense of darkness, as if shot among people who have yet to see the Age of Enlightenment.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    Like its title implies, Chocolat tastes good in the moment but leaves behind little nutritional substance.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Having unfettered access to Armstrong during the 2009 Tour and a face-to-face sit-down with him in Austin hours after his national confession to Oprah, The Armstrong Lie comes across more a good save than a muckraking piece of journalism.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    This sad, dark movie moves across the screen like a sleepwalker, aloof and belonging neither to this world or the next.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    In the end, one's appreciation of My Wife Is an Actress may depend on the extent to which you like the character of Yvan and relate to his anxieties.
    • 56 Metascore
    • 50 Marjorie Baumgarten
    Overall, the movie stresses the more painful and awkward moments; moments that might be classified as "heartwarming" are rare. This results in a very cynical tone and I suspect that was not the desired effect.
    • 59 Metascore
    • 50 Marjorie Baumgarten
    Fascinating, partly because of its originality.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Suffers from Frey’s diluted multitasking. The director, writer, and star are not equally talented.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    Dark Shadows seems more like a mash-up of leftover ideas from "Beetlejuice," "Edward Scissorhands," "Sleepy Hollow," and "Sweeney Todd: The Demon Barber of Fleet Street" – but they're ideas without the souls of characters.
    • 79 Metascore
    • 50 Marjorie Baumgarten
    It's all pretty involving and sweetly ingratiating in a Charlotte's Web-by kind of way.
    • 62 Metascore
    • 50 Marjorie Baumgarten
    Up-and-comer LaBeouf (Holes) is a young actor to watch, but he's had better opportunities than this teen thriller to show what he's capable of.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    There's something about that extra layer of distancing that a book can offer and the screen can't, which in this case might account for why film viewers feel vaguely discomforted by an icky fifth-wheel sensation.
    • 47 Metascore
    • 50 Marjorie Baumgarten
    As a heartwarming tribute to the courage of firefighters, Ladder 49 delivers.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Has a haunting afterglow, one that neither satisfies nor illuminates, but at least keeps the flame alive.
    • 63 Metascore
    • 50 Marjorie Baumgarten
    The transitions from performance to song and to reality are strained and awkward.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    Infused with enough infectious charm to make us forget how dopey the plot is and become swept up in its breezy countenance.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Hot Rod is a stupid movie about stupid people doing stupid things.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    The makers of Guess Who appear to have given more thought to targeting an audience than building a believable movie.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    Sumptuous to behold, although one will not leave the theatre with a much deeper knowledge and understanding of this great Spanish painter's career.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    There’s definitely a certain fascination hovering about The Singing Detective, but after seeing the movie, that fascination turns to perverse dread.
    • 20 Metascore
    • 40 Marjorie Baumgarten
    With a surprising lack of verve, humor, and narrative tension, Shyamalan's live-action foundation film is unlikely to woo new fans to the tale.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    The abundance of talent gathered for Meet the Fockers is sadly shortchanged by the unimaginative script and directorial laissez faire. It’s more like the audience has been snookered rather than Fockered.
    • 56 Metascore
    • 40 Marjorie Baumgarten
    Sylvia also makes it seem as though, even at her happiest, she never received much pleasure from life. This makes for a long, slow procession to the oven door -– so dark, somber, and lifeless is this well-intentioned biography.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    The man whom the FBI described as "extremely eloquent, therefore extremely dangerous" here seems about as threatening as Mother Teresa.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    My be a gearhead's delight, but its appeal to middle-of-the-roaders will be stop-and-go.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Graham maintains a casual charm throughout it all, but she lacks the kind of emotional depth that might have pulled this hodge-podge together.
    • 30 Metascore
    • 40 Marjorie Baumgarten
    Despite flashes of originality, is a formulaic quagmire that traps bits and pieces from all these genres without really satisfying any of their true aims.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    The action can be bloody, but is mostly routine. Ultimately, the film’s most eye-catching special effects are reserved for bikini waxes and implants.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    The sketchy visual traits that differentiate the many characters in this avian universe will leave viewers crying, "Who, who" along with the owls.
    • 69 Metascore
    • 40 Marjorie Baumgarten
    He's a saint in the flesh, but not one who inspires great drama.
    • 66 Metascore
    • 40 Marjorie Baumgarten
    The problem with The Bling Ring is that it feels as soulless as its young protagonists, and of course there’s little sympathy to be found either for the story’s über-rich victims like Paris Hilton and Lindsay Lohan.
    • 62 Metascore
    • 40 Marjorie Baumgarten
    A real audience pleaser.
    • 65 Metascore
    • 40 Marjorie Baumgarten
    Now that his passion project is out of the way, I look forward to seeing what Chase does next. He's sure to have his editor's pen back in hand by then.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    It's neither the fulfillment of our worst fears nor the surprise of the week.
    • 23 Metascore
    • 40 Marjorie Baumgarten
    I'm sorry. I laughed...There's something pleasurable about a comedy that has no pretensions about where it's coming from.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    This is director Pouliot's first film, so perhaps some of his excess cuteness can be overlooked. But then again, maybe not.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    A sumptuous ride with breathtaking scenes and a soaring musical score.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    Lymelife arrives with an impressive pedigree but, unfortunately, little originality.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    Lovely to look at, Year of the Fish is an animated feature that pops off the screen like a goldfish leaping free of its bowl.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    A well-chosen cast props up this otherwise shallow story.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    Blades of Glory, although mildly amusing, has the dank odor of having gone to the well once too often: Ooh, let's dress up Ferrell like an elf – or an anchorman or a NASCAR driver – and see what happens.
    • 68 Metascore
    • 40 Marjorie Baumgarten
    Unfortunately, the actors don't all behave as though they're performing in the same movie.
    • tbd Metascore
    • 40 Marjorie Baumgarten
    A certain amount of honest, down-home flavor mixes with an excess of melodramatic schmaltz in this Texas-made movie.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Though the soundtrack comes on kind of heavy, the cinematography (by Enrique Chediak) has a beautiful clarity. Yorick's skull or not, Charlie St. Cloud is no Shakespearean drama, but the film should prove to be another solid stepping stone for Efron on his way to a long adult career.
    • 31 Metascore
    • 40 Marjorie Baumgarten
    If you expect That's My Boy to be the Bad Dad equivalent of Bad Santa, you'll be sorely disappointed. Sandler can't quite adopt that same cynical edge, instead favoring corny and sentimental resolutions to untenable predicaments.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    Although the narrative hiccups in The Holy Land can be chalked up to the mistakes of a beginning filmmaker, they are not disruptive enough to diminish the film’s realistic impact.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    Either you cotton to Zemeckis’ motion-capture aesthetic or you don’t: To me, it seems like an awful lot of effort for an insignificant payoff. But it appears that the filmmaker is stuck on the technique – at least until holographic movie technology comes along.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    If the mother-child bond is the core human relationship, then this movie implies that we are an emotionally doomed species, though I do not think this was writer-director Garcia’s intent.
    • 28 Metascore
    • 40 Marjorie Baumgarten
    Moore succeeds, even though the film as a whole does not fare as well.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    The entire film wants to be the retort to an idle comment uttered by a prep school lacrosse mom in the stands: "When did the Indians starts playing lacrosse anyway?"
    • 48 Metascore
    • 40 Marjorie Baumgarten
    21
    Spacey, whose Trigger Street Productions is one of the film's producers, digs into his role as the story's snarky mastermind and lure, yet it's all the kind of stuff we've seen him deliver in so many movies before.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    This time the acclaimed filmmaker tackles an entire “ism” and, much like its ambiguous title, Capitalism: A Love Story, Moore’s film is an unmethodical survey of a gargantuan topic, one that has only grown more so in the year since he began work on the project.
    • 51 Metascore
    • 40 Marjorie Baumgarten
    Gustav Klimt’s spectacular painting Portrait of Adele Bloch-Bauer I far outshines this pedestrian movie about the legal battle waged by Maria Altmann (Mirren), the niece of the portrait’s subject, to regain possession of the work which was seized from her family by the Nazis during their takeover of Austria.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Emerges as an artful, courageous, experimental work that is as compelling as it is impaired.
    • tbd Metascore
    • 40 Marjorie Baumgarten
    Perhaps viewers of the TV show will find more depth in The Snitch Cartel than newcomers to the drama. But without character definition, the film feels like a constant swish pan from one violent event to the next.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    It's a good thing this movie has been sitting on the shelf for a year or more, because, apart from the difference in release dates, there's little to distinguish this new cop drama from last year's cop drama "We Own the Night."
    • 45 Metascore
    • 40 Marjorie Baumgarten
    Experiencing Evita is like watching one uninterrupted long-form music video divided only by different arias or costume changes (of which there are untold numbers).
    • 59 Metascore
    • 40 Marjorie Baumgarten
    Neither a change of seasons nor truly wonderful performances can breathe life into the dismally enervated Winter Solstice.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Hop
    Some films are saccharine, but Hop is pure sugar.
    • 63 Metascore
    • 40 Marjorie Baumgarten
    Zoo
    Time and again, Devor sabotages his own attempt to bring "zoos," literally and figuratively, into the light.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    Filled more with character studies than narrative intrigues, The Merry Gentleman also provides only sketchy personality details and background information.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Talks the talk but doesn't walk the walk.
    • 25 Metascore
    • 40 Marjorie Baumgarten
    Never rings true. It's a dramedy whose blend of melodrama and humor is awkward and incongruous, leaping between the two modes like a fat frog jumping lilypads.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Just sputters along, albeit pleasantly, while revisiting the realm of the abundantly familiar.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    The thing is, the music that Jed, Shelby, and their respective bands make is actually pretty good. The performance footage is polished enough that it looks like it could be plucked from a TV show like "Nashville."
    • 49 Metascore
    • 40 Marjorie Baumgarten
    Told from younger brother Doug's point of view, Phoenix's voiceover spans the length of the film and winds up making the images that unfold practically redundant.
    • 30 Metascore
    • 40 Marjorie Baumgarten
    The blood and gore quotients of Punisher: War Zone are extremely high and are sure to sop the appetites of the series' fans and virtual bloodlusters.
    • 80 Metascore
    • 40 Marjorie Baumgarten
    There is plenty here to enjoy for beach bums and fans of bikinis and six-pack abs, but others are likely to find themselves hopeless wet blankets.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    Gray's signature long takes and overhead shots are in evidence and add to the film's fatalistic tone, and one rainy car-chase sequence is a real keeper. But, overall, it's impossible to shake the film's gloomy sense of eternal repetition.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Hope doesn't float in this film so much as it rises to the surface and then stagnates.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    The reality-show producer played by Walken is described by his assistant (Suvari) as having the attention span of a "ferret on speed." I'm sure he would love Domino.
    • 38 Metascore
    • 40 Marjorie Baumgarten
    The performances are all solid, although the screenplay frequently bogs down with the complexity of palace intrigues and plots that could have been rendered more consumer-friendly.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    When Murray's around, he's the only hot dog in the room.
    • 32 Metascore
    • 40 Marjorie Baumgarten
    Bob Dylan might have been wrong when he sang that "there’s no success like failure, and failure’s no success at all." His new movie, although a complete narrative mess, is a thoroughly Dylanesque escapade.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Unaccompanied Minors isn't likely to become a frequent flyer but it could strike a chord among children of divorce for many holiday seasons to come.
    • 62 Metascore
    • 40 Marjorie Baumgarten
    So many logical questions go unasked in The Gift, which, ultimately, is the movie's downfall. Mark this package as “Return to Sender.”
    • 52 Metascore
    • 40 Marjorie Baumgarten
    As a filmmaker, Meredith has a strong, if derivative, visual sense, although his screenplay is packed with too many cliches and familiar riffs.
    • 60 Metascore
    • 40 Marjorie Baumgarten
    The actresses are terrific together, and it’s nice to see Helen Mirren smiling onscreen for a change. And although Calendar Girls is resolutely pleasant, the movie never really goes much beyond that.
    • 68 Metascore
    • 40 Marjorie Baumgarten
    The film's moody, dark palette and soft, inchoate backgrounds tend to lull the senses rather than actively engage the viewer. The magic practiced by this illusionist does not extend to the screen.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    Exploitative and crass, the film paints an ugly portrait of youth gone wild and the ineffectuality of the police to curb the menace.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    The film is so self-referencing, however, that a running gag about Wax/Travolta craving a “royale with cheese” moves the film’s energy backward rather than forward. Perhaps instead it was a reference to the film’s nutritional value rather than its screen precedents.
    • 61 Metascore
    • 40 Marjorie Baumgarten
    This Earth Day release has honorable intentions, but it imbues the animals with human emotions and motives, which only muddies our understanding of these ferocious feline species.
    • 25 Metascore
    • 40 Marjorie Baumgarten
    The film may seem a bit undercooked until it gets to the staging of the ultimate battle, but Obsessed is swinging from the chandeliers by the end.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Set mostly during the waning years of Stalin’s totalitarian grip on the USSR, Child 44 does a superb job of capturing the grim living conditions and pervasive paranoia that marked the bleak era. Sadly, that’s about all this movie does well.
    • 19 Metascore
    • 40 Marjorie Baumgarten
    Cynical yet mildly amusing Yuletide-season comedy.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    It just may be a movie that has difficulty transcending national borders.
    • 60 Metascore
    • 40 Marjorie Baumgarten
    The problem, ultimately, is that little of this is of any real interest. The brothers' bickering can be amusing at times but even at 76 minutes, the movie feels repetitive and overly long.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    From the ad campaign, we pretty much know how things are going to turn out, and her pedestrian attempts at subplots are even more transparent than those in "Awakenings."
    • 56 Metascore
    • 40 Marjorie Baumgarten
    As suspicion shifts from passenger to passenger, the film starts to resemble a parlor-room whodunit, while logic becomes its first fatality. Fasten your seat belts before takeoff, because Non-Stop is a bumpy ride.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Episodically eventful but utterly unsuspenseful, the film is a diversion that requires little attention and satisfies the film-going needs of a wide variety of viewers.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    The Judge gives the sense of resting on its casting laurels.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    Paul Kirby's production design stands outs for its opulent re-creation of the golden glitz and ostentatious trappings of the Iraqi palace, but otherwise The Devil's Double belongs to filmdom's hoi polloi.
    • 47 Metascore
    • 40 Marjorie Baumgarten
    It's all well and good to run a scroll of corporate evil-doers at the end of the film as in Dick and Jane, but if these robber barons were skewered properly along the way, such heavy-handed, last-minute tactics wouldn't be necessary.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    The dual bromances at the heart of his new film, however, are as unconvincing as the life-and-death action plot that propels the film.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Everything Reeves has done since always has the whiff of "Ted" about it. Party on, dudes.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    Without sizzle or thrills, The Tourist becomes as sluggish and rank as the Venice waterways.
    • 54 Metascore
    • 40 Marjorie Baumgarten
    Midway through, a character remarks as he leaves the scene of a takedown of Ronnie, "I thought this was going to be funny, but it's just kind of sad." The same thing is true about the movie as a whole.
    • 38 Metascore
    • 40 Marjorie Baumgarten
    The movie’s length forces our suspension of disbelief for at least an hour more than is comfortable and pushes mindlessness to a dangerous longevity.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    Although Love the Hard Way is saturated with a doomed romanticism that feels more fictitious than real, the actors lend the movie a potency that it would not have had otherwise.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    As we find ourselves again immersed in a time of war, Trumbo's ageless story offers a useful corollary.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    Ready to Wear is to filmmaking what paper dresses were to fashion -- thin, trendy, and disposable.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    Would be a much better film had it not relied so heavily on a bombastic soundtrack (by James Newton Howard) for its emotional impact and spared itself some of the more overdone images of campus life.
    • 37 Metascore
    • 40 Marjorie Baumgarten
    It’s impossible to know how much of Tonto’s story is tall tale or historical fact. The tactic undercuts the film’s attempt at revisionism or at best equalizes men of all races as untrustworthy tellers of of their own history. The Lone Ranger stokes the legend but its smoke signals only add to the haze.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Brooklyn’s Finest is mo’ wrong than right.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    It's amazing the filmmakers never really concern themselves with satisfying the audience's rules of engagement.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    Tom Arnold and Anthony Anderson become an official comedy duo as they deliver an extraneous (and questionably funny) comedy riff, as they did in "Exit Wounds" over the film’s closing credits.
    • 75 Metascore
    • 40 Marjorie Baumgarten
    The movie's third act begins a baffling and not-very-believable character turnabout.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    Amiable and proficient, this indie romantic comedy is never more or less than reliable.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    Fails to create a seamless and believable web of measured performances and period color.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    If you want to see a good comedy about a couple’s marital problems getting worked out through the course of a home invasion, check out "The Ref."
    • 69 Metascore
    • 40 Marjorie Baumgarten
    The actors are all charged up, too; there’s just nowhere in this script for them to go.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    Julien may be a donkey-boy but it's Harmony Korine, this film's director, who is a horse's ass.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    While Chloe may seem reminiscent of Egoyan’s outlandish thriller "Where the Truth Lies," it also calls to mind another would-be thriller about marital infidelity that starred Neeson and was utterly ludicrous: "The Other Man."
    • 43 Metascore
    • 40 Marjorie Baumgarten
    It’s good to see that passionate cinematic rabble-rousing does not rest solely in the hands of the left.
    • 66 Metascore
    • 40 Marjorie Baumgarten
    The action is neither cathartic nor supremely exhilarating. "Bullitt" on a bike this film is not.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    By the time the police come knocking at the front door, Mr. Brooks has exploded from its mild-mannered start into full guignol mode, and would take a defter filmmaker than Evans to steer the tonal shift.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    This rote buddy-cop action comedy is instantly forgettable. We’ve seen it all before, and worse than that, we’ve seen it done far better in films ranging from last year’s "The Heat" to Eighties classics such as "Midnight Run" and "Lethal Weapon."
    • 58 Metascore
    • 40 Marjorie Baumgarten
    Yet for all Vaughn’s attention to stylized details, I noticed a number of obvious continuity errors throughout to which Vaughn seems blind.
    • 39 Metascore
    • 40 Marjorie Baumgarten
    It's the best date-night movie to hit the screens in a while, which, considering the competition, is very faint praise.
    • 67 Metascore
    • 40 Marjorie Baumgarten
    Paul Green seems more interested in what rock school can do for him than for the kids.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Never transcends its clichés.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Adults may discover, however, that when they get to the center of this particular world, they find no real there there.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Boasting a terrific cast, the movie is unable to parlay its abundance of comic talent into an abundance of original comedy.
    • 31 Metascore
    • 40 Marjorie Baumgarten
    Stick around through the credits for an extra closing scene that leaves the door of Heather's new home wide open for a sequel.
    • 65 Metascore
    • 40 Marjorie Baumgarten
    It seems to me that since "Koyaanisqatsi" in 1982, for which Fricke served as the director of photography, every other film of this sort has been repetition.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    Sandler has become one of our primary symbols of the modern rage-repressed American male. Let’s hope that one day he will learn to channel that rage to greater effect.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    When you get to the end of The City of Your Final Destination, you may discover that there is no there there.
    • 51 Metascore
    • 40 Marjorie Baumgarten
    There are warm, genuine moments that endear these attractive characters and their experiences to us despite all the falderal. Feast of Love may be enough for some to keep the pangs at bay ’til the real thing comes along.
    • 68 Metascore
    • 40 Marjorie Baumgarten
    What Soul Food lacks in narrative originality and flourish it nicely makes up for with wonderful performances by a large ensemble cast.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    The use of Bryan Adams as the madwoman's imagined paramour is indicative of just how mediocre this movie is.
    • 62 Metascore
    • 40 Marjorie Baumgarten
    If you shut down your brain and simply take in the wardrobe and performances by Streep and Blunt you'll have a swell time, like aimlessly flipping the pages of a fashion magazine.
    • 34 Metascore
    • 40 Marjorie Baumgarten
    Plot and character development are scarce; the film is more an abstraction than an absorption.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    (Greenaway) is often described as a director whose movies "are not for everyone." The obvious retort is that neither are the Three Stooges, but at least everyone understands them.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    Watching Raimi's visual style and narrative verve flatten out into this pale reiteration of a middle-aged-male weepie is an exercise in modern horror.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    A coda set in 1965 seals the film's status as a bourgeois fantasy, but fear not: Paris' student and worker riots of 1968 are only a hair's breadth away.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    Hesher is a muddle of inchoate feelings that never really grasps the clichés to which it raises its middle finger.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    It's one of those period dramas about upper-crust Europeans in vacation resorts, which at first we think we've seen a million times before.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Director Leterrier keeps the camera moving and swooping throughout the film as if the Steadicam were another device in the magicians’ tool belt. A clear sense of space and sleight-of-hand is rarely achieved.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Provides tepid but fun entertainment.
    • 41 Metascore
    • 40 Marjorie Baumgarten
    The characters never come across as anything more than self-interested parties. It’s hard to have a rooting interest in any of their fates, and even less in the outcome of this movie.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    There is also a lot of good supporting work in this movie, including the performances of Irma P Hall, Tom Bowser as Evie's clueless dad, and Bruno Kirby as Kiddie Acres' gruff impresario.
    • 44 Metascore
    • 40 Marjorie Baumgarten
    Not only is Kikujiro sweet and funny, it is, no doubt, Kitano's experimental "art film."
    • 74 Metascore
    • 40 Marjorie Baumgarten
    My conclusion is that exploitation of a child for the sake of one's career is a shameful act.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    The Killer Inside Me is hardly uninteresting, and you get the sense that everyone involved tried really hard to pull off this difficult adaptation. But it would be impossible to view The Killer Inside Me as anything but a vast miscalculation.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Salerno spends more time talking to photographers with telephoto lenses who, over the decades, laid in wait for Salinger in the hope of capturing a grainy picture, than he does talking to literary analysts and historians.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    A good concept yields scattershot results in this horror-film anthology.
    • 28 Metascore
    • 40 Marjorie Baumgarten
    The storylines are as confusing (or as simple?) to the uninitiated as they were before, but that doesn't stop them from making sense to the kids.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    Flightplan should have remained grounded for repairs.
    • 79 Metascore
    • 40 Marjorie Baumgarten
    As far as I'm concerned, the fact that Bergman is finally getting around to asking himself questions he now realizes he should have asked long ago is not sufficient enough premise for a movie. The answers may be news to Bergman, but the rest of us might just want to opt for divorce.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    First Snow tries hard but lacks originality.
    • 36 Metascore
    • 40 Marjorie Baumgarten
    Flawed but often entertaining teen horror flick.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    It's hard not to feel punk'd and trapped amid the company of jerks.
    • 68 Metascore
    • 40 Marjorie Baumgarten
    Should be applauded for finding a new angle on a tireless story, but you might want to think twice before booking passage.
    • 43 Metascore
    • 40 Marjorie Baumgarten
    The problem lies not in the plotting alone. Roth's direction does nothing to bring clarity to the story and its characters, and his blocking of the film's action scenes is downright muddled and vague.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    Hook has you marveling at the nuts-and-bolts work of producers and assistant directors, but never at the intrinsic imaginativeness of the story. It's as if Spielberg calculatedly set out to make a perennial classic -- certain folly if ever there were.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    When the film sticks to biographical and career background, it is on steady ground, but when it argues the case for one particular album, it becomes promotional rather than documentary material.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    It would seem the purpose of this movie, if not to deify, is to define -- and in this it fails miserably.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    Yo-ho-ho and a bottle of … V8? That’s what you get when you cross VeggieTales characters with a pirate yarn.
    • 55 Metascore
    • 40 Marjorie Baumgarten
    Technically, Jihad's images and assemblage seem on par for a first-time filmmaker, though the film's message is a moving plaint.
    • 58 Metascore
    • 40 Marjorie Baumgarten
    It may tell you everything you need to know about Easy Virtue to note that Hollywood hottie Jessica Biel receives top billing over veteran Brit thesps Kristin Scott Thomas and Colin Firth.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    The direction by Caruso adds little to the dynamics, although the script by Dan Gilroy offers the occasional gem. Nevertheless, Two for the Money is hardly a cineplex bargain.
    • 42 Metascore
    • 40 Marjorie Baumgarten
    When a cell-phone gag is the most exciting or inventive thing in a big summer dinosaur movie, you have to wonder if the species might not be ready for extinction.
    • 33 Metascore
    • 40 Marjorie Baumgarten
    Kidman is the only refreshing thing in the movie. Otherwise, Just Go With It is an exercise in stagnation.
    • 46 Metascore
    • 40 Marjorie Baumgarten
    The Oranges has little original shading.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Although appealing to look at, Happy Feet Two is noisy, busy, and unable to spark much emotional involvement in the viewer other than fear for the characters' well-being and a touch of existential angst by way of a couple of krill.
    • 48 Metascore
    • 40 Marjorie Baumgarten
    There's little drama or sense of progression in the movie until the bombshell hits, and then it just whimpers along for another half-hour until the end.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    Misfires on so many levels that we have to wonder if there is more than one meaning to this story's wild boars.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    As delivered by the politically inclined international filmmaker Costa-Gavras ("Z," "The Music Box"), Mad City's oversimplification of the ethical issues is bound to annoy those with any first-hand knowledge of the news dissemination process and disappoint others who've come for the promise of a city whipped into a "mad as hell" frenzy.
    • 39 Metascore
    • 40 Marjorie Baumgarten
    What should have turned out as a terrific movie about the crime of spousal abuse has instead received the equivalent of a ham-handed molestation by director Mundhra.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    It’s distinguishing the trickle from the treacle that becomes the problem.
    • 59 Metascore
    • 40 Marjorie Baumgarten
    Solid 007 entertainment -- not as bad as some of the recent Bonds but not as spunky as some of the series' originals.
    • 57 Metascore
    • 40 Marjorie Baumgarten
    The gifted veterans, Redgrave and Stamp, manage to imbue their characters with personalities and physical bearings that transcend the stereotypical. But there’s little else that separates a film like this from the sing-your-heart-out self-actualizations of a teen show like "Glee."
    • 63 Metascore
    • 40 Marjorie Baumgarten
    Likely to be remembered more for its method of manufacture and release than for any inherent qualities of its own. It will also become one of the many fascinating footnotes in the always provocative career of Steven Soderbergh.
    • 39 Metascore
    • 40 Marjorie Baumgarten
    The actors are all good, although not much rapport is conveyed, despite one hot sex scene.
    • 49 Metascore
    • 40 Marjorie Baumgarten
    Though there is plenty of razzle-dazzle onscreen, Nine is unlikely to ignite many sparks among viewers.
    • 52 Metascore
    • 40 Marjorie Baumgarten
    All in all, though, this Brazilian import is a small curiosity, intriguing more for its failures than its accomplishments.
    • 56 Metascore
    • 40 Marjorie Baumgarten
    Never breaks out of its dullsville rut.
    • 45 Metascore
    • 40 Marjorie Baumgarten
    The film's voice talent is good, as are the characterizations. However, the film's computer animation leaves much to be desired.
    • 64 Metascore
    • 40 Marjorie Baumgarten
    Former New Jersey Gov. Jim McGreevey and Outrage argue that the closet suffocates decency and happiness, and the film ends with a freeze-frame of the now-popular folk hero Harvey Milk. However, were we to give up our right to self-denial, I contend that America would cease to be a land of freedom.
    • 56 Metascore
    • 40 Marjorie Baumgarten
    Colorful and a passable drama, one that highlights the difficulties of cross-cultural love affairs and the exoticism of the Third World.
    • 53 Metascore
    • 40 Marjorie Baumgarten
    Despite employing every cliché in the sports-movie handbook, Goal! The Dream Begins tells a reasonably engaging story.
    • 50 Metascore
    • 40 Marjorie Baumgarten
    Terrific performances can't save this preposterous film from itself, but they do make it more bearable to watch.
    • 40 Metascore
    • 40 Marjorie Baumgarten
    Despite the weak performances and the scattershot screenplay, the film is visually terrific.

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